FORM Volume 05 2011

Vol 5 2011

EUROLUCE 2011 REPORT

• LEDs spawn ultra slim sculptural lamps • The anglepoise strikes back • Petal & hybrid blooms

PENANG’S HIP VINTAGE BOUTIQUE HOTELS

• Muntri Mews • Hotel Penaga • Lone Pine

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XTRA · 3 Killiney Road · 01-01/02 Winsland House 1 · Singapore 239519 Tel: 65 6836 0288 · info@xtra.com.sg · www.dedon.de

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XTRA · 3 Killiney Road · 01-01/02 Winsland House 1 · Singapore 239519 Tel: 65 6836 0288 · info@xtra.com.sg · www.dedon.de

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26 18 FLIRT SLEEK FASCINATION MINOTTI STAGES TWO NIGHTS OF REVELRY FOR THE SINGAPORE DEBUT OF ITS 2011 COLLECTION 22 FRONTIER CONSUMER SAVVY HARVEY NORMAN MARCHES AHEAD WITH SECTIONS DEDICATED TO SMART/INTERNET TVS AND CHEF-GRADE KITCHEN EQUIPMENT

FLOURISH EUROLUCE 2011 26 GREEN TSUNAMI ECO-FRIENDLY LED AND OLED LIGHT SOURCES MUSCLE INTO MAINSTREAM DESIGN ACTION 40 SOCIAL LIGHTS PHILIPS SWINGS INTO PARTY MODE WITH LED-POWERED TABLE AND BAR WARES 42 PETAL PUSHERS DISCS, PANELS AND SCALES ARE THIS YEAR’S CROWNING GLORY 48 ORNAMENTAL BEAUTIES DESIGNERS TOY WITH LIGHTING AS SCULPTURES 54 HYBRID MISSION FLOS PIONEERS MULTI-PURPOSE LIGHTING FIXTURES THAT DOUBLE AS FURNITURE 58 RETRO REVIVAL UPDATED ANGLEPOISE LAMPS SWING THEIR ARMS WILDLY TO CATCH ATTENTION ANEW

Publisher/Editorial Director EDDY KOH

64 FOCUS GALLIC GUILE LIGNE ROSET’S EXPORT DIRECTOR BERNARD VINSON IS A FRENCH PATRIOT

Art Director HAN

68 FLASH PLAYFUL PUN STUDIO JOB SCARES THE DARKNESS OUT OF MEDIEVAL GOTHIC FURNITURE 70 PEACEFUL MEDITATIONS NENDO GROUP ADVOCATES A SILENT SUBTLE DESIGN VOCABULARY 72 SEXY ISLES ENZO BERTI’S ISLAND MARBLE SEATS FOR KREOO ARE ORGANIC AND SENSUAL 74 FOREST NIBBLES TREE STUMPS AND GREEN FOLIAGE UNDERSCORE SANCAL’S LATEST BENCHES AND STOOLS

Contributing Editors AARON DE SILVA JENNIFER CHOO Assistant VP, Sales & Marketing AILEEN SOH Executives, Sales & Marketing HUDA KARIM KAI Coordinator, Sales & Marketing SHIKIN MOHD

Graphic Designer JEREMY GOH Design Director YEE WAI FONG FORM MICA (P) 154/12/2010 is a bimonthly publication of HEART PUBLISHING PTE LTD 2 Alexandra Road, Delta House #07-08 Singapore 159919 Telephone 65 6733 9931 Facsimile 65 6733 5661 Printed by Fabulous Printers Pte Ltd No part of FORM may be reproduced in any form or by any means without prior written consent from Heart Publishing Pte Ltd.

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84 100 76 FORMAT HEAVENLY SPIRES ST MARY’S RESIDENCES IN KUALA LUMPUR TOUT METROPOLITAN LOFT LIVING NEXT TO BUKIT NANAS’ GREEN BELT 80 TRULY BESPOKE MADGE MANSIONS IN AMPANG HILIR CELEBRATE BIG SPRAWLING BESPOKE RESIDENCES 84 FLAIR POROUS CHORUS DESIGNER TERENCE CHAN INSERTS A SINUOUS CAGE IN A BELLE VUE RESIDENCES APARTMENT 92 SAVOIRE FAIRE MALAYSIAN FASHION DESIGNER RIZALMAN’S HOME IS A PURE EXPRESSION OF HIS STYLE 100 FACES THE SVENGALI HASSAN ABDULLAH IS EXPORTING THE FLAMBOYANT EXCESS THAT MADE LES TROIS GARCONS IN LONDON A PHENOMENAL SUCCESS 114 FLING AGAINST STEREOTYPE W RETREAT & SPA BALI IS BOTH ABSTRACT INDIGENOUS CULTURAL PAEAN AND HEDONISTIC GETAWAY 122 DOUBLE HAPPINESS 78 HOTEL PENAGA IS THE FIRST HERITAGE HOTEL IN PENANG WITH A GREEN RATING 128 MEWS EDITION PENANG HOTELIER CHRIS ONG REHABILITATES AN OLD STABLE INTO THE HIP MUNTRI MEWS 134 YESTERDAY’S CHARM, TODAY’S CULT LONE PINE IN PENANG’S BATU FERRINGHI BEACH RECAPTURES THE HALCYON 1950S 144 FINALE GOLDEN ANNIVERSARY GIO PONTI’S SUPERLEGGERA CHAIR FOR CASSINA HAS NOT AGED A TWINGE

AVIATION BR 03-92 Automatic V I N TA G E BR 126 Chronograph

Bell & Ross Boutique : 333A Orchard Road #01-15 Mandarin Gallery Singapore 238897 • Tel : (65) 6884 6471 • Fax : (65) 6884 6472 • bellross.mandaringallery@fjbenjamin.com www.bellross.com Available at: All Watches Wisma Atria Tel: 6733 2823 • Cortina Watch Ion Orchard Tel: 6509 9218 Millenia Walk Tel: 6339 1728 Raffles City Tel: 6339 9185 • Dickson Watch & Jewellery Knightsbridge Tel: 6887 5103 Wisma Atria Tel: 6737 6451 • Sincere Fine Watches Marina Bay Sands Tel: 6634 9782 Ngee Ann City Tel: 6733 0618 Suntec City Tel: 6337 5150 VivoCity Tel: 6278 1698 • Swiss Watch Gallery Resorts World Sentosa Tel: 6723 8022 • Watches of Switzerland Paragon Tel: 6732 9793 Tampines Mall Tel: 6783 6535 F J Benjamin Service Centre • 230 Orchard Road, #04-230 Faber House, Singapore 238854 • Service Centre: (65) 6736 3933 • Office: (65) 6737 0155 • www.fjbenjamin.com

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F O R A Y

I TEXT EDDY KOH

I love incandescent bulbs. The energy saving types just cannot measure up to the crisp

illumination and ambient effect afforded by Thomas Edison’s original. But it is inevitable that sometime in the future, we shall follow in the path of Europe that has already banned the sale of incandescent bulbs as they are voracious energy guzzlers. They are being replaced by LEDs (light emitting diodes) and OLEDs (the ‘O’ stands for organic). Thankfully, with the latest technology, the illumination generated by the new wave of LEDs and OLEDs are vastly improved in terms of brightness and intensity as well as colouration and umbra effect.

At this year’s Euroluce lighting fair in Milan, every major manufacturer introduced a slew of lamps utilising LED and OLED illumination. Besides the green ecological slant, the thinness and tininess of this light source is radically changing the shape and form of lighting designs. They herald a transformation that includes ultra flat panels with embedded circuits, narrow serpentine loops studded with pinprick diodes, and anorexic lampshades. They are so versatile that Philips has even produced a collection of bar and tabletop accessories including champagne buckets and tea-lights lit-up by LEDs; and we think they are fantastic in an outdoor party setting (see our article titled Social Lights).

Design pulls in different directions so while LEDs are the future, nostalgia remains a powerful force. It is evident in our continuing love for the anglepoise lamps that have reared up again but in exaggerated sizes and more fanciful adaptations.

Sure we are excited about all things avant-garde. But we also admit to a fondness for revisiting and reinventing the haunts of long-gone eras. Penang, for one, is caught in the grip of retro fever as some very passionate Malaysians have revived the Lone Pine, a 1950 seafront hotel on Batu Ferringhi beach, restored the stable and carriage-house of an old mansion and converted it into the Muntri Mews boutique hotel, and transformed a row of Peranakan terraced houses into the island’s first heritage hotel, named Penaga, with an official green rating; fusing historical architecture, and the hip ecological wave in an all embracing way. And all you need to do to experience this phenomenon is to book a stay. F

BRIGHTEN UP FORM 16

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30 HILL STREET UNIT 01-02 SINGAPORE 179360 TEL. +65 6338 2822 E-MAIL: MINOTTI@MARQUIS.COM.SG

SEATING SYSTEM JAGGER DESIGN RODOLFO DORDONI

www.minotti.com

F L I R T

SLEEK FASCINATION RESPONSE TO MINOTTI’S LAUNCH OF ITS 2011 COLLECTION TITLED ‘DESIGN IDENTITY’ WAS SO OVERWHELMING THAT IT WAS HELD OVER TWO EVENINGS IN AUGUST AT THE LUXURY FURNITURE MARQUE’S MONO STORE IN HILL STREET. HOSTED BY BERT CHOONG AND JEAN WEE OF MARQUIS FURNITURE GALLERY, THE GUESTS ALSO HEARD ITALIAN AMBASSADOR ANACLETO FELICANI EXPOUNDING ON THE ITALIAN PASSION FOR GOOD DESIGN AND THEIR IMPACT ON THE WORLD OF STYLE AND TASTE.

(L-R) Tony Liok, Bert Choong and Antonio Marelli

(L-R) Tan Puay Hiang, Gerti Iwatake and Katsuji Iwatake

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(L-R) Sharon Wu, Robert Greg Shand and Geri Archer

Ana Liew and Caslin Liu

(L-R) Violet Oon, Jean Wee and Rasina Rubin

(L-R) Yana, Tan Bock Seng and Linda Soo-Tan

Kim Foo and Massimiliano P.Sponzilli

Cheryl Lee and Janet Ow

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Adrian Ng and Loh May Han

F R O N T I E R

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CONSUMER SAVVY CUSTOMERS ARE KINGS. AT ITS REVAMPED MILLENIA WALK FLAGSHIP STORE, HARVEY NORMAN ANSWERS THEIR WISH LIST WITH NEW SPECIALIST SECTIONS HIGHLIGHTING SMART/INTERNET TVS AND PROFESSIONAL CHEF-GRADE KITCHEN EQUIPMENT

After

a major store revamp that coincides with the 10th anniversary of its Millenia Walk flagship this year, Harvey Norman has emerged sharper and snappier. Best known as the purveyor of the affordable luxury lifestyle to the millions of people who have visited the superstore since its opening in 2001, Harvey Norman has not only expanded its range of electrical, I.T, furniture and bedding products, but also kept abreast of the latest consumer trends in tandem with the rapid progress of consumer electronics technology and evolution of tastes.

The full wall of chairs allow shoppers to do comparison-shopping at a glance

The bedding section offers three aisles lined with premium mattresses

The furniture section is now better laid out thanks to the luxury of more space

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One of the key highlights of its enhanced shopping experience is a designated wall showcasing the latest Smart and Internet TVs. Harvey Norman’s managing director Angelo Augustus explains: “With the convergence of technology, internet is now everywhere on everything, the line is getting thinner between computer screens and TVs. Our store is fully web connected wirelessly for shoppers to experience the internet enabled electronics, such as surfing the net on TV. Now consumers can also download various Apps to search for TV content while watching live TV programmes, stay connected with friends and family via social media and so much more.”

Harvey Norman has responded likewise to the unexpected return to popularity of Baby Boomer favourites in the 1970s and 80s like bulky oversized headphones and add-on camera lenses. So at the Headphone Galore section, audiophiles can test the latest from Monster, Audio Technica, Sony, Philips and KOSS either with the MP3 players provided or simply plug it into their own music player device.

While over at the camera section that has tripled in size, professionals and the fast growing group of serious enthusiasts will have a field day with the specialist digital SLR lenses and accessories.

NICOLETTI HOME IS ONE OF THE EXCLUSIVE DESIGNER LABELS AVAILABLE AT HARVEY NORMAN

HARVEY NORMAN CONCOCTED THE COFFEE AND COOKING GALLERY TO PAMPER SINGAPOREANS KEEN TO EQUIP THEIR DOMESTIC KITCHENS TO RIVAL PROFESSIONAL ONES

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COFFEE CONNOISSEURS WILL HAVE A FIELD DAY AT THE DEDICATED COFFEE MACHINE SECTION

Harvey Norman also came up with the Coffee & Cooking gallery as a riposte to the burgeoning appreciation for sophisticated kitchen appliances as amateur gourmet cooks try to outshine restaurant professionals. Spacious and spiffily designed, the individual branded settings – Gaggenau, De Dietrich, Bosch, Electrolux, Brandt and Fisher & Paykel – enunciate complete suites comprising kitchen hobs, hoods, built-in ovens, dishwashers and wine chillers. Angelo says customers can even look forward to interactive live cooking demonstration conducted on a regular basis. And for coffee connoisseurs who fuss over the single estate origin of their beans, they can pore over the coffee machines from Delonghi, Philips Saeco, Jura, Krups, Nescafe Dolce Gusto and Coffee Bean and Tea Leaf that are grouped in a special section.

