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Collection by vesna petrovic

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“Umberto was a rationalist in his own way: outside the box,” Maria writes. “Like Le Corbusier, he would then let off steam with colors. One wonders, why a skylight at the entrance when there is a bay window right in the middle of the living room that provides all of the light that you could possibly need? To him, it’s yet another ploy to show the importance of light in activating surfaces and colors.”
“Umberto was a rationalist in his own way: outside the box,” Maria writes. “Like Le Corbusier, he would then let off steam with colors. One wonders, why a skylight at the entrance when there is a bay window right in the middle of the living room that provides all of the light that you could possibly need? To him, it’s yet another ploy to show the importance of light in activating surfaces and colors.”
“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.”
Bands of windows and a curved skylight, along with porthole-like openings punched into the concrete walls, allow more natural light into the home.
Bands of windows and a curved skylight, along with porthole-like openings punched into the concrete walls, allow more natural light into the home.
“When you are photographing architecture, you need to know the theory and the history very well. But at the same time, I like to feel free to picture whatever I notice and whatever seems very important in a space, not only the design pieces,” Martin says. She and Paleari shot the space as they found it, including taking portraits of Maria. “She’s sweet, but very tough,” Martin says of her subject.
“When you are photographing architecture, you need to know the theory and the history very well. But at the same time, I like to feel free to picture whatever I notice and whatever seems very important in a space, not only the design pieces,” Martin says. She and Paleari shot the space as they found it, including taking portraits of Maria. “She’s sweet, but very tough,” Martin says of her subject.
Much of the original furniture remains in the home, including wooden bookshelves set into concrete room dividers. “I find the way he resolved the corners with obtuse angles quite beautiful,” writes Maria. “He used the same detail for both the table and the bookcase. The photographers were drawn to the materials in addition to the form of the furnishings. “I love all the materials inside the house, especially those that were used by Riva to create the furniture,” says Francesco Paleari, who with Allegra Martin shot the apartment for the first time in decades for the book.
Much of the original furniture remains in the home, including wooden bookshelves set into concrete room dividers. “I find the way he resolved the corners with obtuse angles quite beautiful,” writes Maria. “He used the same detail for both the table and the bookcase. The photographers were drawn to the materials in addition to the form of the furnishings. “I love all the materials inside the house, especially those that were used by Riva to create the furniture,” says Francesco Paleari, who with Allegra Martin shot the apartment for the first time in decades for the book.
David and Annemie's daughter swings in the living room. A door provides access to the lush backyard and surrounding area. “The kids have a lot of freedom. They have a big area where they can go and play without needing supervision,” says Annemie.
David and Annemie's daughter swings in the living room. A door provides access to the lush backyard and surrounding area. “The kids have a lot of freedom. They have a big area where they can go and play without needing supervision,” says Annemie.
Concrete from the exterior continues indoors as a fireplace surround. For the couch, Annemie found the wooden base and cushion covers in a secondhand store and used baby mattresses as inserts. David made the oak back.
Concrete from the exterior continues indoors as a fireplace surround. For the couch, Annemie found the wooden base and cushion covers in a secondhand store and used baby mattresses as inserts. David made the oak back.
A look at the bathroom. “The window also gives a view out to the front garden and lets the morning sun in,” says David.
A look at the bathroom. “The window also gives a view out to the front garden and lets the morning sun in,” says David.
Many of the furnishings were made by the couple from salvaged materials. David designed and built the oak cabinetry in the kitchen, which features a Mortex-coated island.
Many of the furnishings were made by the couple from salvaged materials. David designed and built the oak cabinetry in the kitchen, which features a Mortex-coated island.
Portland-based pastry chef Andrea Nicholas purchased a 1953 midcentury ranch whose 2,500 square feet needed "a lot of TLC." Nicholas hired architect Risa Boyer to design the renovation, which involved opening up the kitchen to the dining room and creating a contemporary open-plan living space.
Portland-based pastry chef Andrea Nicholas purchased a 1953 midcentury ranch whose 2,500 square feet needed "a lot of TLC." Nicholas hired architect Risa Boyer to design the renovation, which involved opening up the kitchen to the dining room and creating a contemporary open-plan living space.