Vol 2 2009 ARTICULATE VASTRA
Indian geomancy-guided house by Richard Ho Architects
SIMPLE SUTRA
Price $4.80 inclu. GST
Putting on pared down ritz @ • 53 – Peter Tay • Jing – Antonio Eraso & Akira Kita • The White Rabbit – Marc Webb & Naoko Takenouchi
IMMACULATE MANTRA
Architect Terence Chan’s inside-out ideals
Fritz Hansen Alphabet sofa design by Piero Lissoni
Space Furniture South East Asia’s largest collection of contemporary design
Singapore Millenia Walk, Level 2, 9 Raffles Bvd t 65 6415 0000 Kuala Lumpur 65 Jalan Maarof, Bangsar Baru t 603 2287 8777 Sydney 84 O’Riordan Street, Alexandria t 61 2 8339 7588 Melbourne 629 Church Street, Richmond t 61 3 9426 3000 Brisbane 10 James Street, Fortitude Valley t 61 7 3253 6000 www.spacefurniture.com
138614
ARMANDO TESTA
Alessandra, Matilde and Emma Ferri. New York, September 2008.
www.poltronafrau.it
Cassiopea. Design: Lievore - Altherr - Molina. 9 modules, 90 colors, infinite combinations.
Poltrona Frau Boutique 9-10 Purvis Street Singapore 188596 Tel: +65 63366130 Fax: +65 6336 5441
˜
18 FLIRT ITALIAN MECCA Marquis Gallery opens Qsquare, an amazing Italian furniture mecca showcasing five top brands
50
25
25 FRONTIER FUNKY FABLES Aesop’s quirky stores made the London Design Award committee sit up 28 FLASH GOOD GOURD Conceived in 1971, Pierre Paulin’s Pumpkin chair is reborn 30 SKINNY STAR Jean Nouvel’s Skin sofa and armchair make a comfortable stretch 32 CLUTTER ME PRETTY Reclaim more living space with spiffy shelving and storage solutions 40 UNPREDICTABLE ASSORTMENT Petite coffee tables with an attitude 42 SUCCESSFUL BRANCHES Revisiting the enduring appeal of pared-down yet shapely timber furniture 50 TIMBER HAVEN D-Bodhi furniture stakes its fame on recycled teakwood
32
Publisher/Editorial Director EDDY KOH Contributing Editors JOSHUA YAP JENNIFER CHOO Copy Editor SHEILA OLIVEIRO Writers SERAPHINA WOON mahdhir mustaffa Assistant Marketing Managers JOY LEE EDWINA LIM SHAMIL ABIDIN Art Directors GINA TOH HAN Senior Designer JOSEPH CHAN Design Director YEE WAI FONG FORM MICA (P) 037/01/2009 is a bimonthly publication of HEART PUBLISHING PTE LTD 129 Devonshire Road Singapore 239886 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.
54 54 LUMINAIRE EXTRAORDINAIRE Tobias Grau lighting fires up the imagination 56 TABLETOP DYNAMO Architect Zaha Hadid applies her style to Alessi 58 SPRING BLOOM Alessi’s Meditteraneo sprouts new shoots 60 PLUSH PLUS The caress and charisma of Atmosphere’s latest silk cushion covers 62 FUNDAMENTALS COOL OPERATOR Liebherr’s SBSes 7273’s BioFreshPlus technology keeps food fresh three times longer 63 FOCUS BASIC AGENDA Answers to who’s putting on the simple ritz at a trio of hip restaurants? • Peter Tay for 53 • Antonio Eraso and Akira Kita for Jing • Marc Webb and Naoko Takenouchi for The White Rabbit 76 SURFACEs IMPRESARIO Entrepreneur Chan Choon Beng grew Goodrich Global into the regional powerhouse for wall coverings
76
62
www.armanicasa.com
328 NORTH BRIDGE ROAD, RAFFLES HOTEL ARCADE, #01-33/34, SINGAPORE
81 81 FLAIR CHEERFUL SPRUCE UP Vincent Lim of VeTarchitecture remakes a Martaban Road heritage terraced house 93 WESTERN GEM Richard Ho Architects reworks a Pepy’s Hill penthouse to maximise its long, wide generous patios
134 Erratum SCDA Architects’ The Luxe was wrongly credited as part of WOHA’s NOMU apartment block on pages 63, 64 and 65 in Vol.1 2009. We apologise for any inconvenience caused.