The furniture and bedding section occupies the area vacated by Space Furniture. The larger premises allow more elbowroom to showcase the contemporary furniture from exclusive brands such as Nicoletti, Saporini, Lazboy, IMG and Robert Allen. The feature wall of dining chairs, for instance, allows customers comparison-shopping in a sweeping glance. But what’s especially impressive is the bedding section that features a few aisles lined with luxurious mattresses and sleeping accompaniments from Sealy, King Koil, Eclipse, Orthorest, Tempur and Dorma. This again answers to the rising demand for quality mattresses that assure a good night’s sleep. F FORM 25

EUROLUCE 2011 REPORT

TEXT AARON DE SILVA ON-SITE PICTURES EDDY KOH

Green Tsunami

Touted as the eco-friendly light source of the 21st century, LEDs and OLEDs have made their presence felt in a big way at this year’s Euroluce exhibition in Milan

From the giant outdoor displays of Ion Orchard to the

backlit screens of new-generation TVs and iPads, and the imaginative sets dreamed up by the creators of Tron: Legacy, LED (light-emitting diode) lighting is increasing their presence in our daily lives. In the lighting industry, a future filled with LED and OLED (organic lightemitting diode) technology had been foretold for some time now.

This scenario came to fruition with compelling force at the 2011 Euroluce exhibition. Lighting companies are now harnessing the full potential of these solid-state LED technologies, as they are known. Unlike in previous years when only a few examples of solid-state lights were shown, this year they permeated every conceivable category of the lighting spectrum. It was a strong indication of the industry’s ability and desire to replace traditional fluorescent, halogen and incandescent sources.

As consumers become more conscious of improved energy efficiency and eco-sustainability, the incandescent light bulb has fallen out of favour. Recent European, Australian and Brazilian legislation have spelt the death knell for the century-old industry mainstay, and countries such as the US are also following suit. “Brands like Flos, Louis Poulsen, Ingo Maurer and Moooi have already phased out incandescent light sources altogether, in accordance with EU rulings,” says Eileen Tan, assistant marketing manager of Space Furniture.

LEDs and OLEDs are seen as the most viable alternative to incandescent lights because of their lower energy consumption, longer lifespan, smaller size and improved durability and reliability. LEDs generate electro-luminescence using small crystals or silicon chips that convert electrical energy into light, while OLEDs employ organic carbon compounds that glow when a current is applied. Both are 100 per cent recyclable. OLED, which has no polluting component, also allows larger

surfaces of light to be created, and these surfaces have the versatility to be shaped and manipulated.

Singaporean designer Jason Ong, who created the Living in Clover light for Italian firm Driade, cites another advantage: “LEDs are very flat and small, so they solve a lot of problems in terms of concealing the light source. This gives designers more opportunities to play around with the design.”

Solid-state technologies have been around since the 1960s, but their use has, until recent years, been restricted to niche applications such as automobile indicator lights, traffic signals, fairy lights and torchlights.

LEDs powerful enough to illuminate an entire room have hitherto been too expensive compared to their compact fluorescent counterparts. And while conventional bulbs diffuse light over a wide area, LEDs provide only directed light – handy for task-oriented purposes like reading, not so great for creating cosy ambiences.

Million Lighting general manager Nana Au-Chua says: “I don’t see the need as yet for consumers to switch to LEDs unless they want to achieve the Greenmark certification, which encourages the use of more efficient lighting or daylight to minimise energy consumption. Some of our customers still prefer the conventional incandescent and halogen bulbs, especially in residential and hospitality projects where ambience is an important factor.”

If Au-Chua’s experience is anything to go by, there is still some way to go before local consumers embrace solid-state lights wholeheartedly.

In the meantime, costs will continue to plummet, solid-state technology will improve to the point where it will mimic incandescent warmth, and lighting companies will endeavour to tease the imagination with dazzling displays of ingenuity, as the next few pages demonstrate.

Ultra-flat LED and OLED are radically changing the shape and form of lighting designs, heralding in a new order that includes razor-thin panels with embedded circuits, narrow serpentine loops studded with pinprick diodes, and anorexic lampshades

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FOREST OF EVOLUTION HANGER AND VANITY Milan-based Japanese architect Naohiko Mitsui experimented with OLED technology at his Forest of Evolution exhibition during Milan Design Week last April. A former director at Studio Mario and Claudio Bellini, Mitsui has run his own firm, Triumph Design and Consulting, since 2005. His trio of OLED lights is proof of the versatility of the thinness as well as the larger surface area afforded by this new source of illumination. So we could be fooled into thinking that the Vanity table-lamp and Hanger garden lamp are small mirrors; illusions that overturn our conventional perception of lighting design.

Copernico Sospensione

www.triumphdc.com

Hanger

Copernico Parete

ARTEMIDE COPERNICO SOSPENSIONE AND COPERNICO PARETE Artemide’s Copernico lights are so sensational that Copernicus himself would be proud were he alive today. The Polish mathematician and astronomer first posited a heliocentric view of the universe in the 16th century. The monumental Sospensione is a direct tribute to this hypothesis, a galaxy unto itself with nine concentric aluminium ellipses supporting a circuit of 384 white LEDs that shine like stars. There isn’t a central ‘star’, however, but the ellipses rotate independently on two different axes like a spherical astrolabe, allowing multiple configurations. Its wall companion Parete features three concentric rectangular plates mounted with 400 LEDs, with two of those plates able to rotate independently of each other on the horizontal axis.

Vanity

ARTEMIDE #01-01, 12 Purvis Street Tel: 6334 1653 www.millionlighting.com.sg FORM 28

Named after and inspired by the Renaissance astronomer Nicolaus Copernicus and his formulation of a heliocentric cosmos, Artemide's Copernico Sospensione illustrates the versatility of pinhead sized LEDs

Samothrace

Mini Big Bang

Dekx

Big Bang

BLACKBODY BIG BANG, MINI BIG BANG, DEKX AND SAMOTHRACE Technology has finally caught up with Luke Skywalker’s light sabre. You can glean it from the Blackbody collection that features 2mm-thin luminous blades in various colours pointing in different directions, including one mimicking moths in flight and another inspired by Geritt Rietveld’s Red Blue chair. Brand founder Bruno Dussert-Vidalet says Blackberry employs OLED technology developed by Astron FIAMM, a research and production facility in Toulon, France, which he established in 2008 with the support of the Italian industrial group FIAMM. The facility has 13 doctorate-level researchers from the fields of quantum physics, linear optics, electronics and chemistry, and it produced 6,000-sq m of OLED panes in 2010. Bruno explains that as Astron OLED is ultra-flat, it can adopt an endless variety of forms and reflect any colour of the light spectrum. Inspired by the explosion that created the universe, designer Bertrand Medas’ Big Bang and Mini Big Bang, for instance, feature OLED panels, encased in glass, radiating outwards from a central, mysterious ring akin to a Black Hole. In a darkened room, the effect is astounding, like something from the set of Blade Runner. www.blackbody-oled.com

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Double T Future

4 X 4 is 34

INGO MAURER ZETTEL’Z, DOUBLE C FUTURE, DOUBLE T FUTURE AND 4 X 4 is 34 We’ve always loved the DIY sensibility of Ingo Maurer’s Zettel’z series, which look like they could have been assembled by anyone with a remote understanding of electrical circuits. But since we aren’t equipped with such knowledge, nor are we handyman types, we’re quite happy to let someone else do the job. Here, Maurer displays his signature wit by using LED circuit patterns on A5 sheets of paper. These are juxtaposed with plain sheets in a Zen simplicity-meets-techno futuristic mashup.

Depending on your perspective, Double C Future looks either like a micro satellite or spacecraft, the kind that might have been cast in the 1987 flick Batteries Not Included.

The delicate aluminium and acrylic suspension lamp casts a warm white glow, courtesy of nine OLED modules and four LED spots, which can be adjusted via flexible cardan joints. Its table lamp cousin Double T Future resembles stadium floodlights in miniature, and boasts the same configuration of LEDs. A ball-joint makes it possible to turn and tilt the head. The height and length of arm is adjustable, too.

The third model of Maurer’s limited edition LED series is the curiously named 4 x 4 is 34, which brings to mind bijou solar cell panels. The four glass panes with four OLED modules are height adjustable and tiltable via a ball-joint. A single red 0.2 watt LED caps the main stem.

Ingo Maurer available at SPACE FURNITURE 77 Bencoolen Street Tel: 6415 0000 www.spacefurniture.com.sg

Double C Future

Zettel’Z

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Unlike flashing strobe lights, LEDs are glare-free and can imperceptibly change the colour of its illumination through the entire spectrum like a meditative Zen master FLOS APPS It had to happen sooner or later. The incredible influence of Apple’s mobile apps has pervaded the realm of lighting design. Designer Jorge Herrera’s Apps encapsulates the simple design and ease of use of the tech giant’s trademark widgets. With LEDs providing an entire spectrum of colours, and Steve Jobs’ burgeoning global empire, it’ll only be a matter of time before Flos Apps become signage standards throughout the world.

Flos available at SPACE FURNITURE 77 Bencoolen Street Tel: 6415 0000 www.spacefurniture.com.sg

LUCEPLAN SYNAPSE Our cult-spotting sonar pinged incessantly the instant we laid eyes on Argentine designer Francisco Gomez Paz’s Synapse at the Luceplan booth. Made to resemble synapses, or the junction between two nerve cells that transmits chemical impulses, it consists of two polycarbonate shells that enclose a printed circuit and three programmable RGB LEDs, which generate an infinite range of colours. The ‘synaptic junction’ is where the shells interlock with one another, forming a continuous luminous plane that can be configured horizontally or vertically.

It’s a modular system that we feel will have wide-ranging applications in ultra-hip retail boutiques, avant-garde hotel lobbies and super-chic bars, where the softly glowing structure induces a gentle hypnosis. www.luceplan.com

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FOSCARINI ANISHA Studio Lievore Altherr Molina’s O-shaped Anisha lamp could easily be mistaken for a minimalist sculpture when switched off, such is its beauty.

Switched on, the light catches the graceful curves of the body, outlining its slender silhouette. With two sizes and different finishes available, the idea of displaying the lamp in tandem, in series or angled towards one another – like an installation art piece – becomes a distinct possibility.

Foscarini available at X-TRA Park Mall, #01-01, 9 Penang Road Tel: 6336 0688 www.xtra.com.sg

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FONTANA ARTE YUMI Surprise, surprise, no recycled cardboard paper tubes this time. But star-chitect Shigeru Ban’s Yumi lamp is no less groundbreaking, simple though it may appear. The solid, 10cm thick stem comprises a sequence of different materials (fibreglass, aluminium and carbon fibre), layered to obtain a single composite substance that is lightweight yet strong. The cables are embedded in the structure, becoming part of it. They power the 18watt LED at its tip. Minimal, expressive and innovative, Yumi is Ban at his best.

Fontana Arte available at QSQUARE BY MARQUIS 16 Tai Seng Street, Level 1 Tel: 6383 0119 www.marquis.com.sg

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Z-Bar

BELL XPRESS ICELIGHT AND Z-BAR Danish brand Bell Xpress presented an entire series of LED desk lamps, each one a clear expression of the country’s famed streamlined sensibilities. The adorable Icelight reminded us of a grown-up, slimmed-down version of Pixar Studio’s hopping anglepoise lamp. Powered by six LEDs with a four-step dimmer function, it features a head that can rotate 360 degrees. Z-Bar has a double-joint body that can bend this way and that. Fully extended, its six LEDs (also with a four-step dimmer) provide a bright, focused light source that makes short work of scrutinising plans and blueprints.

Icelight

www.bellxpress.dk

MOOOI MIYAKE Designed by Arihiro Miyake, the Miyake lamp is said to be a representation of the multi-faceted nature of human personalities, the many ‘faces’ that we wear in our day-to-day lives. Its head can rotate in all directions thanks to a ball-joint and the complex geometry of the base is hewn from concrete in the larger version, and cast metal in the smaller version. F Moooi available at SPACE FURNITURE 77 Bencoolen Street Tel: 6415 0000 www.spacefurniture.com.sg

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EUROLUCE 2011 REPORT

TEXT AARON DE SILVA ON-SITE PICTURES EDDY KOH

Social Lights Ready, set, glow! Philips unveils its latest range of LED-powered barware and decorative accessories

AMBIENCE ACCESSORIES Under normal circumstances, we would bolt at the nearest mention of anything remotely gimmicky. But while exploring the vast exhibition stand that Philips had set up at this year’s Euroluce – it even had its own internal refreshment counter – we stumbled upon an area dedicated to small accessories and were positively enraptured.

Casually strewn about a large table were drinking glasses, coasters, champagne coolers, platters, vases and tealights; perhaps remnants of a wild party the night before? But not quite. The articles glowed softly, changing colour every 30 seconds or so. Such eye candy! We were entranced by the rainbow hues, briefly imagining them in our own homes during the festive season. They would make good conversation starters. They would likely cause a stir, too, in hotels, resorts, bars, clubs, restaurants, art galleries or anywhere, really.

