“The whole composition follows personal criteria, taking on meaning in the mutual relations of the parts – furniture, works of art, architecture,” Finucci adds. “I like to mix things like a palette, though the reflections that lead to a work are philosophical and profound, less connected to my aesthetic taste. I have sought the pleasure of balances between horizontal and vertical dimensions, volumes, colors, proportions, weights, full and empty zones, neutral elements and surprises. And of fine craftsmanship, because nothing is destroyed, but everything is transformed.” Hence the bookcase in iron with slate shelves and colored inserts, the table in raw iron, the console with marble legs, just to mention a few of the many custom pieces created by Maria Cristina Finucci, which exist beside the objects of her work, scattered everywhere – printing proofs, a still from the video-work Trueman from 2011, the poster of the installation for the Garbage Patch State pavilion in Venice during the Art Biennale 2013, the micro-version of the Paradigmi series over the sideboard (a similar work, but with a length of 430 centimeters, is part of the permanent collection of the Chamber of Deputies), and much more. There are also bedside units in black and white bone purchased in India during a trip, and the family secrétaire in the master bedroom. The fourth floor contains the living area. Here the figure of the fireplace becomes the ordering element of the spatial construction. With its truncated pyramid form it acts as a parapet for the iron staircase leading to the terrace, while at the same time forming a corner towards the marble staircase.
“The sofa is the Magister model by Flexform,” Finucci says. “We have taken it with us for many years, in many homes. We bought it when we lived in Brussels in 2000. The table-stools were designed by me in 2005, and they are very handy when lots of seats are needed, though together they form a table, which is useful for informal lunches or dinners