104 FRAME VASTU VIRTUES Richard Ho Architects conceives a house faithful to vastu shastra, the Indian equivalent of fengshui 116 FACES MR PERFECTIONIST Architect Terence Chan of Terre offers a peek into his immaculate design style 130 FLING SUMPTUOUS ROUSE Jim Thompson transforms a Dempsey Hill barrack into its shining palatial namesake Thai restaurant 134 TURQUOISE DREAM Port Dickson wakes up to Avi Spa 136 FINALE TROJAN HORSE Daum’s crystal tribute to Ulysees
116
NOMU
The Luxe
30 Hill Street Unit 01-02 Singapore 179360 Tel. +65 6338 2822 E-mail: minotti@marquis.com.sg
Hamilton, seating system design: Rodolfo Dordoni
Minotti S.p.A. 20036 MEDA (MI) ITALIA via Indipendenza, 152 Tel. +39 0362 343499 www.minotti.com - info@minotti.it
F o r a y
i TEXT Eddy koh
These innocent but maligned mall decorations are the equivalent o f t h e g a r i s h p a i n t wo r k a n d s u p e r f l u o u s s t r u c t u re s l i ke postmodernist columns and s t r a n g e f a c a d e t re a t m e n t s that identif y and distinguish upgraded HDB blocks from the untouched ones. Visible from afar, they are the totem poles that loudly proclaim that the Singapore Tourism Board has invested $40 million to improve the mall (It helps to know where the one per cent cess in our restaurant b i l l s w e n t t o) . O t h e r w i s e , short of putting up a gigantic ERP-sized neon sign blinking ‘UPGRADED’, few would have known that the 2km mall now boasts a sophisticated uniform grey granite pavement stretching from the Tanglin Road end to Bras Basah. It is even handicap f r i e n d l y. T h e m a k e o v e r w a s supposedly inspired by Champs Elysee. Fortunately, there is no talk of a local version of the Arc de Triomphe yet. Contradictions are an inexplicable part of our Jekyll and Hyde psyche. We love local seafood e a te r i e s a n d d u r i a n s t a l l s flaunting mega neon signs, garish decor and cheap plastic chairs. But the greedy louts in us are transformed into gourmet snobs once we cross the threshold of trendy cafes and restaurants. We would insist they are paragons of understated chic. It didn’t happen overnight. We have evolved with every passing phase and decade from the simple British charm that made Jack’s Place famous in the 1970s to the Japanese Zen decor spin popularised by Mezza9 in the 1990s to today’s third millennium version of frigid chic. In this issue, FORM discovers what drives the designers behind three restaurants — 53, Jing and The White Rabbit — where the decor excites the guests as much as the food.
Subtlety is a perennial dilemma. Understated designs
suffer because they whisper softly. Sing them out loud and the daggers are drawn quickly. But the hype at least raises awareness.
But for the brickbats hurled at the flowering orchid columns obstructing the path and the freestanding glass panels dotting the sides of the Orchard Road pedestrian mall, few would have noticed its revamp. Pandering to the island’s Garden City moniker, the orchids express the current obsession with vertical green planting while the silkscreen patterns on the glass panels can be likened to a modern take on Farquhar’s botany paintings. But the touristic photo-opportunity pastiche pales in comparison to the socio-political ramifications.
Foo d also plays a par t on Orchard Road mall in the form of the affordable $1 durian ice cream wafe r sandwich sold from motorised carts. They are a part of our urban history and collective childhood memory. Not to mention they make the walk down the mall a cool delicious experience on a warm balmy a f te r n o o n . T h o s e w h o w a n t to shoo them off the mall are spoilsports. Slurp it! F
PATCHWORK seating. Design: Pascal Mourgue. Catalogue: www.ligne-roset.com
Live beautifully.
LIGNE ROSET #01-01 Odeon Towers 331 North Bridge Road Singapore 188720 T: (65) 6235 4211 F: (65) 6733 6643 info@monticellodesigns.com www.monticellodesigns.com
F l i r t
i TEXT JOSHUA YAP
Italian Mecca Marquis Furniture Gallery opens Qsquare, the retail location du jour that showcases five premium Italian furniture brands To whet
the insatiable appetite of high-end furniture lovers, Marquis Furniture Gallery invited some 200 guests for the grand opening of Qsquare on March 19. Like a showstopping five-ring circus for designophiles, the new retail space houses mono-brand showrooms for five upmarket Italian brands — Misura Emme, Meridiani, Porada, Cierre and Emu. After the symbolic popping of champagne in a rain of confetti, guests were treated to intimate presentation sessions by brand representatives who had flown in specially to officiate at the opening. To round off the perfect evening, guests also tucked into hearty Italian fare while being serenaded by a jazz quartet.
(L-R) I-Ann, Dana Cheong and Sharon Wu
Mr and Mrs Antony Wetherell
(L-R) Pauline Choong, Bert Choong and Jenny Kwek
Nestled in an unassuming industrial belt off Upper Paya Lebar Road, Qsquare collectively occupies a sprawling 22,000-sq ft and the interlinked showrooms aim to present a whole new retail experience for end users, architects, interior designers and developers. Jointly conceptualised by respective brand representatives who flew in especially ahead of Qsquare’s opening, each space is meticulously composed to express each brand’s essence. From the impeccable styling to the painstaking attention to detail, the show space invites visitors to immerse themselves in the distinctive worlds of each brand via a comprehensive range of offerings. For the uninitiated, here’s a preview of what you can expect.