For those concerned with safety issues, fret not. The products either make use of induction chargers or are battery operated, so there is no need to connect to mains while in use, which eliminates the risk of coming into contact with open electricity. Of course, the LED technology also means that surfaces are cool to the touch. The ambient light effect can be set to static mode (one colour of your choice) or a changing spectrum. Set to hit shelves in Singapore in time for the yearend festivities, we think the collection’s novelty factor alone will cause a mini-stampede at electrical retailers. You have been warned. F

The accessories herald the dawn of a true LED lifestyle, though LEDs already dominate so much of modern life. Philips has been at the forefront of this movement for quite some time, with products such as the LivingColours lamp, which allows users to alter the mood of a room at the touch of a button. It has now transferred this know-how to barware and decorative objects, which provide a much more direct interaction with end-users.

Philips LED-lit party ware is the funkier and more functional alternative to fairy lights

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EUROLUCE 2011 REPORT

Petal Pushers Discs, panels and scales crown lampshades like a whorl of flower petals

Carmen

Wig

FONTANA ARTE CARMEN AND WIG Action movies are not as intellectually bereft as one might think. Just ask designer Hector Serrano, who was so struck by the beauty of the armour worn by Ridley Scott’s Kingdom of Heaven character Saladin, made of overlapping metal discs, that he sought to replicate the effect on a lampshade. The result is Carmen, a delicate confection composed of layers of thin, white lacquered steel sheets that plays with light and shadow, its feminine form worlds apart from the militant origins of its inspiration. Available in table, suspension and floor versions, of which there are two kinds.

Chris Hardy’s Wig lamp developed from the concept of the whole being greater than the sum of its parts – the idea of a single mass constructed of smaller individual elements. The composition of curved petals in white glossy varnished metal is also a meditation on the creation of society, of how an individual’s relationship with others evolves into a complex social structure.

Fontana Arte available at QSQUARE BY MARQUIS 16 Tai Seng Street, Level 1 Tel: 6383 0119 www.marquis.com.sg

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BYSTEEL CLOVER Clover is designer Miriam Mirri’s abstract take on the plant of the same name. Its wafer-thin, white lacquered aluminium shell features laser-cuts that delineate the shape of the three-petal plant variety on its surface, allowing the light source to accentuate the silhouette. The shell’s inner surface is daubed in gemstone shades of amber, amethyst and aquamarine, adding an extra dimension of uniqueness. www.bysteel.it

FABBIAN F12 ROOFER Judging by its name and method of construction, Benjamin Hubert’s F12 Roofer takes its cues from the roofing process. Individual rubber scales, in tri-tone coloration, are attached to a simple wire frame by means of a clip. The resulting overlapping configuration resembles roof tiles. A transparent thermoplastic diffuser helps to cast a uniform illumination. The lamp is available in two different shapes and three different colours – brown, grey and green. www.fabbian.com

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BRAND VAN EGMOND PIN-UP Dutch designer Richard Hutten’s playfully risqué Pin-Up lamp wouldn’t look out of place at Hugh Hefner’s Playboy Mansion. Indeed, the lamp is a celebration of femininity, sexuality and decadence all at once: stainless steel or powder-coated bronze discs, reminiscent of coins, sport miniature cut-outs of women striking suggestive poses, while the gold- or silver-leaf interior spells absolute luxury. Now all you need is a poolful of Bunnies and a freeflow of Dom Perignon. F Brand Van Egmond available at MOD LIVING 215 Upper Bukit Timah Road, #02-00 Tel: 6336 2286 www.modliving.com.sg

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Ornamental Beauties Lighting designers demonstrated their inventiveness and irreverence with equal fervour, sculpting artistic light sources that dazzled the senses

INGO MAURER

JohnnyB Butterfly

BANGBOOM! ZETTEL’Z JOHNNYB BUTTERFLY TWELVE OFF THE WALL Ingo Maurer’s stand is consistently one of Euroluce’s top draws and a personal highlight for us. This year, it did not disappoint. The booth was bathed in an otherworldly luminescence that emanated from a bottle green wall, creating an atmosphere of intrigue and wonder.

We were bowled over by the cheekily-named BangBoom! Zettel’z suspension light, a limited edition, pop art version of the popular Zettel’z series. But where the original was festooned with loveydovey inscriptions, its successor packs graphic punch with colourful drawings by German comic artist Thilo Rothacker.

The quirkily-named Johnny B. Butterfly held our fascination with its extremely life-like hand-made insect models that swarmed around a bulb. We loved the simplicity of its design, the humour of its concept, and the thoughtfulness of the eye-protecting white Teflon shade, which doubles up as a surface to attach the insects.

Twelve off the Wall

BangBoom! Zettel’z

Twelve off the Wall made us smile. It seems Maurer’s lightbulbs, like captive birds, are forever trying to escape – remember his iconic Birds Birds Birds chandelier from 1992? This, a continuation of the series, features another bulb-head flock attempting to break free of their wall mount. Genius.

Ingo Maurer available at SPACE FURNITURE 77 Bencoolen Street Tel: 6415 0000 www.spacefurniture.com.sg

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MOOOI HERACLEUM AND MISTRAL Moooi showcased a strong lighting collection at their Zona Tortona showroom this year. We were particularly drawn to Bertjan Pot’s dimmable LED lamp Heracleum, which we felt would quickly become a cult favourite in the same way his Random Light did so a decade ago. Named after a genus of herbaceous plants, the lamp sported a branched structure similar to its namesake, with a delicate metal wire frame that ended in polycarbonate ‘leaves’. These could be repositioned by rotating around their ‘stem’.

Mistral

Mistral, designed by Moooi Works, was another of our favourites, combining a fan and light. We adored its retro-industrial styling, the glass diffuser reminiscent of elegant cut-crystal decanters. The yellow fan blades, a bright pop of colour against the brushed, shimmery finish of the lampshade, were also a nice touch. Best of all, it is versatile and can be used as a suspension lamp or wall sconce.

Moooi available at SPACE FURNITURE 77 Bencoolen Street Tel: 6415 0000 www.spacefurniture.com.sg Heracleum

Molecules

AQUA MOLECULES AND ROTINI Among the panoply of exhibitors at Superstudio Piu, one stood out: Aqua, an Israeli company with an artistic vision all its own. Nothing gets our adrenaline pumping more than the combination of age-old crafts with cutting-edge technology, and this is exactly what Aqua brought to the fore.

Molecules, a complete family of LED table, floor and wall lamps in various sizes, uses origami techniques to create intricately folded lampshades that gently diffuse the light. The tubular lampstands which support these softly glowing structures are no less amazing, shaped by digital wood carving and resembling copper piping. The Rotini pendant lamp, meanwhile, is a visual and tactile feast for the senses, its luxurious silk covering draped over a sensuously contoured metal frame. It comes in three sizes to suit a multitude of spaces.

Rotini

www.aquagallery.com

FORM 50

Inspired by the Heracleum plant, the white leaf-shaped lenses ramify from the branches like a sprawling canopy. Their slender structure and profile is possible because of the layers of conductive coating in lieu of conventional wire, and LED light source

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Mille Bolle

SLAMP BATTISTA, MILLE BOLLE AND CEREMONY We like to think of Slamp as the Kartell of the lighting world – both companies tout products that are fun, innovative and imaginative. To wit, the 300-piece limited edition Battista, a lighting sculpture that is a perfect union (and contrast) of nature and technology. Designed by Nigel Coates, the former head of Architecture at London’s Royal College of Art, it features a base made of recycled poplar wood and a lampshade fashioned from Cristalflex®.

Battista

Designer Adriano Rachele’s charming Mille Bolle takes us right back to our childhood, its mass of thin, transparent and coloured lenses reflecting and refracting the light like a froth of iridescent soap bubbles. Bruno Rainaldi’s Ceremony, on the other hand, is a hymn to femininity, recalling elegant ballgowns, strings of pearls and draping necklines. The exquisite new Venetian grey finish of its Cristalflex® shade only serves to highlight its opulence. F Slamp available at LIFESTOREY #02-15 Great World City 1 Kim Seng Promenade Tel: 6732 7362 www.lifestorey.com Ceremony

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HIDE Visionary French designer Philippe Starck and his frequent collaborator, Spaniard Eugeni Quitllet, join forces once again to celebrate the elegance of minimalism with Hide. Designed in square, rectangular and vertical versions, and using just a hidden LED source and simple reflective colours, Hide Square can double up as a photo frame on the wall; Hide Rectangular can function as a museum caption, without the need for additional spotlights; and Hide Vertical can be used as mood enhancers or to display corporate colours during art exhibitions or company events. The list of applications is endless, such is the collection’s versatility.

Hybrid Mission

Flos pioneers a new era of multi-purpose lighting fixtures that play dual or triple roles as furniture and other apparatus

BIBLIOTHEQUE NATIONALE Paris’s Bibliotheque Nationale, or National Library, was one of exPresident Francois Mitterrand’s monumental Grands Projets that redefined the cityscape, its four ultra-modern tower blocks shaped like open books rising from the banks of the Seine. Flos’ version is no less revolutionary. Acutely aware of contemporary tastes and needs, Philippe Starck and Eugeni Quitllet, presented a slick, polished stainless steel halogen lamp that features cantilevered shelves on the main stem for books and other articles.

Five years earlier in 2006, Turkish design studio Autoban might have created an object that was half-lamp, half-side table that named the Booklamp but Starck and Quitllet upped the ante by adding a USB connector at the lamp base for users to recharge their smartphones and tablet PCs. It makes a perfect companion by the bedside or in the study.

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NET In yet another of their collaborations, Starck and Quitllet tap into the current onthe-go, 24/7 work ethic. With Net, they’ve created an instant workspace: LED task lighting that is equipped with a built-in iPhone or iPad dock. No messy cables to clutter up your table or countertop, no need to worry about battery life running low as you liaise with your clients on Skype. When not in use, you can turn your mobile devices into digital picture frames to display holiday snapshots, to remind yourself why you’re working so hard in the first place.

Piani Big

PIANI BIG AND PIANI XL The Bouroullec brothers’ LEDpowered Piani Big is just the thing to have by the doorway.

The base functions as a convenient receptacle for pens, coins, paper clips, keys and other bits and pieces. Just think – you will never have to search for your car keys or hunt for tips for the pizza delivery guy again.

The elongated version, Piani XL, is another godsend, providing countertop space to place your grocery bags, shopping bags and handbags while you remove your shoes. Alternatively, it could be a display shelf to highlight your prized books/jewellery/ bric-a-brac collection, with the lit portion taking centre-stage.

Material options include injectionmoulded plastic, oak wood and basalt stone to match your existing interior scheme. F

Piani XL

Flos available at SPACE FURNITURE 77 Bencoolen Street Tel: 6415 0000 www.spacefurniture.com.sg

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Retro Revival

Updated anglepoise lamps enter the fray like a low-tech backlash to the LED onslaught

SUCCESSFUL LIVING FROM DIESEL BY FOSCARINI DUII At its exhibition in Superstudio Piu last year, Diesel took us to the moon and back with space-age pendant lamps that looked like flying saucers. This year, the hip Italian lifestyle brand turned back the clock to sometime in the early 20th century, with a setup that included a rusty workman’s bench and various tools. It was to reinforce the idea of DIY, the ‘made’ object in question being the adorable table lamp Duii, named after the Disney character Dewey; note the thick base that resembles a duck’s foot.

Like a builder toy (Lego’s Technic comes to mind) that could easily be taken apart and put together by a preschooler, Duii features an adjustable arm made of four metal pieces held in place by butterfly screws. Further alluding to the old-school vibe, the pressed glass and metal diffuser are inspired by the iconic shape of classic car headlights. For a hint of working class cool, look no further than the helmet-shaped head, deliberately exposed wiring, and yellow and grey finishes – colours associated with heavy industry and construction.

Successful Living from Diesel by Foscarini available at X-TRA Park Mall, #01-01, 9 Penang Road Tel: 6336 0688 www.xtra.com.sg

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ARTEMIDE LOTEK Javier Mariscal’s Lotek was a breath of fresh air after the endless rounds of sleek lightings that dominated the fair (though we loved those as well). Little wonder, then, that the collection attracted curious gazes, all lined up like sentinels of a bygone era. Our first impression was that the lamps were part of a design retrospective, but closer inspection revealed them to be work-in-progress prototypes of the final, serialised product.

Lotek itself was another builder toy-like construction, with anodised aluminium arms supporting a painted aluminium head and counterbalanced by a painted steel base. The arms and head are extremely mobile, allowing users to direct the light source as required. Exposed mechanical parts and primary colours point to a low-tech, industrial design concept; the only concession to modernity is the LED technology with touch screen diffuser that enables the adjustment of light output. Sweet.

ARTEMIDE #01-01, 12 Purvis Street Tel: 6334 1653 www.millionlighting.com.sg

FORM 60

Rolf Benz 552 MIO

ROLF BENZ No.1 Magazine Road, #01-01 Central Mall, Singapore 059567 Tel: (65) 6734 7758 Fax: (65) 6536 5933 info@monticellodesigns.com www.monticellodesigns.com

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MOOOI POSITION We loved the incongruity of seeing giant wooden lamps in the otherwise modern setting of Moooi’s showroom in Zona Tortona, looking for all the world like they’d been teleported from an Arts and Crafts workshop circa 1880. We especially loved the exquisite grain of the maple wood finish, and the timeless shape inspired by classic anglepoise archetypes. Note the mechanical ‘gears’, which look ravishing reinvented in wood.

A perfect example of time-honoured craftsmanship, each detail is entirely handmade and blown up to oversized proportions to be appreciated by all.

