And then the wall, with dark walnut strips and – hidden – the swing door, which leads to the night-time area. The large sofa looks out onto the terrace and, like the terrace, the dining room. Here, with its slender circles, the Sorry Giotto (Catellani&Smith) illuminates the fabric of the chairs. It resembles a sculpture, like the Aim by Ronan & Erwan Bouroullec (2013, Flos), with its long wires and spotlights trained on colour. Green, yellow, light blue, lilac: Carl Hansen’s chairs are reminiscent of wax crayons. And they stand out against the white kitchen and tar-coloured bookcase. Which, here, is filled with cups, glasses and dishes. Colour returns on the terrace. On the wrought iron table, in the mats with their bubbles. And then in the children’s rooms, where the world map is reproduced on the wallpaper and Rodolfo Dordoni’s Fortepiano (Molteni & C.) is used to store games and exercise books. The master bedroom is also wallpapered. In this case it is beige with white decorations. It forms the backdrop to the bed with the bedside cabinets replaced by little side tables and, underfoot, a Berber rug. On the opposite side, the completely furnished wall gives the room a living room feel; behind the bed, the bathroom is a private and intimate space. With its freestanding bathtub, Voilà valet stand by Studiopepe (Ivano Redaelli), sculpted fittings from the Sencollection by Gwenael Nicolas for Agape and, on the wall, an abstract picture. Because colour is light. And here it traces a thin line. Between the spaces, inside but also outside. Between the rooms and life.