Daniela Mascheroni, owner of Misura Emme
Mauro Nastri, general manager of Porada
Paolo Boffi, export director of Meridiani
Stefano Conficconi, owner of Cierre
F l i r t
LEATHER MEISTER Cierre The Beemer equivalent of leather sofa makers, Cierre truly lives up to its founding principle of ‘Living in Leather’. While lesser manufacturers are flirting with newfangled synthetic materials, the family-run company remains faithful to its first love, developing and reworking premium Italian leather for 30 years. Luxurious yet free from ostentatious pretension, each Cierre sofa is a testament to the artisanal expertise of its maker from the supple leather and sturdy inner frame to the cushy foam or down padding. Elegantly upholstered in premium Italian leather, Cierre sofas are the ultimate stealth wealth furniture indulgence
WARDROBE WHIZ MisuraEmme Although MisuraEmme offers an excellent range of mod minimalistic furniture ranging from beds to chairs and shelving units, it is perhaps best known for its Sartoria I t a li a n a A r m a d i s e r vi ce th at customises wardrobes according to specific requirements. Whether you are looking to outfit a walk-in wardrobe or maximise storage space in tight quarters, these needs are addressed with the versatile system’s over 20,000 possible configurations. Eco-nuts will appreciate that the company is the world’s first furniture maker to adopt environmentally friendly wate r- b a s e d l a cq u e r s . I t a ls o uses residual wood to power its production process.
Best known for its Sartoria Italiana Armadi wardrobe customisation service, MisuraEmme brings bespoke elements to the world of upmarket furniture
NEW BR03 INSTRUMENT TYPE AVIATION MILITARY SPECS | CHRONO, ALARM, SECOND ZONE TIME, TIMER…
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
www.bellross.com
Available at: All Watches Wisma Atria Tel: 6733 2823 • Cortina Watch Centrepoint Tel: 6738 9961 Millenia Walk Tel: 6339 1728 Raffles City Tel: 6339 9185 • Dickson Watch & Jewellery Paragon Tel: 6737 6451 Sincere Fine Watches Lucky Plaza Tel: 6737 4593 Ngee Ann City Tel: 6733 0618 Suntec City Tel: 6337 5150 VivoCity Tel: 6278 1698 • Watches of Switzerland Paragon Tel: 6732 9793
F l i r t
COUCHED INTEREST Meridiani Although of ficially launched in 2000, Meridiani has already established itself as one of the leading players in the furniture arena with a special focus in producing padding for upholstery, an d manuf acturing b e ds and beddings. Ar tfully updating classic forms with contemporary f l o u r i s h , M e r i d i a n i ’s r a n g e o f armchairs, sofas, tables and beds may not rank as attentiongrabbing statement pieces but its unimpeachable aesthetics and assiduous craf tsmanship will undoubtedly provide utmost comfort for many years.
Masterfully updating classical forms with contemporary styling, Meridiani’s first-rate furniture construction ranks one of the leading players in the market
PATIO PARTY Emu For sun smitten homeowners looking to add a dash of fun to their yard, Emu’s collection of whimsical outdoor furniture by prolific designers Patricia Urquiola and Paola Navone will catch your fancy. One of the pioneers of the patented metal plasticisation process, Emu found its true calling in outdoor furniture in the 1960s and has never looked back since. Designer fiends will be thrilled to know that on top of the aforementioned luminaries, world-renowned designers like Jean-Marie Massaud and Christophe Pillet have also lent their creative genius to this Italian garden furniture specialist. F Qsquare 16 Tai Seng Street Tel: 6383 0120 www.marquis.com.sg
TIMBER VIRTUOSO Porada Even if you are not a wood furniture lover, you wouldn’t need much coaxing to sidle up to Porada’s contemporary wood-based creations. Typified by clean lines and timeless forms, its collection of furniture and homeware are crafted from extremely durable heartwood of solid timber like cherry, canaletta walnut and ash. Backed by over 40 years of woodwork expertise, the Porada range is destined to earn a lasting place in many a discerning urbanite’s abode. From loungers to bookcases, Porada’s heartwood collection expresses the brand’s consummate woodwork expertise
Pictures courtesy of Marquis Furniture Gallery
Benefitting from the creative genius of top-notch designers like Patricia Urquiola and JeanMarie Massaud, Emu’s outdoor furniture creations are a designophile’s dream come true
THE BEAU T I F U L
“Mosaïque au 24” porcelain dinner service. Liat Towers. Tel. 6738 9807. Takashimaya. Tel. 6735 5228. Hermes.com
E S C A P E
CERAMICA CHRONOGRAPH www.rado.com ALL WATCHES Lucky Plaza • CORTINA WATCH Raffles City • DICKSON WATCH & JEWELLERY Paragon • WATCHES OF SWITZERLAND Paragon, VivoCity For enquiries, email : Rado@swatchgroup.com.sg
TEXT JENNIFER CHOO i F ron t ier
Aesop Flinders Lane
Aesop’s signature stores eschew
the tediousness of carbon copy chains so popular in the 1990s and early 2000s by emphatically embracing individuality. Each of their 20 stores carrying top-ofthe-range botanically based skin, hair and body products, dotted around the globe is a reflection of its location, and draws inspiration from varied and eccentric references ranging from Shakespeare and Co’s Paris staircase (Aesop Holland Village, Singapore) to Swiss asylums (Aesop Doncaster, Australia).