Fitted with compact fluorescent (CFL) bulbs, floor and wall-mounted versions are available. F Moooi available at SPACE FURNITURE 77 Bencoolen Street Tel: 6415 0000 www.spacefurniture.com.sg

FORM 62

F O C U S I TEXT JENNIFER CHOO PORTRAIT JAY LAI

Ruche

GALLIC GUILE

Bernard Vinson, Ligne Roset’s export director, is in his element when talking LIGNE ROSET’S about the company; his eyes light up, his hand gestures become animated and he stands at EXPORT attention.

After all, the 150-year-old French furniture company has been Bernard’s pride and for 22 years. He first brought the brand to Asia in the early 1980s, and is especially proud DIRECTOR, passion there are now 22 exclusive Ligne Roset stores in the region with the first one in Manila BERNARD that opening next year.

VINSON HOLDS Well respected for the sophisticated design and superb quality of its furniture, these days Ligne FORTH ON WHY Roset seems to be increasingly leaping out from its strong silent guise and making a splash bolder and more visionary designs from a younger creative pack that includes Inga Sempe, FRENCH IS with Phillipe Nigro, Jean-François Dingjian and Eloi Chafai. Queried about this renaissance that has ALWAYS MORE swept in like a breath of fresh air, Bernard smiles: “I have always felt Ligne Roset has been producing impeccable design but it is true, when we hit our 150th year in 2009, it FABULOUS consistently felt a bit like a rebirth.”

Bernard says this renaissance is not an overnight phenomenon but has been a long time in the works as Ligne Roset was one of the first furniture manufacturers to discover talents like Jean Nouvel and the Bouroullec brothers back in their salad days. “When we say we invest in design, it’s not just a sentence, it’s a reality,” Bernard says emphatically, pointing out co-owner and creative director Michel Roset’s almost prescient ability to spot the next big designer.

FORM 64

“WHEN WE SAY LIGNE ROSET INVESTS IN DESIGN, IT’S NOT JUST A SENTENCE, IT’S A REALITY.” – BERNARD VINSON

“I’m not saying the Bouroullec brothers would have been any less famous without us because their talent is astounding but Ligne Roset was a springboard for the duo,” he muses. One instance of their successful collaboration is the Facett chair which scooped a clutch of awards including the Red Dot Best of the Best Award in 2005 and the Interior Innovation Award Cologne.

Bernard says the company remains a closeknit, family-owned enterprise even though it employs 1,200 people, and that cultivating and maintaining harmonious professional working relationships is of paramount importance.

LIGNE ROSET'S COLLABORATION WITH THE BOUROULLEC BROTHERS HAS BEEN AN INCREDIBLY FRUITFUL ONE, PARTICULARLY, WITH THE FACETT CHAIR WHICH SCOOPED UP A CLUTCH OF AWARDS INCLUDING THE RED DOT BEST OF THE BEST AWARD IN 2005 AND THE INTERIOR INNOVATION AWARD COLOGNE Facett

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F O C U S

MICHEL ROSET RECENTLY TALENT SPOTTED SINGAPOREAN DESIGNER NATHAN YONG WHOSE SPARE NOSTALGIC AESTHETIC HAS ENRICHED THE LIGNE ROSET CATALOGUE IN INCREMENTS EVERY YEAR SINCE THEIR FIRST COLLABORATION IN 2009 Pebble by Nathan Yong

Confluence

Simplissimo

Essentially a Frenchman who believes that everything French is superlative, Bernard proclaims: “Champagne is French, haute couture is French and the best industrial designers are French. I admit that the furniture design industry may be mainly centred in Italy but the great designers are all French like Philippe Starck, the Bouroullec Brothers and Philippe Nigro.”

Despite this deep patriotism, Bernard says the Ligne Roset design roster is not limited to only French designers: “Michel is open to working with designers from the world over and they flock to present their ideas to him.” In fact, Michel recently talent spotted Singaporean designer Nathan Yong whose spare nostalgic aesthetic has enriched the Ligne Roset catalogue in increments every year since their first collaboration in 2009.

Pumpkin

“When a designer needs to change something, it goes straight to Michel and it can be done immediately. There is very little red tape involved,” he stresses. The company is large enough to give designers the international distribution they deserve yet small enough to accommodate a designer’s unorthodox working methods. This came in handy when Michel Roset managed to convince the late French design legend Pierre Paulin to come out of retirement to work on a re-issue of the Pumpkin chair he had designed for President Georges Pompidou’s private apartments in the Elysee palace in the 1960s. And Ligne Roset went on to reproduce more of Paulin’s lesser-known vintage designs after the reworked Pumpkin proved a thumping commercial success.

When asked about the longevity and success of the brand, Bernard’s eyes sparkle again: “Apart from design, quality and craftsmanship, the spirit of Ligne Roset has always been one of subversiveness. This is reflected in our advertisements where it’s not just a nice picture, but it makes people think as well.”

Pointing to the advertisement that pictures an elegant female sprawled on Philippe Nigro’s Confluence sofa with a pot of paint in hand and the slogan ‘The perfect man? Someone who goes with this’, Bernard explains its implied meaning: “If you want to buy just a sofa to sit in, don’t come to Ligne Roset. But if you want something unique, something special, we’re perfect.” F LIGNE ROSET #01-01 Odeon Towers 331 North Bridge Road Tel: 6235 4211 www.ligne-roset.com

FORM 67

F L A S H

PLAYFUL PUN

STUDIO JOB SCARES THE DARKNESS OUT OF MEDIEVAL GOTHIC FURNITURE

FORM 68

The bright lollipop hues and high contrast ‘upholstery’

buttons on the sides of the seats and backrests tell a story of funky nursery chairs and slurping popsicles by the beach on a hot summer day. But no, conceived by Studio Job for the recently renovated Groninger Museum in the Netherlands, they are a reinterpretation of solid wooden Gothic-style chairs. Studio Job which also designed the interiors for the Job Lounge and other areas in the museum turned the original dark and gloomy Gothic chairs topsy-turvy, rendering them into playful, lightweight ones made from rotation moulded polyethelene in some of the loudest shades in the colour spectrum. The Gothic chair is part of the Moooi collection. F

Moooi available at SPACE FURNITURE 77 Bencoolen Street Tel: 6415 0000 www.spacefurniture.com.sg

FORM 69

F L A S H

PEACEFUL MEDITATIONS NENDO GROUP ADVOCATES A SILENT SUBTLE DESIGN VOCABULARY

FORM 70

Avoiding

self-celebrative designs, the Nendo group under the direction of architect Oki Sato has been dedicated to cultured and refined alternatives since its inception in 2002. For its collaboration with Cappellini this year, its sophisticated restraint, grounded in traditional Japanese art and traditions, surfaces again in the Sekitei chair and Thin Black table.

Inspired by Zen gardens, the lines of the Sekitei seat resemble the winding curves drawn through sand or gravel by rakes according to the Japanese age-old custom. The foam cushion even recalls this pattern: defined by white thread against black fabric or black thread against white fabric. The skeleton of the seat, back and arms is as much a work of art as it is made of 14 stainless steel pipes (2cm diameter) that are bent and calendered together.

It comes in a choice of weatherproof black or white steel and waterproof cushions.

Comprising an intersection of two offset cubes, the Thin Black table makes a good companion to the Sekitei chair even though its perfect geometry and illusory effect is more reminiscent of Escher maze designs than the asymmetrical organic whorls of a Japanese stone garden. Made of steel coated with matt black powder epoxy, the larger of the two cubes support a transparent glass top. F

Sekitei chair

Cappellini available at DREAM INTERIORS 456 River Valley Road Tel: 6235 0220 www.dream-int.com

Thin Black table

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F L A S H

INSPIRED BY RIVER WASHED PEBBLES AND TROPICAL CORAL REEFS, ENZO BERTI’S ISLAND MARBLE SEATS FOR KREOO ARE EXTREMELY ORGANIC AND SENSUAL Pave Log

SEXY ISLES

Shifting away

from the playful style of his Bikini sofa, and the Pop and Zigzag chairs that are nods to the Memphis and Post-Mod era, Italian designer Enzo Berti shows he is also a master of a quiet contemplative vocabulary. Taking inspiration from Japanese stone gardens and tropical coral reefs in the Indian and Pacific oceans, his collection of island seating for Kreoo is incredibly Zen-like.

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Trained in industrial design at the Accademia delle Belle Arti in Venice, the 61-year-old Berti worked his seats primarily in natural marble or travertine to best showcase the materials that are the core business of the progenitor behind the Kreoo brand, the Italian marble supplier Decormarmi.

Berti based his Pave collection on a smooth egg-shaped marble base sculpted to resemble pebbles that have been washed and shaped by fast flowing river waters for thousands of years. His first Pave island seat which featured a concave wooden saddle that can be pivoted in different directions atop the marble proved so successful that he improvised a second version by placing a timber log straddling two giant marble pebbles on either end.

He stretched the sculptural manifesto even further in the Oasi collection. Berti explains that the contoured lines of the marble mimic the aerial view of coral reefs. Extremely sensual, the Oasi seat looks fantastic on its own or in a group of two or more. F

KREOO available at PLATFORM 333A, Mandarin Gallery, #04-12 Tel: 6235 5618 Pave Stone

Oasi

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F L A S H

FOREST NIBBLES TREE STUMPS AND GREEN FOLIAGE UNDERSCORE SANCAL’S LATEST BENCHES AND STOOLS SANCAL KONOHA Evocative of vegetal silhouettes and aptly named after the Japanese word for ‘tree leaves’, the Konoha bench is incredibly versatile. As a standalone, it looks like a single leaf but when several are grouped together, they might resemble a threeleaf clover or a five-petal flower. This versatility is a deliberate starting point for Japanese architect Toyo Ito when he conceived Konoha. He wanted to allow the Konoha owner the freedom and flexibility to compose one, two or more pieces into whatever landscape. The base of the bench is made of bleached beech, and the ‘Outback’ upholstery is an exclusive design by Giulio Ridolfo for Kvadrat in autumnal colours (beige, brown, grey, violet, red and dark green).

SANCAL TAB Reminiscent of leftover tree stumps in a forest that make great natural rest stops for tired hikers, the Tab stools and occasional tables are excellent as extras or complements. Conceived by the Nadadora studio, the base features a wraparound she et of cur ved chestnut wood . The inspiration comes from the Spanish word ‘trobos’ that describes hives made of hollow logs that are very typical of the northern Iberian Peninsula. Besides being available in two different heights and two different diameters, the collection comes in a wide palette of colours. F Sancal available at DREAM INTERIORS 456 River Valley Road Tel: 6235 0220 www.dream-int.com

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F O R M A T I TEXT JENNIFER CHOO

ST MARY’S RESIDENCES IN KUALA LUMPUR ENTICE SUITORS WITH ITS LOFT-LIKE SUITES LOOKING ONTO BUKIT NANAS AND KLCC While location is gold in real estate, a developer’s reputation also goes a long

way to getting buyers to ink the cheque. In the last five years, the E&O Property Development brand has come to represent not just quality but a worldly sophistication, a cachet that is abundantly evident in St Mary’s Residences.

CAPTION FORM 76

With echoes of loft apartments overlooking NYC’s Central Park, the layout is a playful mix of curves and offset angles

Comprising 440 units of serviced apartments spread over a trio of 28-storey towers, the location is on the old site of St Mary School in the heart of Kuala Lumpur’s CBD. It is close to the action but yet very exclusive and almost secluded as it is perched on elevated land at the verge of the Bukit Nanas nature reserve.

Top-flight architectural practice and regular c o lla b o r a t o r , G DP A r c hi tec ts d esi g ned the towers with extra tall ceiling and generous glass facades articulated at different angles to present the best views of the city while Oiwah Tham of International Interiors conceived the show suites in a sleek cosmopolitan style to celebrate the spirit of Manhattan’s iconic lofts.

FORM 77

THE NATURAL CURVE OF THE WALL IS ECHOED IN THE ISLAND COUNTER WHICH DOUBLES AS AN INTIMATE BREAKFAST AREA. THIS VANTAGE POINT IS THE PERFECT SPOT TO ENJOY THE VIEW WHICH HAS BEEN MAXIMISED WITH WRAPAROUND GLASS PANELS LEADING TO AND FROM THE THE BALCONY

F O R M A T

WHAT GREATER LUXURY THAN TO WAKE UP TO THE STUNNING URBANSCAPE AND FALL ASLEEP TO THE CITY'S TWINKLING LIGHTS Another big attraction is the larger than average size of the individual suites. E&O wanted to ensure that occupants enjoy the luxury of space so instead of cramming in too many rooms to give the illusion of value for money, they opted for one-bedroom suites that measure in at 1,135sq ft each while the two-bedroom one is 1,453 sq ft. And the response to this upsized approach has been most favourable. F

From the decadently appointed bathroom, it’s plain to see that the City Suite was inspired by five-star luxury hotels FORM 78

PICTURES COURTESY OF ST MARY RESIDENCES

ST MARY RESIDENCES SALES GALLERY Jalan Tengah Off Jalan Sultan Ismail, Kuala Lumpur, Malaysia Tel: +603 2144 1833 www.stmaryresidences.com

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More on the innovative bathroom collection and the designer Ronan and Erwan Bouroullec: www.hansgrohe.com.sg/axor-bouroullec Hansgrohe Pte Ltd • 69 Mohamed Sultan Road • Singapore 239015 • Tel: 6884 5060 • Fax: 6884 5071 • Website: www.hansgrohe.com.sg • Email: info@hansgrohe.com.sg • Bathroom Solutions by Econflo Systems Pte Ltd: 263/265 Beach Road, Tel: 6396 3738 • Bretz & Co Pte Ltd: 9 Penang Road, #B1-07, Park Mall, Tel: 6336 9926 20.09.2011 09:40:35

F O R M A T I TEXT JENNIFER CHOO

LIKE A SAVILE ROW SUIT, MADGE MANSIONS IN KUALA LUMPUR IS AN ULTRA-LUXURIOUS DEVELOPMENT TAILORED PRECISELY TO ITS RESIDENTS’ EXACTING STANDARDS An Olympic-size lap pool is a true luxury for active residents

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Madge Mansions

as its name suggests are anything but pigeonholes in the sky. Instead, they are meticulously planned luxury residences ranging from 3,900-sq ft to 8,300-sq ft in size that come in various configurations, namely cabana-style units and duplex penthouses, some even with private dipping pool. Developed by Gamuda Land, this is an extremely niche property comprising a total of 52 units.

