In the Moscow apartment of Irina Budtseva-Vinitskaya and Maxim Vinitsky, co-founders of Booroom Gallery, architecture is not merely a container but an active interlocutor. Set within a former industrial factory in Moscow, the space retains its raw, utilitarian DNA — a history that directly informed the couple’s first and most decisive gesture: a steel kitchen by Arclinea. “It was love at first sight,” Irina recalls, a material choice that became both conceptual anchor and aesthetic manifesto. From this point onward, the interior unfolds through restraint: clean lines, controlled volumes, and a deliberate neutrality that allows objects to speak with clarity.
This discipline is not about minimalism as absence, but about precision. As a gallerist and collector, Irina approaches the home much like an exhibition — constructing a continuous dialogue between art, design, and lived experience. The Jaz console by Christophe Delcourt, placed near the kitchen and paired with Shroom de la Forêt de Compiègne wall lights by Kostia, exemplifies this approach: objects are chosen for their architectural presence as much as their tactile intelligence.
The most intimate articulation of this philosophy appears in the bedroom wardrobe, whose doors were hand-painted specifically for the apartment by Paul Bergignat. Translated from the apartment’s atmosphere and views into Bergignat’s own visual language, the cabinet functions simultaneously as furniture and autonomous artwork. Nearby, sculptural wall lamps by Toni Zuccheri from the 1950s introduce a soft counterpoint, while Delcourt’s Dua bedside tables and textiles reinforce the home’s material continuity.
In the living room, Delcourt’s Pop sofa, Tee side table, Dua table, and chaise longue form a calibrated ensemble, set in conversation with historical and contemporary works. A Pilão armchair by José Zanine Caldas (1969) — one of the most important pieces in the couple’s collection — sits alongside B32 chairs by Marcel Breuer and a rare chandelier by Gaetano Sciolari, distinguished by blue glass pendants. Marble side tables by Ariana Ahmad and stone sculptures from the Memory Objects series by Rui Matos introduce further layers of authorship and temporality.
Works by Daniela Busarello, including Le Suffleur De Verre, deepen the narrative — her practice echoing both the power and fragility of the natural world, and forming the conceptual basis of Mar de Amor, an exhibition presented at Booroom in 2025. In the children’s room, Breath (1995) by Valentina Apukhtina coexists with custom furniture by Booroom Services, handles by Paolo De Poli, ceramics by Masha Egorova, and a Vak chair by Delcourt.
Nothing here is fixed. The display shifts continuously, not as a reflection of indecision but of abundance. “Everything cannot exist at once,” Irina notes. The apartment remains in flux — a lived-in curatorial landscape where objects circulate, meanings evolve, and domestic life becomes an extension of the gallery’s intellectual and emotional terrain.