Endlessly individualistic and occasionally quirky, Aesop’s stores have made the London Design Museum Awards committee sit up. ROOM pops in on a winsome trio
Aesop Zurich
Aesop Adelaide
Despite having little in common with one another aside from a warm welcoming ambience, the one thing the stores all do is celebrate Aesop’s mantra of celebrating human endeavours with intellectual rigour, vision, and a nod to the whimsical. Small surprise then that three Aesop retail stores, all designed by Rodney Eggleston of Melbourne’s March Studio in collaboration with Aesop director Dennis Paphitis, have been nominated in this year’s London Design Museum Awards. The three nominated Aesop stores, in Melbourne, Adelaide and Zurich were selected by the committee for their innovative approach to retail space.
CARDBOARD TEMP Since Aesop’s Melbourne Flinders Lane store was envisaged as a temporary outlet, the designers turned to cardboard boxes for inspiration. Playing on its very impermanence, the cardboard boxes lend a feeling that the store itself is always in the process of moving. This was in 2007 and construction took only five days. The store fit-out relied entirely on industrial-grade cardboard, from the massive eastern facade to the display shelves and counters; proving that cardboard can be both striking and structurally sturdy if engineered well. While the brown cardboard gave the store an aura of a warehouse, the towering shelving arranged sculpturally echo the work of another paper-loving architect, Shigeru Ban.
Aesop Flinders Lane Shop 1C, 268 Flinders Lane, Melbourne Tel: +61 3 9663 0862 www.aesop.net.au
F ron t ier
GLASS WAVE Fusing craft and design to spectacular effect, Aesop’s Adelaide store features an undulating ceiling constructed from 7,560 recycled amber glass bottles which have been synonymous with Aesop since its inception for their ability to guard the integrity and stability of its products. From afar, the rolling-wave ceiling is akin to a pulsating organism from a science fiction movie but on closer inspection, the pixelated beauty of the uneven surface reveals itself. The designers cite local produce markets, good red wine and German medicinal glass as their inspiration but what is patently obvious is that their idea injected a large dose of cool into sustainable design.
pictures courtesy of Aesop and De Ramachandra
Aesop Adelaide Shop 7B, Adelaide Central Plaza 100 Rundle Mall, Adelaide Tel: +61 8 8232 5957 www.aesop.net.au
LIGHTWEIGHT LEVITATION The third European store after Paris and London, Aesop Zurich is distinctive for its re-fashioning of hoarding boards used on Swiss construction sites, and a challenging site with long narrow layout, low ceiling and awkwardly positioned columns. Working with rather than against the difficulties, the designers suspended the shelves and long sinks from the ceiling, provoking a sense of weightlessness so crucial in a limited space. This gives the store plenty of room to breathe since the shelves don’t make contact with the ground and only the necessary products and shelving are featured. Browsing is also a much more relaxing experience thanks to the levitated and floating feeling. F Aesop Zurich Oberdorfstrasse 2 CH - 8001 Zurich Tel: +41 43 541 87 00 www.aesop.ch
F l a s h I TEXT jENNIFER CHOO
Conceived by Pierre Paulin in 1971 for Georges Pompidou’s private apartment in the Elysee Palace, inspired updates of the Pumpkin chair come to market via Ligne Roset
A chance
meeting in 2007 between French designer Pierre Paulin and Michel Roset led to Ligne Roset’s production of the Pumpkin collection of sofa, love seat, armchair and ottoman. Inspired take-offs from the originals Paulin conceived for Georges Pompidou when he furnished the erstwhile president’s residence (1971 to 1974), the Pumpkin pays tribute to the voluptuous, rounded, luscious shape of the golden fruit. Sculpted from foam, it is covered with stretchy fabric for a yielding sensuous experience when you sink into the seat.
The status conscious will find it reassuring that besides Pompidou, Paulin also designed all the furniture for the offices of Francois Mitterrand, and renovated Jacques Chirac’s dining room. So the Pumpkin is a rare collection which tightly bundles great design with presidential prestige. F
Available at ligne roset #01-01 Odeon Towers 331 North Bridge Road Tel: 6235 4211 www.monticellodesigns.com
F l a s h
Draped majestically
Sculptural in appearance yet comfortable and embracing, SKiN is a Jean Nouvel vision
over a tubular steel frame and supported with inserts of polyurethane foam, the swathe of suspended leather in the SKiN sofa manages to look elegant yet relaxed thanks to the star-shaped incisions covering its ‘freefloating’ surface. Designed by the 2008 Pritzker Prize award-winning French architect Jean Nouvel and manufactured by Molteni & C, SKiN is an interesting alternative to 20th century leather classics by the likes of Eames and Le Corbusier; presenting an avant-garde expression of an age-old and beloved natural material. Available in black or white leather as well as felt, the SKiN collection includes sofa, armchair and pouf. F Available at baker furniture 186 Bukit Timah Road Tel: 6737 4737 www.molteni.it
F l a s h I TEXT joshua yap
Reclaim more living space with these spiffy shelving and storage solutions MINIFORMS Air Exuding quiet elegance by the spades, the Air bookcase is a glowing example of scrupulous construct realised with refined materials. Its hefty wooden frame with ethereal frosted glass shelves blends easily into any contemporary decor with its coffee oak, white or black matte lacquered finishing.