Submerged timber decking and scented plants infuse the grounds with a serenity which make visitors forget that they are right in the heart of the city

Each unit has been exquisitely designed to the highest specifications befitting a development in the well-heeled Ampang Hilir area where generations of royalty, tycoons, diplomats and dignitaries have lived, schooled and prospered. Their architectural design and generous spatial proportions are a response to the Asian tradition of having generations of families residing under one roof but with their discreet layouts, residents are assured of utmost privacy.

Mood lights illuminate the water pleasingly and give it a surreal calming effect

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F O R M A T

Gamuda Land has also introduced an exclusive in-house concierge component named ‘At Your Service’ for residents of Madge Mansions. It is the first-of-its-kind in Malaysia, and residents can avail themselves of every essential service from the personal butler, chauffeur, chef and housekeeper to even a personal shopper and executive assistant.

Chow Chee Wah, managing director of Gamuda Land, enthuses: “The profile of the Madge Mansions buyer is no different from that of the home owners in this prestigious locale.

They are likely to be captains of industries and global citizens, who value priceless luxuries like personalisation, detailed service and most importantly – time. ‘At Your Service’ will afford the discerning resident peace of mind and more time to carry out personal and professional matters.” F

For memorable ablutions, one is bathed in light as well as water in the sexy open bathrooms

MADGE MANSIONS No 56, Jalan SS22/25, Damansara Jaya 47400 Petaling Jaya, Selangor Darul Ehsan, Malaysia Tel: +603 7491 3221/3202 www.madgemansions.com.my FORM 82

PICTURES COURTESY OF MADGE MANSIONS

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22/09/11 9:19 PM

F L A I R I TEXT & ART DIRECTION AARON DE SILVA STYLING TERENCE CHAN PHOTOGRAPHY EDWARD HENDRICKS / C I&A PHOTOGRAPHY

DESIGNER TERENCE CHAN INSERTS A CAGE-LIKE STRUCTURE TO BREAK UP THE ELONGATED LIVING/ DINING VOLUME IN THIS BELLE VUE RESIDENCES APARTMENT Architect Toyo Ito’s affinity for organic forms is legendary – the crisscrossing concrete braces on the facade of the Tod’s building in Omotesando that mimic elm tree silhouettes, and the undulating concrete skin that wraps VivoCity in a simulation of oceanic swells are but two examples. In Belle Vue Residences, Ito’s residential blocks create a footprint that resembles a series of interlocking twigs. There are curvilinear massing and elongated volumes, cantilevered structures and multi-pronged projections. Consequently, some apartment units come with irregular layouts.

This particular unit belonging to a Japanese entrepreneur and his family has an unusually long living and dining volume, and a generous balcony that connects to the opposite block in a sky-bridge-like formation (though neither owner can access the other’s unit). Having recently relocated to Singapore, the owner who needed to turn an empty shell into a liveable home, fortuitously touched base with designer Terence Chan of Terre via mutual friends.

Trellised roofing, timber decking and a full-height planter wall form an extension to the main living space

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POROSITY AND TRANSPARENCY ARE CORNERSTONES OF THE SPATIAL COMPOSITION SO FURNITURE IS KEPT LOWSLUNG AND MINIMAL TO MAXIMISE VIEWS

A BOLD RESOLUTION TO THE ISSUE OF AN ELONGATED LIVING/DINING VOLUME, THE SHELVING SYSTEM WITH SENSUOUS CURVES AND RHYTHMIC DIVIDERS GENTLY COAXES THE EYE FROM ONE SPACE TO ANOTHER. THE OWNERS’ COLLECTION OF TOYS AND ARTWORKS ADD A TOUCH OF WHIMSY

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Communication was difficult at first, as the owner spoke only halting English, though he was concurrently taking language lessons to improve. Thankfully for both parties, design transcended the language barrier. Chan relied heavily on the use of visual and tactile cues such as photographs and material samples, as these were universal. The brief was straightforward: create a habitable space for the couple and their eight-year-old son, and keep the look international modern. Taking his client’s cultural ethnicity into consideration, Chan sought to inject a slight Japanese inflection to the three-bedroom, 2,600-sq ft apartment.

This comes across not in an overt way, but through subtle references such as the restrained lines of the furniture, or the use of traditional materials such as rice paper. And though the client gave him free rein for the most part, Chan took the initiative to consult him on important design decisions.

“The challenging part was the elongated living/dining area,” Chan says.

“Most of the standard units didn’t have that extension. If we had treated it as a single space, it would have been overwhelmingly large for a small family. So what we did was to propose inserting a volume somewhere in the middle, to demarcate a separate space so that it fits the nuclear family size. At the same time, the volume needed to be porous, to connect with both the living and the dining. It made sense for the space to be a study area. Within that structure, there’s an integrated table where the parents can do work. It’s also a sitting/lounge area where one can read a book, or function as a play area for the boy.”

Immediately apparent the moment you enter, this part-shelving system, part-demarcation device is the focal point of the apartment. Its curious cage-like framework also references the development’s architecture because of its organic shape and grid-like geometry (though this was not the intention). The curved contours, accentuated by down-lights studded along the perimeter, serve to lead the eye into the living room and balcony. Depending on the owner’s whim, the structure can be left completely empty, partially filled, or completely adorned with bric-abrac, altering its appearance considerably.

In the spare bedroom, a horizontal beam was introduced to conceal the roller blind mechanism for the door on the left and to create a cove structure to illuminate the work space on the right

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The cantilevered desk in solid wood adjoins a shelving unit that is artfully integrated into a structural column

DEMARCATION DEVICE, GALLERY SPACE, STORAGE FACILITY, LOUNGE ROOM, WORK ZONE OR PLAY AREA: THE POROUS STRUCTURE IS FLUID AND MULTI-FUNCTIONAL, WITH A MINIMALIST LOOK THAT BELIES ITS COMPLEX ENGINEERING FORM 89

IN THE BOY’S BEDROOM, THE HIGH CEILING AND TALL SLIDING DOORS MAKE UP FOR THE ROOM’S SMALL FOOTPRINT

BY FRAMING THE BAY WINDOW, CHAN CREATES A NICHE FOR THE ROOM’S YOUNG OCCUPANT A team of carpenters spent six weeks fabricating the structure on-site, but not before it was fully realised in miniature. “This was the first design that we did that had to be modelled in three-dimensional space because of how complicated it was. Ordinarily, I design from plans and elevations with the 3D version existing only in my mind. We might do a skeleton rendering at most. But it was only through the model that we were able to make important design decisions, like determining the location of the opening into the space, and the density and spacing of the vertical elements. In certain areas, the structure opens up a lot more, such as when you’re sitting down and looking out. In other areas where the clutter needs to be concealed, we inserted a solid panel with a mirror finish on the exterior,” Chan explains.

The other major area that received more attention was the spare room, which the owner could use as a guestroom thanks to the ensuite bathroom. Chan had an issue with the internal space planning because of the way the windows were positioned. To correct some of the structural flaws, such as oddly placed beams, he used cove lighting and box-up techniques to rationalise the space.

“There was a strange beam in a corner that we tore down and replaced with a cove. Then we inserted linear lights to reflect illumination onto the ceiling. On the elevation with windows, we created a horizontal element such that it could conceal both the roller blind mechanism as well as double up as a linear lighting cove. Finally, there was a column which we integrated into a bookshelf system, aligning it with a cantilevered table.”

Chan also exploited the apartment’s generous living room balcony and its views of the development’s lush landscaping. He introduced weathered balau timber decking to the space to replace the original tile finish. The relatively large planter box was another attribute that he played up by creating a full-height green wall with foliage in two colours for contrast and visual relief. As a result, the wall can be experienced from the living, study, and dining room, like a living backdrop. “The space is very pleasant in the evenings when it’s cooler. The glass sliding doors allow the owner to host where guests can mingle both indoors and out,” Chan says. F The master bathroom is a sanctuary wrought in white marble

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F L A I R I TEXT JENNIFER CHOO

PHOTOGRAPHY MICHEAL YEOH

LIKE AN EXQUISITELY TAILORED BESPOKE SUIT, MALAYSIAN FASHION DESIGNER RIZALMAN’S HOME IN KUALA LUMPUR FITS HIM PERFECTLY

“A person is either born with taste or not” proclaims renowned fashion designer, Rizalman. The immaculately turned out designer should know as he’s made a dazzling career of dressing Malaysia’s rich and famous in fantastical creations and has been entrusted to design looks for entire families for society weddings.

Rizalman’s recently completed home in a quiet suburb in Ampang is a culmination of this legendary taste where the designer has perfectly tuned the architecture, interiors and even music to his exacting standards.

Tired of apartment life, Rizalman moved from a glamorous penthouse to a townhouse in a relatively nondescript suburb because he wanted his nine-year-old son, Umar to grow up with the advantages of landed property like a garden to play in and even do mundane things like being able to dispose of one’s trash in front of the gate. “I was inspired by Bali where even in the most rustic kampung, one can suddenly find a spectacular villa, as well as Europe where within some conservation buildings, the interior may look spectacularly modern,” Rizalman enthuses.

RIZALMAN CREATED THE FEEL OF A CLASSICAL ENGLISH CONSERVATORY WITH EDITED PIECES SUCH AS A 'SEARCHLIGHT' LAMP ON TRIPOD-STAND

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TOWN AND COUNTRY Rizalman chose this long, narrow townhouse because he feels the configuration is like a catwalk ideal for showing the contents of a home to their best effect. But while townhouses may be his favoured typology, Rizalman wanted as much natural light and open spaces as possible so his architect Y’Shin had to renovate the house to within an inch of its life.

The client and architect were first acquainted when Rizalman was a judge for the My Dream Home competition organised by The Edge.

He was suitably impressed by Y’Shin’s entry in the terraced house category. His confidence in her talent was spot on because without missing a step, Y’Shin punched through Rizalman’s house vertically to create and implant not one but two air-wells. She covered them in gunmetal grey ledge-stone and transplanted rapidly growing trees to transform them into indoor gardens.

Another drastic reconfiguration was the conversion of the split-level car porch into the living room, effectively adding almost 400-sq ft of built-up space. Although the ceiling is relatively low compared to the rest of the house, strangely it turned out rather well as the dimness endows it with a soothing, calming quality; like a safe refuge from the tropical heat.

“To me, living rooms are not the heart of the home, they are where one receives guests,” Rizalman explains. That is why he decorated it in a more formal manner with refined pieces and luxurious textures including an opulent mirrored mantelpiece.

Raised on a slight platform, the mini study is a cosy corner tucked away beyond the formal living room

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TAKING IT UP A NOTCH Compared to the quiet elegance of the living room, the level above is a long expansive space where the kitchen rolls onto the dining and TV areas. “This is actually where I do most of my entertaining,” Rizalman confides. He says the layout is ideal as he likes being able to chat with his friends who are sprawled out throughout the space while he makes the meal. He says that Y’Shin had proposed a more industrial look with concrete flooring and unfinished walls but he opted instead for more polish and lustre with deep chocolate flooring, dove grey embossed wallpaper, crystal chandeliers and an immaculate white kitchen.

“I make couture gowns after all and I think that is reflected in the way I gravitate to the sophisticated things in life, more uptown Manhattan with some classical European touches than grunge or bohemian,” he says.

But Rizalman insists it’s a look that is not stiff. “When I have visitors and I bring them upstairs instead of the formal living area, they always seem to visibly relax more. People appreciate it because it’s like being invited to share in my private space,” he muses.

The kitchen is an uncompromising vision of white echoing the designer’s love for luxury

JUXTAPOSING ORNATE CHANDELIERS WITH PHILIPPE STARCK 'S INFAMOUS LOUIS GHOST CHAIRS ENSURE THAT THE WHOLE PICTURE IS DIFFERENT ENOUGH TO BE INTERESTING YET SIMILAR ENOUGH TO BE PLEASING

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JUST A STEP OUTSIDE THE GRANDEUR OF RIZALMAN'S BOUDOIR IS A SECRET GARDEN; A WELL MANICURED PATCH OF GREEN JUST GRAZING THE TREETOPS

ANY CHILD WOULD LOVE GROWING UP IN UMAR'S ROOM WHICH HAS ENOUGH FANTASY TO BE FASCINATING YET STEERS FAR AWAY FROM ANY KITSCH FORM 98

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Serene shades of indigo grey set a restful tone for the designer’s bedroom and puts the pristine white welcoming bed in sharp focus

Rizalman’s most private sanctum, however, is the top floor which houses Umar’s room and his own boudoir, which in truth is more like a suite of decadent rooms comprising a bedroom, balcony, walk-in closet and a huge bathroom. When pressed, Rizalman confesses that the bathroom is his favourite space but it’s really not hard to see why. Each detail has been carefully calibrated to his meticulous specifications – a large open space with double sinks, pristine white surfaces, an array of showers because the designer eschews bathtubs, and a glass roof so he can see the blue sky.

