She would have turned a hundred now, but she preferred to leave us at ninety-six. With her usual grace, style, and elegance. Cini Boeri, with
The Milanese and Lombard habit of giving oneself a nickname instead of one's given name, even though Maria Cristina is not bad. With this apostate name and surname, she became an icon. Cini Boeri. I knew and met her during the eighties and nineties, when her enchantment was at its peak, capable of giving depth to ephemerality and making every structure graceful. This was the outcome of her training and her innate disposition towards design, the endogamy of every form, which owes its lightness to being visible and tactile, an organism, an officinal complexity, capable of giving shape to content and bearing the weight of its praxis. Hers is an elective attitude, bringing together industrial technicality with artisanal craftsmanship, made of steps
Astute and decisive, giving aesthetic life to pure objectivity and quality to each singularity. Nature, for her, is not a static, naturalistic reference, but rather a dynamic of absorption of all possible and imaginable temporality, and therefore not only a source of mimesis and reproduction, but also an infinite space of continuous becoming.
Why is nature not objective, but subjective, interpretable, like a theatrical work (see his collaboration with Giorgio Strehler), like spatial experimentation (in tune with Lucio Fontana's research), and his attention to Ernesto Rogers and therefore to Peressutti, Banfi, Belgiojso. Therefore, it is culture, the way of acting upon it, alchemically, by accommodating it and making it an ally in the path of “creative” evolution. For him, design and architecture are merely metric specificities of a whole, in a unique harmony that induces rhythm, the possibility of synthesis, which is never a definition, but a point of reference for
to continue research, experimentation, as a formal and imaginative aspect of poeticity, which is not an archaic, anthropological remnant, but a continuous inflection of the great shattered screen before us. A source of attraction, but also of repulsion, a fascination with decoration and artifice.
of transformation, visibility is the place of sociality, in which Cini Boeri projects her infectious passion; I cite her Strips sofa for all, suggested by the ecological interpretation of Javacheff Christo, the protective wrapper of the genius of geniuses, Leonardo da Vinci, in a Milan in conflict, between traditionalist hesitations and decisive leanings towards the tradition of the new. Thus, Cini Boeri stands with Gae Aulenti, with Zaha Hadid, in a vision of the soul, which today appears in all its randomness and necessity (to borrow from Jacques Monod) and remains for us as an illuminating trace of a psychology, different from the masculine one, in a nomadic and originalising sense, but capable of conceiving gardens of harmony.
KLESSIDRA | EDITED BY FRANCESCO GALLO MAZZEO
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