MINIFORMS Gigio Sidestepping the imposing formality of conventional bookcases, Gigio flaunts its asymmetrical beauty in lightweight yet sturdy honeycomb aluminium. Although fabulous as a singular statement piece, it looks even more spectacular when you line two or more of it against your wall so its jutting shelves fit like a giant jigsaw puzzle.
MINIFORMS Cliff This buf fet intrigues with a f ascinating f acet te d f acade moulded in white or black p olyurethan e . H oweve r, don’t dismiss it as another pretty face as it serves its primary function well with ample storage space bolstered by a hardy wooden structure and chrome steel base.
Available at Proof Living 71-77 Stamford Road Vanguard Building Tel: 6438 4688
F l a s h
DESALTO Fill Blame it on the age-old adage of less is more because Desalto has shrunk the thickness of its shelving units to anorexic proportions with the Fill modular system. Embodying modern minimalism to the hilt, the system ranges from modest sideboards to hulking bookshelves and is surprisingly strong enough to accommodate bulky TV and home entertainment systems, thanks to its extruded aluminium construct.
DESALTO Booxx Refreshingly novel yet inexplicably familiar, B oox x is an innovative wall mo unte d bookcase that playfully takes on the dynamic form of a pantograph structure. Available in black and white lacquered or galvanised steel, it is extremely versatile as it can be extended from 35cm to a maximum height of 230cm to cater to any space constraints. Available at X-TRA LIVING #01-01 Park Mall Tel: 6336 0688 www.xtra.com.sg
F l a s h
ARFLEX Live We cannot think of a simpler way to organise and display your colle ction of books , C D s a n d DV D s t h a n w i t h Live. Although it’s incredibly reed thin and light, don’t be fooled by its appearance as it is extremely hardy with an aluminium covered MDF body that can take up to 54kg worth of load. Installation is a cinch with Arflex’s patented fixing hiding method that secures the unit in just five minutes.
Available at Mod.Living
EMMEMOBILI Caos Caos dispels all preconceived notions of shelving units with its avant-garde profile and whimsically placed panels at eccentric angles. Available in tinted oak, open pores lacquered or matte lacquered finishing, it measures a hulking 240cm x 190cm and is definitely not for the faint of heart. Available at Mod.Living #01-01/02 Central Mall Tel: 6336 2286 www.modliving.com.sg
POLIFORM Free Impeccably built with an almost obsessive accordance to exacting standards that we’ve come to expect from Poliform, Free impresses with its clean lines and stylish geometric shapes. Available as a tall sideboard with an inner drawer equipped with a cutlery holder or a low four-drawer sideboard, it comes in 25 matte and glossy colour options with its handle frames in tasteful wenge, walnut or matte finishes. Available at Space poliform Millenia Walk, #03-05/06 Tel: 6337 1995 www.spacefurniture.com.sg
F l a s h
ZANOTTA Level If you are smitten by Gerrit Rietveld’s Red and Blue chair or are an avid collector of Piet Mondrian lithographs, you will undoubtedly be drawn to the Level bookcase. Mirroring the neoplasticism style of these masters, it playfully contrasts the natural or wenge-stained oak veneers of its grid-like structure with back panels painted in delicious orange, green and grey. Available in four different sizes, it can be positioned vertically or horizontally.
Available at Space Furniture
GIORGETTI Onda This one’s for the consummate s t y l i s t a ’s b o u d o i r. T h e O n d a bedside cabinet charms with its minimalist aesthetics. Its drawers are mounted on Silent System runners that extend fully so you wo n’t d is tu r b yo u r p a r tn e r ’s slumber when you put away your personal knick-knacks. It comes in a choice of finishes including polished maple and bright metal lacquered maple wood. F Available at Space Furniture Millenia Walk, Level 2 Tel: 6415 0000 www.spacefurniture.com.sg
Furniture, rugs, gifts and accessories. Custom made furniture available.
83 Kim Yam Road 6735-3307 Open everyday 10-6PM www.johnerdosgallery.com Photography by Marcus Mok available at www.studio83.com.sg
F l a s h
DESALTO Fluid Shaped like a dice but with open sides, the base module of the Fluid collection is a small steel rod cage that works perfectly as an occasional table or stool. Designed by Arik Levy, the module can b e s t a c ke d ve r t i c a l l y o r horizontally and composed into shelves or bookcases. It is available in black, white, green or amaranthine finish.