“If you notice, even my WC faces a window,” he laughs. His son Umar’s room, on the other hand, emanates the spirit of an old fashioned explorer thanks to the Union Jack trunks, framed maps, vintage furniture and wallpaper that features prints of library books.

The interiors do not look contrived like a movie set because it is a sincere reflection of Rizalman’s personality and style. But he cautions with a twinkle in his eye: “Beauty is important but one must take into consideration if it works for your lifestyle as well. It takes a kind of discipline which like taste, you either have or don’t.” F FORM 99

F A C E S I TEXT JENNIFER CHOO

AND THEN THERE WERE THREE

CREDITED WITH STARTING THE MAXIMALIST TREND AND SPARKING THE SHOREDITCH BOOM, MALAYSIAN DESIGNER HASSAN ABDULLAH IS DOING IT HIS WAY IN LONDON AND BEYOND Hassan Abdullah marches to the beat of his own drum. Designer, antique

dealer, restaurateur and real estate pioneer, Hassan is one of the founders of Les Trois Garcons – the Shoreditch restaurant which The Guardian billed as the most spectacularly beautiful component of London’s destination restaurant scene. Zaha Hadid had declared it as one of her favourite spots in London, and it was where Madonna threw a birthday bash. Hassan’s success in London, a city that has never lacked creativity, ideas and opportunity, is all about his audacity to take chances and blaze his own path, whether in creative or business decisions. And this fearlessness has resulted in spaces which transport and delight, where banality has no quarter.

The suave Hassan is the epitome of those citizen-of-the-world types that one finds in global capitals like London: well spoken, well travelled and oh-so-sophisticated. On the surface, it is hard to pin down his exact provenance but the design guru actually hails from the rather suburban Section 14 in Petaling Jaya which he still speaks fondly of.

“I had a great time in primary and secondary school in Malaysia and I made many good friends that I am still in touch with,” he reminisces. His interest in design was sparked at a young age as his parents always involved him in decisions involving the look of their home and he remembers thumbing through their books on interiors and architecture as a young lad. In fact, a recurring motif in Hassan’s designs is nature, something which was nurtured even back then: “Nature was a big part of my growing up, instead of buying toys, we went to the pet shops and bought exotic animals as pets.”

Following the path of the conventional well-heeled Asian teenager, Hassan had initially gone to London after finishing high school in Connecticut, USA, to read law but abandoned it soon after in favour of a degree in interior design. After graduating, he did a stint at one of the most prestigious design practices in London, Ezra Attia and Associates. As fate would have it, he met Stefan Karlson, a Swede and Michel Lassere, a Frenchman and they decided to start an antique and design business trading in the various city markets. Their combined synergy and eye for design built their reputation and address books of contacts with the likes of Jean-Paul Gaultier, Donna Karan, Terry Gilliam and Yasmin Le Bon.

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Looking for a more permanent base, they chanced on a derelict pub in Shoreditch (which has since become the trendiest part of London) and after the space became habitable, Hassan went about filling it with exceptionally well realised permutations of kitsch – a superb, unapologetically ostentatious mix of stuffed animals, tiaras, mismatched chandeliers, antique birdcages, and damask-upholstered chaise-lounges. Verging on the surreal, a fullsized stuffed tiger prowls amongst objet d’art like a 1940s Bagues crystal sailing boat and a bronze statue by Le Faguay while an oversized Tiffany pocket watch hangs on the wall; seemingly disparate elements which manage to work together, it packs the kind of sensorial wallop that is singularly unique.

This ode to extravagance was more the exception than the rule in late 1990s London which Hassan admits was a city awash with minimalism – more Jil Sander, less Dolce & Gabbana but Le Trois Garcon changed all this almost by accident. What transpired was the large dining room was rarely used except for the trio’s themed birthday parties thrice a year.

These were so successful that they opened the ground floor and basement to the public and Les Trois Garcons was born in 2000.

The one-of-a-kind restaurant instantly achieved IT status and has even been credited for igniting the Shoreditch boom, an accolade which Hassan modestly demurs: “We were one of the pioneers when everyone else thought we were crazy to move there. We took the plunge after feeling tired of Notting Hill Gate becoming so commercial. In hindsight, it was very brave of us to put all our energy and money into an undiscovered area but I am a firm believer that if you believe in something and work hard enough on it, you will reap the rewards. Luck does not find those who are under their bedcovers all day.”

LES TROIS GARCONS’ MAGICIANS OF OSTENTATIOUS STYLE (LEFT TO RIGHT):

MICHEL LASSERE, STEFAN KARLSON AND HASSAN ABDULLAH

HOME OF LES TROIS GARCONS Where it all started, the home of Les Trois Garcons is a treasure trove of antiques, collectibles and art. Swirling different eras, colours and aesthetics for a result which is one of a kind, Hassan juxtaposes fearlessly and instinctively the most perfectly complementary mishmash of recherché trinkets. But there is method to the madness, Hassan meticulously plans each space: “When I walk into any building, it, talks to me, it tells me what it needs.”

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Bouyed by the success of Les Trois Garcons, Hassan acquired a defunct meat packing factory right behind the restaurant to open Loungelover, a cocktail bar for clients to move on to after dinner. Done up in the same spectacularly decadent style as Les Trois Garcons, Loungelover became hugely popular with celebrities (Madonna parties there), the royal family (Princess Eugenie and Princess Beatrice celebrated their birthdays), models (Kate Moss is a regular) and politicians.

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THE TRANSPARENT EERO AARNIO BUBBLE CHAIR IS THE PERFECT VANTAGE POINT FROM WHICH TO SURVEY THE TABLEAU OF FANTASTICAL OBJECTS HASSAN ABDULLAH SURROUNDS HIMSELF WITH

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LOUNGELOVER Resurrected from a defunct meat packing factory, Hassan liked the rawness of the place and so decided to do very little to the shell after ripping out the old fridges and freezers. In stark contrast to its surroundings, Loungelover is the last word in glamour – blood red drapes, gilt mirrors and flaming torches surround antique Swedish and French furniture while sparkling chandeliers hang overhead. Split up into different sections, each with its own unique style, Loungelover takes you through rustic, Baroque to Day-Glo. For VIPs, the exclusive gated Private Room has a camp collection of clutch purses and handbags.

A stuffed Hippo head, massive Chinese vases, a cuckoo clock – Loungelover looks like it was picked from Lewis Carroll's LSD infused Wonderland

Les Trois Garcons and Loungelover became something of a calling card for Hassan’s design chops, and in 2006, Annex 3, a restaurant-cum-bar was created in the West-End which was awarded the Best Bar & Restaurant Design in the world by Wallpaper*. Hassan also operates Maison Trois Garcons, a lifestyle shop in Shoreditch with an interior design service. To date, he has designed numerous private residences in Moscow, Paris and London including Philippe Starck’s and collaborated on commercial projects with Selfridges, Liberty, Evisu and Philippe Starck amongst others.

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HASSAN'S PLAYFUL MANIPULATION OF SCALE AND SHAPES CONFOUND THE EYE BUT ALSO GIVES ONE MUCH TO GAWK AT WHILE TOASTING THE NIGHT AWAY

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REGENCY CHAIRS, BIOLOGICAL DIAGRAMS OF BODY PARTS AND A FADED TAPESTRY MAY SEEM LIKE UNLIKELY BEDFELLOWS BUT IN LOUNGELOVER, THEY REINFORCE THE FANTASY OF DR JEKYLL AND MR HYDE'S BOHEMIAN BOUDOIR

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ANNEX 3 Near Oxford Circus, Hassan revived a turn-of-the-19th and 20th century building which has previously been a library, a seedy pole-dancing club and a restaurant.

He tore out the tacky salmon tiles to reveal the original mosaic floor. This became a main feature of the bar and the motif is repeated in the multi-textured ceiling and pillars. Less bourgeoisie and more contemporary than Les Trois Garcons, the dazzling eclectism now includes red stiletto chairs from a Parisian shoe shop, a tin model of a fairground ride from Sweden and an enormous eagle from the L’Isle-sur-la-Sorgue flea market.

LIVING LARGE While more is never less for Hassan, he resists being pigeonholed and is emphatic that he designs every space based on its particular requirements. “I always begin with looking at the proportion of the room and then begin by dividing it into areas depending on the function of the space.

For me, symmetry and balance is the most important. When you walk into a space I design, you should feel comfortable and feel that it should have always been like that whether it is contemporary or period,” he enthuses.

Like all true originals, his philosophy is always to stay true to himself. He does not design to please or impress others, nor is he swayed by the vagaries of trends. “Good design should stand the test of time. Trendy will become untrendy. You can be inspired by the least likely source. The minute you think you are the best is the beginning of your decline. I always strive to be better and to challenge myself and surprise others.”

Annex 3’s wildly eclectic interiors are reputedly as glamorous as the clientele

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LESS IS NEVER MORE AT THE KITSCH-TASTIC ANNEX 3 WITH GOLD BANQUETTES, MISMATCHED STRIPS OF FLORAL WALLPAPER, RETRO TABLES AND CHAIRS, FANTASTICAL CHANDELIERS AND JUST FOR EFFECT, THERE'S A WHOLE WALL DEDICATED TO A VIOLENT DEPICTION OF A SHIPWRECK FORM 111

EVISU FLAGSHIP STORE, PARIS The owner of Evisu had wanted to replicate Les Trois Garcons in Paris. However, Hassan convinced him that while stuffed animals were dandy in London, they would not lend themselves to this space. Instead Hassan conceived a fantasy of scarlet and crystal with the same extravagant sensibilities but within a local context and one cannot help but think of the dramatic decadence of Moulin Rouge

A BLUE MARLIN IN MID FLIGHT IS JUXTAPOSED AGAINST COW HIDE WALLS IN A SURREAL (AND PROBABLY UNINTENDED) NOD TO SURF AND TURF

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Currently Hassan is putting the finishing touches to Chateau De La Goujeonerrie, a deluxe boutique b&b in France and working on a client’s apartment in New York. Amid the maelstrom of activity, Hassan has not forgotten his roots and he admits that he would love to bring his brand of design back to Malaysia. “I have set up L3G Designs with my long time friend Melissa Indot to explore the possibilities in this region but I would need a partner who I can rely on so as not to dilute the name as realistically I would be unable to spend all my time here in Asia,” he expounds.

As the search continues for this illusive component, one thing is certain, if LTG does debut in this region, the design landscape would certainly be richer for it. F www.lestroisgarcons.com

PICTURES COURTESY OF LTG DESIGN

The giant stiletto makes another appearance but this time in understated black

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F L I N G I TEXT AARON DE SILVA

CONCEIVED AS AN ABSTRACT INDIGENOUS CULTURAL STATEMENT, W RETREAT & SPA BALI IS THE MOST HEDONISTIC OF THE CULT DESIGNER HOSPITALITY CHAIN’S ASIAN HIDEAWAYS

In a whimsical reference to Bali’s Hindu tradition, the ceiling of the lobby is ‘tattooed’ with henna patterns. The ‘basket of eggs’ in the foreground is actually a seat FORM 114

Touching down at Bali’s Ngurah Rai Airport on a Friday evening is not for the high-strung. Hordes of weekenders and the chaos at customs notwithstanding, there are massive traffic jams on the island’s clogged arteries to contend with. But in hindsight, arriving under such less-than-salubrious circumstances makes the experience of staying in a luxurious sanctuary such as the W Retreat & Spa all the more pleasurable.

Once past the gridlock on Jalan Raya Seminyak, the main thoroughfare connecting the airport with the resort, our vehicle makes a left onto the decidedly more amenable Jalan Petitenget. This is the new frontier of chic — a title once held by Jalan Laksmana — evidenced by the number of upscale restaurants, bijou boutiques and smart cocktail bars that have mushroomed in the last couple of years.

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The entrance to the 333,000-sq ft property is so narrow and the signage so inconspicuous that blink and you will miss it. But such a lowkey approach is reassuring in its exclusivity.

Down a long driveway flanked by reflection pools, the evening’s mayhem ebbs away, replaced by a sense of intrigue. A low-rise building looms into view, then a futuristic porte cochere that resembles a flying saucer.

There’s not a single alang-alang thatched roof in sight, signalling the resort’s ambition to establish a whole new era of designer digs.

Disembarking from our vehicle, I can’t help but gape at the expanse of space. The lobby is an open volume caressed by cool breezes.

Diaphanous curtains billow in the wind, while the distant sound of waves crashing onto shore serve as a reminder of the resort’s prime beachfront location. What strikes me most is the club-like atmosphere: the resin bar, reception desk and feature wall are drenched in a kaleidoscope of LED lights. It’s all very W, the culture of cocktails, of mixing and mingling, of seeing and being seen.

I half expect a bouncer to ask for ID, but instead a member of staff ushers me to my room on the fourth floor. I do encounter a bouncer, only much later at the hotel’s signature WooBar, where vacationing continentals and resident expats boogie the night away at Seminyak’s hottest new playground.

