Umberto Riva (Milan, 1928) is an Italian architect and designer. He studied architecture in Venice, graduating in 1959; his professional activity began in Milan in 1960. His projects evolve on diverse scales ranging from urban spaces to individual buildings, landscape and interiors, and furnishing to furniture and lamp design – among which are pieces produced by Fontana Arte, Barovier & Toso and Francesconi. Since the 1960s onward, his works have been published in the principal design magazines. Among the architectural projects: the houses in Stintino, Sardinia (1960) and in Osmate (1975); the school of Faedis (1977); Piazza San Nazaro in Milan (1989-1992); Casa Miggiano in Otranto (1990-1996); the entrance door and the window of the A.A.M. Architettura Arte Moderna in Milan (1990); Case alla Morlana in Bergamo (1991 and 1995-2002); the Fincantieri shipyard, Castellammare (1999-2002); Piazza della Farnesina in Rome (1991 and 1996-2002) and the Termoli thermoelectric power plant (2006). Among the interiors: Casa Frea, Milan (1983-1984); Casa Insinga, Milan (1987); Casa Vernizzi, Paris (1988); the IB Office store, Padua (1992); the layout of the atrium, bar and library of the Palazzo dell’Arte, Milan (1994-1995); the renovation of Caffè Pedrocchi, Padua (1994-1998); the architectural new arrangement of Palazzo Barbaran da Porto, Vicenza (1998).
His projects have been exhibited in many international exhibition including the Paris Biennial and La Triennale di Milano. Among the majors exhibitions: “Umberto Riva. Sistemazioni Urbane”, Palazzo Bosdari (Ancona, 1997); “Disegni di Architettura dal Dopoguerra ad oggi, dalla collezione di Francesco Moschini”, A.A.M. Architettura Arte Moderna” at the Scuderie Medicee di Poggio in Caiano (2002). Since 1999 he is member of the Accademia di San Luca and in 2003 he was awarded the triennial Gold Medal for Italian Architecture by La Triennale di Milano.
Umberto Riva’s works here presented have been conceived exclusively for the gallery within a field of research that focuses on the theme of interdisciplinary cross-contamination between architecture and design, and on the deployment of the instruments, methods and materials of traditional workmanship.