CONSTANINI PIETRO
Available at XTRA 9 Penang Road #01-01/02-01 Tel: 6336 0688 www.xtra.com.sg
No More With its glass top balancing on an elliptical cage wrapped with whorls in assorted sizes swirling all round, the No More coffee table designed by Marco Acerbis harks back to the dotty days of 1970s Carnegie Street in London when shag rugs and floral printed bandanas were the rage. The amazing thing is that today’s Generation Y will find its curlicue base as appealing as their baby boomer parents.
Available at Mod Living 7 Magazine Road #01-01/02 Central Mall Conservation Block Tel: 6336 2286 www.modliving.com.sg
Spring for surprise with coffee tables that deviate from the norm MOLTENI & C Quake Despite the name, the Quake collection of coffee tables by Molteni & C is hardly earthshattering in terms of girth or heft. Instead, their steel legs (held sturdy by crosssupp or t s) are more akin to a lean ballerina’s than the Beijing Olympics 100m gold medallist Usain Bolt’s muscular calves and thighs. Designed by Arik Levy, Quake comes in different heights with glass tops. F
Available at Baker Furniture 186 Bukit Timah Road Tel: 6737 4737
E C L I P S E C O L L E C T I O N 路 D E S I G N M A R K G A B B E R TA S ( LO N D O N )
S U P E R B LY C R A F T E D T E A K , W O V E N A N D S TA I N L E S S S T E E L O U T D O O R F U R N I T U R E G LO S T E R F U R N I T U R E , 2 5 J U R O N G P O R T R O A D , L E V E L 3 . S I N G A P O R E 6 1 9 0 9 8 T E L . + 6 5 6 2 6 5 6 2 2 2 路 FA X . + 6 5 6 2 6 5 9 4 8 9 E - M A I L . G L O S T E R . A S I A P A C I F I C @ G L O S T E R . C O M . S G 路 W W W. G L O S T E R . C O M
F L O U R I S H
Shorn and pared into slender yet sturdy limbs and parts suggesting flight and weightlessness, natural timber furniture has stood its own against metals and plastics. Form does a group hug with some old and new examples ZANOTTA REALE and CAVOUR It has been more than 50 years since the late Turin-born architect Carlo Mollino (1905 - 1973) designed the Reale table and Cavour writing desk but the two still look as sharp as the day the first ones rolled off the factory line in 1946 and 1949 respectively. The construction of their timber bases resemble the stand of a traditional easel, lending the bevel-edge glass-top tables a touch of nostalgia despite their aerodynamic profiles which hint at Mollino’s passion for race cars. Mollino who once proclaimed that “Everything is permissible (in design) as long as it is fantastic” would be flattered to know that the silhouettes of the Reale and Cavour have since inspired countless designers.
The Cavour writing desk is available in natural or wengestained oak
The Reale table frame is available in natural, varnished or wengestained cherrywood and walnut-dyed oak or painted with open-pore black or white finish
Available at SPACE Furniture Millenia Walk Level 2 9 Raffles Boulevard Tel: 6415 0000 www.spacefurniture.com.sg
F L O U R I S H
FLEXFORM JIFF The clarity of Jiff’s geometric lines will appeal to those who want their coffee table and console to blend quietly into the background. These extensions to the Jiff tables which were launched by Flexform in 2003 are made of solid timber. Available at SPACE Furniture
GIORGETTI VICTOR Besides the round version pictured above, the elegantly proportioned Victor dining and cof fee tables are also available in square or rectangular shapes. The interesting pattern seen on the table top is the result of meticulously researched design and is completely natural as well. The unique shaped legs can be covered in various shades of leather. Available at SPACE Furniture Millenia Walk Level 2 9 Raffles Boulevard Tel: 6415 0000 www.spacefurniture.com.sg
F L O U R I S H
EMMEMOBILI Available at Marquis Furniture Gallery Qsquare 16 Tai Seng Street Level 1 Tel: 6383 0119 www.marquis.com.sg
BLADE Endowed with strong, sturdy yet asymmetrical legs and a solid top with faceted edges, Blade is a dining table that looks like a dangerous weapon that could slice easily through the air in a Chinese martial art movie or sword fighting epic. But its designer is Carlo Ballabio and not Donnie Yen or Zhang Yimou. It comes in two sizes: 240 x 110cm and 300 x 120cm in oak or ebony wood.
CECCOTTI OBI Aptly named after the Japanese waist cloth or belt, the solid American walnut table base is designed in the obi’s likeness when it is elegantly knotted and tied. The silhouette is gently arched and curved in Ceccotti’s signature style, providing hints of its handcrafting heritage. The glass top is available in sandblasted, smoked, bronzed or gold finishes.
CECCOTTI VALENTINA Composed of curved wooden slats, the Valentina’s high headboard endows it with a voluptuous look. A sexy alternative to the conventional flatchested headboard, its statuesque curves extend to the slim shapely legs that support the base. Crafted in solid walnut, it is also available with the headboard upholstered in leather.