An eight–feet tall ‘W’ greets guests as they enter the property. Composed of live plants, its colours and textures are in constant flux, a metaphor for the dynamism of the resort itself

A long driveway flanked by reflection pools and interspersed by planters.

The main building in the distance houses the guestrooms; the entrance to the villas is halfway up the driveway on the right

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The lobby invites contemplative lounging with oversized daybeds, billowing swathes of linen and lampshades that resemble pagoda roofs

MILLION DOLLAR VIEWS The next morning, I wake to the sounds of the pounding surf. I survey the surroundings from my spacious balcony — a prime perch if ever there was one, boasting an impressive panorama of the Indian Ocean. The air is cool and fresh. Sunlight glints off the surface of dipping pools that cascade towards the ocean. The rooms, designed

by Hong Kong firm AB Concept, complement the view rather than fight it. Accordingly, the built-in furniture is finished in light weathered oak, while soft furnishings are dressed in aquatic green hues. At 688-sq ft, the room is more than generously proportioned, considering the size of shoebox apartments in Singapore these days.

At an interview with Ed Ng, co-founder and director of AB Concept, I ask how he interpreted the design brief, which called for a departure from the cookie-cutter formula that typifies Balinese luxury resorts.

AB Concept was among an illustrious triumvirate of design firms that worked on the W, the others being SCDA Architects (overall architectural concepts) and Poole Associates (F&B outlets). Ng and his team were responsible for orchestrating the 158 guestrooms, 79 villas, and public spaces, a process that took four years. As testament to his virtuosity, he clinched the trophy for Best Design in the ‘Hotels Over 200 Rooms‘ category at the International Hotel and Property Awards 2011, held in June in Monte Carlo.

A WALL OF HAND–BLOWN GLASS JARS FORMS A STUNNING BACKDROP TO THE RECEPTION DESK AND CONCIERGE. THE FLOORING COMPRISES TERRAZZO TILES THAT ARE CUT TO RESEMBLE LEAF VEINS

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“We needed to design something indigenous,” he says. “We wanted guests to wake up feeling like they are in Bali. But in a unique, contemporary way. It was all about reinvention, because Bali has such a strong stereotype. The resorts all along this stretch have pretty much the same building materials and details.

“I like to feel like I’m in the city I’m in,” says Ng, whose super stylish persona and frequent flyer tendencies surely qualify him as a member of W’s jet set demographic. “Hotels should be exotic and have their own character. I don’t enjoy being in international hotels; that means there’s no identity. ‘Indigenous’ is the opposite of international, so that became the starting point. We knew we had to go deep into Bali to find some hidden secrets, something that only a designer will notice, and reinvent that.”

THE DRAMATIC FIRE RESTAURANT TAKES INSPIRATION FROM THE TRADITIONAL BALINESE KECAK DANCE, IN WHICH PERFORMERS CHANT AROUND A CENTRAL FIRE. HERE, A FIREBALL CHANDELIER MADE FROM BURNT TIMBER STRIPS RADIATES FROM THE CENTRE OF THE CEILING, WHILE DINERS GET TO WITNESS THE THEATRICS OF THE OPEN KITCHEN

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Designed to recall a coral reef exposed at low tide. W Hotel’s signature WooBar is spread across three levels overlooking the pool

In the dining pavilion of Starfish Bloo, columns clad in blue resin rise in a stylised starfish shape

The bare concrete finishes and aweinspiring proportions of WooBar’s cavernous basement seem to express a medley of Brutalist and Gothic architectural ideals

DECODING TRADITION Ng’s search didn’t take long. The stepped profiles of the island’s ubiquitous pagodas provided ample inspiration. He reduced the profiles to a series of horizontal lines, produced a silhouette based on those lines in resin, and backlit the structure with LEDs. Voila! The lobby bar was born. “Everyone who looks at it will know it’s Bali, but they’ve never seen it before,” he says. “It sounds simple, but it takes a lot of filtration throughout the thought process.”

An otherworldly experience awaits in the pure oxygenfilled Blue Room in the resort’s AWAY Spa, Bali’s only 24-hour spa

That process itself is the result of cumulative experience. “As soon as I started my career, travel was already a part of my life. I basically lived out of a suitcase in the last few years, because of all the international projects that we took on,” he says, referring to projects such as the Shangri-La Qufu, Grand Hyatt Wenzhou, Jumeirah Jeddah and Conrad Hangzhou. “So now I design from a user’s point of view: how you arrive in the lobby, where the reception counter is, how you move from one place to another, whether the flow is smooth or not.

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To convey a sense of place, Ng undertook extensive research into the island’s indigenous architectural, artistic and cultural heritage.

“We bought all the available books in the market on Balinese architecture! The difficulty in having so much printed information is that you have to try forgetting what you’ve seen, because, otherwise, you will end up copying and pasting, and come up with another typical Balinese resort. We tried to understand some of the very fundamental ideas of Balinese architecture, and then we abstracted it and tried to retain its spirit.”

Though Ng is certainly no stranger to hospitality projects, this is his first resort.

The concept of tropical architecture, of indoor-outdoor living, took some getting used to. “Because in Hong Kong, everything is air-conditioned. This open-air lifestyle was something I had to understand.”

The standard bathroom features a skylight fitted with a trellis casting beautiful shadows that vary according to the time of day and intensity of light

Ng’s interpretation of vernacular traditions perhaps manifests itself best in the threebedroom villa. Here, courtyards, open showers and trellised skylights are artfully woven into the layout. Indoor and outdoor spaces segue effortlessly from one into the other. The master bed is set on a raised central platform, a reference to the stepped form of temple altars. And burnt orange accents are inspired by traditional shadow puppetry, Wayang Kali.

A PARTY PAD LIKE NO OTHER, THE 5,700SQ FT EXTREME WOW SUITE BOASTS A DOUBLE-VOLUME LIVING SPACE AND A CUSTOM-BUILT SOFA FOR 30 OF YOUR CLOSEST FRIENDS AND YOU

The standard guestroom boasts unimpeded views of the Indian Ocean. A visual and aural delight, the space is dressed in calming shades of green and soothed by the resonance of the pounding surf FORM 120

“This is really a party villa. You could have 30 people here and you wouldn’t notice,” says Ng, underscoring the W’s reputation as a haven for the party-loving jet set. The AWAY Spa, Bali’s only 24-hour facility as such, is expressly designed to help nocturnal denizens glam up for the evening with a facial or recover from their shenanigans with a relaxing massage.

The resort’s location makes it an ideal base for exploring Seminyak’s pulsating nightlife — there are a plethora of chic hotspots within a one km-radius, including the achingly hip Potato Head Beach Club just a two-minute stroll away along the beach. As for what Ng wants his guests to take from the experience: “Happiness, and feeling young.

Because why do you come to Bali? It’s to relax and party.” F W RETREAT & SPA BALI – SEMINYAK Jl. Petitenget, Seminyak Kerobokan, Denpasar Bali, Indonesia Tel: +62 36173 8106 www.whotels.com/baliseminyak

IMAGES COURTESY OF W RETREAT & SPA BALI - SEMINYAK AND AB CONCEPT

The 2,400-sq ft one-bedroom villa is perfect for honeymooners and couples on vacation

ELEMENTS OF PURE BLISS ABOUND IN THE EXTREME WOW SUITE: TWIN MASSAGE BEDS, REFRESHING COASTAL BREEZES AND A VIEW THAT STRETCHES TO INFINITY FORM 121

TEXT JENNIFER CHOO I F L I N G

When one

of Malaysia’s most prominent architects, Hijjas Kasturi, and his wife, Angela Hijjas, art patron and nature conservationist channel their combined talents to a cluster of 15 pre-war terraced residences and shophouses facing Hutton Lane, Transfer Road and Clarke Street in the heart of GeorgeTown, one can expect something wonderful. Both innovators in their own right, Hijjas is responsible for many of Kuala Lumpur’s most iconic landmarks since the 1970s till today, ranging from skyscrapers like the Telekom Building and Bangunan Tabung Haji to the masterplan for most of Putrajaya. As for Angela, her artists residency programme at Rimbun Dahan (the couple’s rambling estate on the outskirts of KL) has been instrumental in nurturing some of the most exciting talents in Southeast Asia.

Hotel Penaga is unique in that it balances the concerns of Hijjas as an architect and Angela, an environmentalist. From Hijjas’ point of view, you only get one shot at renovating a building and he had the daunting task of fitting the disparate pieces into a cohesive jigsaw and ensuring that there are enough rooms to support a real hotel, not just a homestay.

On the other hand, Angela’s environmental concerns played a huge role in influencing the choices in the use of materials like recycled timber and labour – intensive products like the encaustic floor tiles.

“Exploring ways to reduce the carbon footprint of the project led us in different directions because once you start thinking about environmental and social impacts as well as the aesthetics and planning, it leads the project along a new path,” explains Angela. “It was certainly very different for Hijjas who is used to designing huge commercial buildings from scratch where the environmental issue usually extends just to energy efficiency,” she continues. In the end, the couple chose an environmentally mindful approach as their guiding principle, similar to what they adopted for developing Rimbun Dahan over the last 20 years.

PENANG’S FIRST HERITAGE HOTEL TO BOAST A GREEN RATING, HOTEL PENAGA IS ARCHITECT HIJJAS KASTURI AND ART PATRON ANGELA HIJJAS’S AUTHENTIC LABOUR OF LOVE

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Clarke Terrace

Hotel Penaga came about by happenstance. Angela and Hijjas were originally looking for just one house for use as an extension of the Rimbun Dahan artists residency programme. But when they found 15 of them, they gamely took the plunge. Put up for tender in three packages, the properties originally made a less than favorable first impression on Angela as many adjacent buildings were boarded up, while the ones for sale had been trashed and deserted for some time. Fortunately, the properties whose earliest owner was Dr Leo McKern, a famous Penang based Scott who started the Lone Pine Hotel in the 1930s and died shortly after the war, are located in the buffer zone surrounding the city’s UNESCO World Heritage Site. This gave Angela the assurance that their immediate surroundings will remain a pure historical context with little likelihood of being marred by stark modern buildings.

“In their recent past, our 15 houses had deteriorated into cheap tenements housing as many as six families in tiny rooms on the upper floors, and sharing one bath and toilet downstairs with the shop lot. They were put up for tender by a Singapore bank as they were probably too dilapidated for decent rental. Luckily, we won all three tenders. Had we just won one or two, I have no idea what we would have done!” confides Angela.

Enthused by this coup, work started immediately, even before settlement, on the five terraced houses on Clarke Street as they didn’t need planning or building approval unlike the shophouses.

The couple retained much of the original architecture such as the timber flooring on the upper levels and replicated the historical when they were missing or lacking. So traditional encaustic cement tiles made with 1930s presses from Indonesia were used for the ground floor, second hand timber recovered from demolished colonial buildings supplemented what needed repair, and corrugated asbestos was replaced with second hand ‘Indian’ tiles that prevailed in older Penang buildings. Since the decorative tiles to replace the lost ones on the front walls of Clarke Street couldn’t be found, they were left plain. As for the old shop frontages on Transfer and Hutton, they have been transformed into the vintage residential type facade and they incorporate decorative tiles imported from China.

The backlane, including a three-metre wide access formerly reserved for night soil removers, has become a green oasis with the garden-view rooms overlooking it. On the roof of the Hutton Lane block, photovoltaic panels have been installed to generate power that feed back into the national grid while water tanks retain roof runoff that is then recycled for toilet and garden use. Every room has a choice of ceiling fans or air conditioning, although Angela says that the former is more atmospheric than effective in the hot humid climate. But, at least, the guest has the choice.

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THE RUSTIC SPARENESS OF THE ROOMS IS A WORTHY BACKDROP FOR THE EXUBERANT COALESCENCE OF STYLES AND ERAS - NAMELY THE RETRO STAINED GLASS FRENCH DOORS, VINTAGE CHINESE FURNITURE AND MID-2OTH CENTURY MODERNIST FURNITURE

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One surprising hurdle which they hadn’t anticipated was logistical rather than architectural: “The challenge was to find people to manage and run the hotel for us, as we knew nothing of hotels... apart from staying in them. When we finally got people on board, we were surprised by how much storage and back of house space was needed.

There is a need for housekeeping space on every floor, a maintenance workshop, and storage for spares of virtually everything. We had not provided enough, and what we had provided, Tenaga wanted to use for the new power substation, and of course we had to give it to them.”

In the end, they resorted to renting space in the neighbourhood for the staff canteen, workshop, stores and office space, a solution which Angela reckons is probably the best solution, as they didn’t want to allocate the expensively renovated space for such uses.

When it came to decorating the hotel, Angela took over the reins, a task which she embraced with gusto: “As my daughters pointed out, we have been doing this for the last 40 years, building and renovating our home, so how hard could it be?” This explains why the style is the same as at Rimbun Dahan. It is mostly eclectic, including a mix of mid20th century modernist chairs and settees that are beloved by most architects of Hijjas’ generation, and antique furniture sourced on eBay and from the markets in Zhongshan, China.

