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Collection by Thia Powers Amen

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“The home is a mix of the architecture, the project of Riva, and the life of Maria,” says Martin. “He used this space to experiment,” Maria concurs. “This house is not very perfect.”
“The home is a mix of the architecture, the project of Riva, and the life of Maria,” says Martin. “He used this space to experiment,” Maria concurs. “This house is not very perfect.”
“For Umberto, there was never enough light,” writes Maria. “The southwest-facing wall is the perfect example. He first pierced it with a large bay window in the middle. Then he added two ‘portholes,’ but it wasn’t enough.” She continues: “He also cut the vertical surface further up so that the ceiling does not rest on a wall but a dematerialized surface. The light reverberates on the varnished ceilings from that strip of windows.”
“For Umberto, there was never enough light,” writes Maria. “The southwest-facing wall is the perfect example. He first pierced it with a large bay window in the middle. Then he added two ‘portholes,’ but it wasn’t enough.” She continues: “He also cut the vertical surface further up so that the ceiling does not rest on a wall but a dematerialized surface. The light reverberates on the varnished ceilings from that strip of windows.”
“This living room, with its tapered shape, is a bit expressionist,” Maria writes in a new book about the apartment. “It’s clear to me that Umberto’s first rule was to breach the rigidity of right angles.”
“This living room, with its tapered shape, is a bit expressionist,” Maria writes in a new book about the apartment. “It’s clear to me that Umberto’s first rule was to breach the rigidity of right angles.”
When Ferdinando Fagnola co-designed a series of avant-garde Brutalist villas on the Sardinian coast in the mid-1970s, he had no idea he would return one day with a group of younger architects to transform a trio of them into one home for new owners. Each villa consists of seemingly discrete, half-buried concrete volumes emerging from the earth. A Spun chair by Thomas Heatherwick for Magis is oriented toward the sea.
When Ferdinando Fagnola co-designed a series of avant-garde Brutalist villas on the Sardinian coast in the mid-1970s, he had no idea he would return one day with a group of younger architects to transform a trio of them into one home for new owners. Each villa consists of seemingly discrete, half-buried concrete volumes emerging from the earth. A Spun chair by Thomas Heatherwick for Magis is oriented toward the sea.
The home is divided into different zones that are clearly represented in the built form. The ground floor is open, public and noisy; the first floor houses more private rooms for guests and children; and the new mansard roof extension has a
The home is divided into different zones that are clearly represented in the built form. The ground floor is open, public and noisy; the first floor houses more private rooms for guests and children; and the new mansard roof extension has a
The Uphill Utilitarian Shed when fully opened.
The Uphill Utilitarian Shed when fully opened.
A clear polycarbonate door conceals the workshop while still allowing light to penetrate. When it’s closed, says Aaron, “The shed<span style="font-family: Theinhardt, -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> becomes this wood cocoon with ambient light coming through the clear wall panel. You don’t need to even turn on a light.”</span>
becomes this wood cocoon with ambient light coming through the clear wall panel. You don’t need to even turn on a light.”
The shed's garden-storage space opens outward, with the door itself doubling as storage.
The shed's garden-storage space opens outward, with the door itself doubling as storage.
The small studio, adjacent to the storage compartments, gives Aaron Trampush a workshop and a place to hang out.
The small studio, adjacent to the storage compartments, gives Aaron Trampush a workshop and a place to hang out.
The Uphill Utilitarian sits at the back of a sloping site, which the owners left as natural as possible, while adding a small seating area.
The Uphill Utilitarian sits at the back of a sloping site, which the owners left as natural as possible, while adding a small seating area.
The breakfast bar from the original home was given a modern refresh. The existing stools were refinished and paired with concrete countertops. Designer pendant lights hang from above.
The breakfast bar from the original home was given a modern refresh. The existing stools were refinished and paired with concrete countertops. Designer pendant lights hang from above.
A maple tree grows through an ipe deck in this garden that Mary Barensfeld designed for a family in Berkeley, California. A reflecting pool separates it from a granite patio, which is furnished with a Petal dining table by Richard Schultz and chairs by Mario Bellini. The 1,150-square-foot garden serves as an elegant transition from the couple’s 1964 Japanese-style town house to a small, elevated terrace with views of San Francisco Bay. Filigreed Cor-Ten steel fence screens—perforated with a water-jet cutter to cast dappled shadows on a bench and the ground below—and zigzagging board-formed concrete retaining walls are examples.
A maple tree grows through an ipe deck in this garden that Mary Barensfeld designed for a family in Berkeley, California. A reflecting pool separates it from a granite patio, which is furnished with a Petal dining table by Richard Schultz and chairs by Mario Bellini. The 1,150-square-foot garden serves as an elegant transition from the couple’s 1964 Japanese-style town house to a small, elevated terrace with views of San Francisco Bay. Filigreed Cor-Ten steel fence screens—perforated with a water-jet cutter to cast dappled shadows on a bench and the ground below—and zigzagging board-formed concrete retaining walls are examples.