Available at Platform Millenia Walk #02-31, 9 Raffles Boulevard Tel: 6338 6285
F L O U R I S H
B&B ITALIA SEVEN A rare example of an asymmetrical dining table with three sides, Seven features a 3+2+2 seating configuration. Very graphic and unusual, it changes the conventional spatial hierarchy presented by the round, square or rectangular table. Designed by Jean Marie Massaud, the rounded corners of the triangular wooden tabletop and the three-branch metallic base structure present a harmonious contrast of organic curves and linear geometry. The metallic base comes in white, black, mustard yellow, blue, burgundy or orange finish while the top comes in light grey or brown oak, or satin-varnished in a range of 14 colours.
Available at SPACE Furniture
MAXALTO BY B&B ITALIA ANTEO Aficionados of Japanese architecture would be able to spot the resemblance of the Anteo wooden coffee table to the country’s famous freestanding tori gates which guard the entrances to many Buddhist temples and Shinto shrines. Designed by Antonio Citterio, Anteo manifests the minimalist Zen aesthetics which the Italian architect has so successfully mastered in his design of the Bulgari hotel and resort in Milan and Bali. The Anteo collection includes a console with vertical slat doors and sides. Available at SPACE Furniture Millenia Walk Level 2 9 Raffles Boulevard Tel: 6415 0000 www.spacefurniture.com.sg
iNNovisioNs iN LiGhtiNG Even, radiant light floods the room: Downsquare is ideal for elegant spaces with high ceilings, from VIP lounge to ballroom. This innovative luminaire provides impressive proof that a superior aesthetic and functionality are complementary. Thanks to the high luminosity of Downsquare, only a few luminaires are needed to fill even large spaces with pleasantly bright light. Swarovski is opening up entirely new interior-design possibilities to architects and lighting designers with its sophisticated luminaires and lighting systems.
Swarovski Singapore Trading Pte Ltd Business Unit Architecture 2 Alexandra Road #03 – 01 Delta House Singapore 159919 T: (65) 6273 0707 www.swarovski.com/ architecture
NEw SHowRooM
other lighting houses offering Swarovski luminaires and lighting systems:
Arco Holdings Pte Ltd 302 Jalan Besar #01 – 01 Singapore 208963 T: (65) 6358 0828
LC Lighting Centre Singapore 360 Balestier Road #02 – 16 Shaw Plaza Singapore 329783 T: (65) 6358 3353
Lumiere 355 Balestier Road #01 – 359 Goodwill Mansion Singapore 329782 T: (65) 6353 3188
Lighting Centre 217 East Coast Road #01 – 100 Singapore 428915 T: (65) 6346 7255
www.arco.com.sG
Casa Nuovo 9 Penang Road #02 – 21/22/23 Park Mall Singapore 238459 T: (65) 6338 5633
Vlux Lighting 722, 724, 726 & 728 Geylang Road Singapore 389633 T: (65) 6742 7288
Light Collection 241 River Valley Road Singapore 238298 T: (65) 6737 5518
Lightology 534 & 536 Balestier Road Singapore 329860 T: (65) 6252 5585
Lighting Centre 400 Balestier Road Singapore 329802 T: (65) 6560 5300
F L O U R I S H
Deer
AUTOBAN SCRUB, KAHVE and DEER In tribute to Istanbul’s old cafe culture, Turkey’s famous architectural and design duo Seyhan Ozdemir and Sefer Caglar have launched numerous similar inspired furniture pieces in the past few years, including the Kahve and Deer chairs with sloping backs. There is a chic retro mid-20th century quality about them. Yet strangely, some also see a Hobbit-like funkiness in them. In particular, their Scrub table which is held aloft by a cluster of four strong twigs at either end could well be a sophisticated version of what would go down well in the homes of Frodo and his friends in the Lord of the Rings trilogy. F
Available at DREAM 456 River Valley Road Tel: 6235 0220
Kahve
Scrub
F l a s h I TEXT joshua yap
If you love
the beauty of solid wood furniture but loathe thinking about the adverse effects its production might have on our environment, d-Bodhi saves you the guilt trip with its collection of handmade furniture and handicrafts crafted from reclaimed teakwood. Sourcing disused wood from old buildings, houses, bridges and railway sleepers that have gone to waste, the Singapore-based company has been giving discarded wood a new lease of life in its Indonesian workshops since 2007, and has been steadily exporting 20 containers of its furniture to Europe, Australia, Asia and Canada each month.