The glass wall along the side compensates for the fact that the pool cannot be built inground

FUAD OSMAN'S NOSTALGIC PHOTOGRAPHS OF LANDMARK MOMENTS IN MALAYSIAN HISTORY WITH TONGUE-INCHEEK DETAILS STRIKE A NOTE OF WISTFULLNESS IN THE LONG CORRIDOR INSIDE THE HUTTON BLOCK

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Penaga Spa treatment room

REFLECTING THE MELANGE OF INFLUENCES OF THE ENTREPOT CITY, ANGELA'S DEFT LAYERING OF TEXTURES AND COLOURS OFFER A VERITABLE FEAST FOR THE EYES WHEREVER ONE LOOKS

With Angela’s pedigree, the choice of artworks throughout is anything but bland. She plucked them from both her private collection and the Rimbun Dahan’s residency programme. She also scoured for historical prints and maps, and hearing of her search, one individual strangely offered her a collection of 19th and early 20th-century Chinese embroidery that is, nevertheless, now spread across many of the rooms. So apart from the architecture, the juxtaposition of different furnishings and decorative elements gives guests the distinctive feel of being in Asia.

Like Penang itself, Hotel Penaga is a clash and combination of influences and while Angela is emphatic that the hotel is not a true restoration in the sense of Suffolk House or Cheong Fatt Tze, it is a passion-driven project with a sound green agenda. F

A Hutton Deluxe room distills the best of Hotel Penaga within the confines of its 40-sqm

This Hutton Deluxe room features lovingly restored original rafters FORM 127

PICTURES COURTESY OF HOTEL PENAGA

HOTEL PENAGA Corner of Jalan Hutton & Lebuh Clarke 10050, Georgetown, Penang, Malaysia Tel: +60 4261 1891 www.hotelpenaga.com

F L I N G I TEXT JENNIFER CHOO

INSTEAD OF GLOSSING OVER MUNTRI MEWS’ HUMBLE PAST, PENANG HOTELIER CHRISTOPHER ONG PAYS HOMAGE TO ITS CHAUFFEUR QUARTERS AND CARRIAGE-HOUSE ROOTS Christopher

Ong is one of Penang’s most successful conservation hoteliers. After turning the Edwardian-Anglo-Malay bungalow, Clove Hall, into the island’s most desirable heritage destination, he recently turned his attention to Muntri Mews, a row of conservation-listed buildings in the heart of Georgetown’s historic district. Unlike Clove Hall that harks back to the gracious domains of Penang gentility, Muntri Mews has a more utilitarian air about it with its plain timber architectural features and unadorned high ceilings.

Muntri Street used to be home to many of the island’s affluent Peranakan community – in fact the street still has some of the best preserved rows of 19th century Straits Chinese architecture in Malaysia, equivalent even to Singapore’s Emerald Hill. The Mews austere architecture is in stark contrast to these heavily decorated houses as they were formerly the stables and carriage-houses of the street’s grandest terraced residences. Drivers and staff lived in its workers quarters upstairs while the downstairs housed carriages and horses and in the Edwardian period, some of the smartest cars in Penang.

For Christopher, realising Muntri Mews was something of a homecoming as his family house was located at 81 Muntri Street and after being away for 30 years, his first project in Penang was restoring number 54 as his home. “The mews is at no 77 and I remember it well, having played around the place as it was my great grandfather’s garage and also the home of his chauffeur. It was very exciting to do a building I knew well as a child and to bring it back to its glory,” he enthuses.

Christopher acknowledges that some cosmic force was at work as he happened to come across the property when a lawyer friend contacted him in 2009 with a list of properties for sale from an estate that had been frozen since 1959 and was finally thawed out. Besides the sentimental connections, the history of the building and its uniqueness, and the fact that it was still intact appealed greatly to the hotelier: “Inner city mews sound so Anglo but that was what Georgetown was about – a British Straits Settlement. The babas were the queen’s Chinese (Queen Victoria’s and not the current one) and they emulated what was fashionable in England. Today, I think there are only less than a handful of these mews/garages in existence in the inner city.”

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Restored to its former glory, the ornate carved timber door is a nod to the glory days of Muntri Street

THE SIMPLE UNADORNED STYLE OF THIS NARROWLY CONFIGURED 19TH CENTURY BUILDING HAS A SPARE, HONEST APPEAL OF VERNACULAR ARCHITECTURE

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Although the whole structure was relatively intact, restoration took about 15 months mainly because Christopher was caught by the changes in the rules regarding the approval process for properties in the heritage zone. Apart from that, the most challenging part was the installation of the gigantic septic tanks to solve the hassle of having to get the waste pumped out all the time.

Once the hardware was in place, Christopher went about the task of decorating the nine spacious and comfortable suites with furniture that blends Malay, Chinese and European influences, sub-consciously weaving into the Mews the same ingredients that have made this entrepot island world famous.

In line with the mew’s blue collared working class roots, Christopher studiously avoided the ornate and heavily embellished furniture found in grand bourgeois houses. Instead, he opted for quirky local ones to add to the already considerable charms. “All my interiors evolve as part of the building, so they all look in place as if they were there all the time,” explains Christopher. Certainly the disciplined lines of the four-poster beds, the wrought-iron gate and cream and chocolate brown striped blinds blend merrily into the spirit of the Mews heritage.

ALL SUITES COME WITH SPACIOUS SITTING AREAS WHICH OPEN TO THE VERANDAH UPSTAIRS OR THE LUSH PRIVATE TROPICAL GARDENS DOWNSTAIRS

The former carriageworks have been converted to a total of only 9 suites upstairs and downstairs to create an intimate feeling of social conviviality but also allowing for privacy FORM 131

LIKE IN DAYS PAST WHERE THE MEWS HOUSED SEVERAL HOUSEHOLDS, THE VERANDAH NOW OFFER GUESTS AN ALTERNATIVE AREA TO ENJOY THE SPACE WHILE ENCOURAGING INTERACTION WITH FELLOW GUESTS

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PICTURES COURTESY OF MUNTRI MEWS

BRIGHT AND SPACIOUS SUITES ARE OUTFITTED WITH COMFORTABLE AND RELAXING FURNISHINGS, HIGHLIGHTED WITH A GORGEOUS SELECTION OF LOCAL, HISTORICAL AND QUIRKY PARAPHERNALIA

Even as Muntri Mews begins to gain favour with the worldly flashpacker, Christopher is busy at work on more projects: “Buildings have come my way that I just could not resist. I am working on two more heritage hotels in Muntri/Stewart Lane, maybe a terraced house museum is in the pipeline because I have bought a house from a lady who had just passed on. She had lived in the same house since the 1930s and she had left most of the decor and furnishings as they were for the past 80 years.” Christopher’s golden touch continues with Muntri Mews and thankfully for the Penang heritage hotel scene, it shows no signs of flagging. F MUNTRI MEWS 77, Muntri Street, 10200 Georgetown, Penang, Malaysia Tel: +604 263 5125 www.muntrimews.com

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F L I N G I TEXT JENNIFER CHOO

LONE PINE IN BATU FERRINGHI RECAPTURES THE ZEITGEIST OF PENANG'S FIRST SEASIDE HOTEL IN THE HALCYON 1950S

Perhaps we

look at the past with rose tinted glasses or blame it on Mad Men but the 1950s was a time of great style – it had Googie architecture and Case Study houses, when men were dapper and women were, well, women. The Lone Pine hotel in Penang was established in 1948 when pre-independence Malaya was still in the throes of colonialism and the bungalow built by Dr Leo McKern who owned a successful medical practice in Georgetown was leased out and transformed into the first hotel in Batu Ferringhi. A modest 10 rooms, it had all the idiosyncrasies of being a residential conversion and over the years, various extensions and annexes were piled on. But it was eventually eclipsed by the hotel boom in Batu Ferringhi and was overdue for an overhaul when it was acquired by E&O Berhad.

Having cut their teeth restoring the historic E&O Hotel in Georgetown to the splendour of its heyday, Lone Pine Is a whole different kettle of fish. Architect Haziph Ahmad of GDP Architects elaborates: “The main idea was to retain the hotel as a boutique sanctuary in Batu Feringghi without losing its old world charm.” They began by retaining and refreshing the four existing blocks while adding two new ones to house the main lobby and additional rooms in one, and a bar and Japanese restaurant in the other.

WHEN THE DOORS PIVOT OPEN, THE LOBBY IS BARELY ENCLOSED, AFFORDING THE FIRST GLIMPSE OF THE BEACH AND ALLOWING THE GENTLE SEA BREEZES TO WAFT IN

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Paying homage to the pared down and almost utilitarian feel of the original buildings with their painted concrete floors and ventilation blocks, GDP has ensured that the two new five-storey blocks blend almost seamlessly with the older ones. They are also laid out in symphony and sympathy to the whole ‘building community’, sitting comfortably within the landscaped setting.

Though dedicated to practicality and simplicity, Lone Pine is hardly a no frills resort by any stretch of the imagination. Instead, the design team opted for a more subtle and contemporary definition of luxury. Guests are greeted by the lofty high ceiling when they step into the lobby, and this airiness permeates the property. As for the sea-facing lawn, it has been left as it was in 1948.

“The design stirs round the wonderful existing landscape of lofty casuarina trees to evoke the peace and serenity within the hotel beachfront,” Haziph says. Within the hotel rooms, the space planning has been impeccably calibrated to ensure guests never feel hemmed in, so doors pivot and shutters can be opened. Lovely details like his and hers sinks, a concrete water well where guests can use a hand scoop to bath in the old fashioned way before handheld or overhead showers came into vogue, and a sunken bath on the balcony ensure every room has an unexpected twist to delight guests.

In the evening, mood lighting baths the honey coloured timber and creamy furniture in a golden glow

FUSING MODERNITY AND NOSTALGIA, THE NEW AND OLD BLOCKS EVOKE A COHERENT CHARM WITH THEIR OPEN VENTS AND LOUVRED WINDOWS THAT ROLL ON AND ON

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All the rooms in the new block are oriented to offer an uninterrupted sea view

Abetting GDP’s clean restrained palette, Oiwah Tham of International Interiors was inspired by the existing building and the heritage of the hotel for its interior design. Shapes and hues reference the 1950s from the clean lines of the Scandinavian style furniture in the lobby to the bright blue, orange and green colour palette throughout the hotel that is tempered with natural wood.

“There seems to be a resurgence of that era now in design so it’s the perfect time to reawaken Lone Pine,” Oiwah explains. She wanted to tell a different little story in every room so the artworks and colour scheme in each room is unique and no two rooms are exactly the same.

Oiwah worked with architect-cum-artist Zaini Zainul and Penangbased photographer Howard Tan to capture the essence of the island’s personality without the attending cliches in their works while Zaini’s dreamy graphic style is an interesting foil to the crisp interiors.

THE POOL WAS ENLARGED AND REJUVENATED WITH BRILLIANT AZURE TILES WHICH REFLECT THE CLEAR BLUE SKY AND SWAYING CASUARINA TREES LINING THE HOTEL'S PRIVATE LAWN

The Bungalow has al fresco dining by the beach with a menu which includes the hotel’s signature Hainanese specialities

While the general colour scheme is a timeless combination of crisp white and wood tones, jaunty blue and orange inject brilliance into the rooms

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Oiwah’s most spectacular efforts are seen at the Batu Bar and Japanese restaurant Matsu. As its name suggests, Batu Bar is inspired by stone (batu is the Malay word for stone). “On the road leading up to the hotel, there is a small stretch of beach with these big boulders,” Oiwah says of the inspiration. And the batu is echoed in the monolithic bar counter and cast concrete floor that has been polished to an almost mirror finish to allude to the pebble-ground by the waves.

Over at Matsu, which means pine in Japanese, Oiwah fuses chalet chic and Japanese minimalism.

A hypnotic feature wall with an installation of various geometric shapes made of pine wood stretches across one end while antique Japanese fabric covers the panels running across another end.

BATU BAR TAKES ITS NAME SERIOUSLY WITH A CAST CONCRETE FLOOR AND A SWIRLING PATTERN REMINISCENT OF JAPANESE ROCK GARDENS

Matsu’s timber-centric interiors are a homage to its name and a riff on an origami theme

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Christened the Lepak Area, this relaxation lounge features refurbished cane furniture salvaged pre-renovation

IN THE OLD WING, THE BEAUTIFULLY DETAILED WINDOWS WERE PRESERVED WITH THEIR ORIGINAL DARK WOOD APPEARANCE FRESHENED UP WITH A COAT OF WHITE FORM 142

The marriage of the old and new is cohesive and coherent throughout Lone Pine. One is always aware of the property’s heritage yet there is a pervasive sense of modernity. It’s like the good old times but only better. Oiwah says: “We have three generations of Lone Pine guests who continue to return to the hotel. Our hope is that we have created an environment that will continue to be as memorable as before.” F LONE PINE HOTEL 97, Batu Ferringhi 11100, Penang, Malaysia Tel: +604 886 8686 www.lonepinehotel.com

PICTURES COURTESY COURTESY OF E&O BERHAD

Fitted out like a rather lavish apartment, the Grand Premier Suite is a generous 118-sqm with a magnificent sea-view balcony

GDP ARCHITECTS 17 & 19 Jalan Setiakasih 5 Bukit Damansara 50490 Kuala Lumpur Tel: +603 2095 9500 www.gdparchitects.com FORM 143

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The Superleggera

or 699 chair has not aged a twinge since its genesis 50 years ago. Designed

by Milanese architect Gio Ponti (1891-1979) for Cassina, the original came in a natural ashwood frame and a seat in Indian cane. It is now also available with a black or white lacquer finish and upholstered seat. F Cassina is available at SPACE FURNITURE 77 Bencoolen Street Tel: 6415 0000 www.spacefurniture.com.sg

GOLDEN ANNIVERSARY FORM 144

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