Gianfranco Fini, born in Rome in 1936, is a precocious and multifaceted talent. While still in high school, he studied under Guttuso and Gentili, and soon began moving across painting, architecture, design, set design, and installation art. In his early years, he was associated with the so—called “Scuola di Piazza del Popolo,” where his peers included Tano Festa, Franco Angeli, Mario Schifano, and later Jannis Kounellis, Giuseppe Uncini, Pino Pascali, and Mario Ceroli. His apparent uncertainty over whether to pursue art or architecture—along with their interstitial disciplines, such as design and scenography—was in fact a deliberate choice. Even during high school, he frequented the iconic Bar Rosati, a gathering place for the emerging Pop artists and others. Fini began working as a set designer before forming a close collaboration with Ceroli; together they created sets for, among others, Patroni Griffi’s film “Addio fratello crudele” [1971] and a staging of Norma [1972] at Teatro alla Scala in Milan, directed by Gianfranco Bolognini. Speaking about his 1968 installation “Il grande schermo”—consisting of twenty—four Brionvega monitors and exhibited at the Roman gallery “La Tartaruga” run by Plinio De Martiis—Fini stated that he had always been obsessed with regularity, geometry, and seriality. The Regolo series, designed for Poltronova in 1974, is a testament to that vision.