Home-grown recycled teakwood furniture maker, d-Bodhi, looks set to win over the hearts of local homeowners after wowing hordes of international supporters
Although relatively unknown locally, this is about to change as d-Bodhi is finally opening its first flagship store in the world at Kung Chong Road (off Leng Kee Road) in mid April. Occupying a spacious 3,200 sq ft, the new showroom offers visitors an opportunity to take in its comprehensive collection in its entirety to fully appreciate the captivating splendour of its creations that are certified by the Forest Stewardship Council — one of the world’s most prominent initiatives promoting responsible management of the world’s forests. Assiduous in its mantra of ‘old wood, new life, no waste’, d-Bodhi takes great pride in utilising every bit of precious wood it salvages. While larger slabs of lumber are used to make bulkier items like beds and tables, smaller pieces are transformed into larger planks with the finger joint method or laminated into panels for cabinets and flooring. Thinner pieces, on the other hand, are ingeniously u s e d t o c r e a t e undulating mosaic panels. Even wooden fibres and sawdust get a chance to see the light of day again as they are combined with resin to create charming items like lamps and washbasins.
Trapesium Dining Table
F l a s h I TEXT joshua yap
The result of d-Bodhi’s dedication is a nature lover’s dream come true as it brings the rugged beauty of weathered recycled wood into your home in the most alluringly stylish fashion. While conventional contemporary furniture abhors nicks and cracks, d-Bodhi’s furniture pieces wear them like a badge of honour, inviting you to relive their glorious past. Nostalgic and rustic, yet infused with an indelible modernism, they are a sure-fire way to inject a romantic dose of warmth and comfort into any home. F Available at d-Bodhi 12 Kung Chong Road Tel: 6472 4587 www.d-bodhi.com
Octa lamps
Fissure side table
Lucy side table
Available at d-Bodhi 12 Kung Chong Road Tel: 6472 4587 www.d-bodhi.com
Lucy cabinet
Creating Moments
F l a s h I TEXT joshua yap
Tobias Grau fires the imagination of lighting aficionados with its range of beguiling lights electrified by a heady dose of futurism Lauded
by designophiles since its inception in the early 1980s, Tobias Grau has established itself as the lighting specialist to watch with its exceptional brand of avant-garde offerings that lend fascinating dashes of pizzazz to any contemporary interior. Chic, fluid and often marked by sleek futuristic lines, its wall, ceiling, pendant, floor and table lamps have been clinching top honours in international design awards including the prestigious Red Dot and iF Product design award. F
Tobias Grau SOON Be the envy of your colleagues with the Soon table lamp flaunting a slim and adjustable yet extremely durable spine that allows you to position the lamp for optimal reading comfort.
Tobias Grau CASINO Casino’s inconspicuous slender handblown glass shade belies a playful LED light that can be programmed to alternate between eight different colours to match your mood.
Tobias Grau GEORGE Part lighting, part work of art and all gorgeous, the George floor lamp lights up a room in style whether as a spotlight or an indirect mood lighting with its optional reflector.
Available at Kitchen Culture Thye Hong Centre #01-02/05, 2 Leng Kee Road Tel: 6473 6776 www.kitchenculture.com Haus Furnishings & Interiors Palais Renaissance #03-04, 390 Orchard Road Tel: 6235 6866 www.haus.com.sg
F l a s h
Thanks to Italian
accessories manufacturer Alessi, admirers of the fluid dynamic lines, shapes and forms that catapulted Iraqi-born, London-based architect Zaha Hadid to prominence can now bring home a tabletop version. Her centerpiece which is named Niche comprises five elements that can be assembled in multiple configurations. The individual elements which function as concave receptacles feature irregular projectile edges that seem to cantilever and fly in different directions, reflecting the aerodynamic and deconstructed idioms that earned Hadid her iconic status. Made of black melamine, they are ideal for storing, presenting or serving. F Available at XTRA 9 Penang Road #01-01/02-01 Tel: 6336 0688 www.xtra.com.sg
F l a s h
Paper cup holder
Paper napkin holder
In
another growth spurt after the sudden burst back to life last year when the Mediterraneo collection saw the addition of both kitchen utensils (jars and a hook) and bathroom items (all-purpose container, soap dish and toothbrush holder), Alessi has expanded it yet again this year with three outdoor party-oriented items: paper napkin holder, paper plate holder and paper cup holder. Designd by Emma Silvestris, Mediterraneo’s multi-fingered flora motifs which can be interpreted as coral, algae or cactus, continue to hold sway. The items are available in stainless steel or red epoxy resin finish. F Available at XTRA 9 Penang Road #01-01/02-01 Tel: 6336 0688 www.xtra.com.sg Paper plate holder
Jars
All-purpose container
Toothbrush holder
Soap dish
THE WARDROBE SPECIALIST - fullďŹ lling every needs of a dream closet At ClosetDesign, we tailor all your wardrobe requirements to your lifestyle be it hectic or serene. Our consultants are trained to assess your lifestyle needs and examine your daily habits to ensure that your storage system serves you well. No stone is left unturned when we plan your space. Be prepared for an all-new organized and orderly wardrobe! showroom: 355 balestier road, goodwill mansion #01-355, singapore 329782 T: 6252 1514 F: 6258 1514 18 kaki bukit road 3, entrepreneur business centre #02-13, singapore 415978 T: 6842 1514 F: 6745 1514 (By appointment only) Website: www.closetdesign.com.sg Admin OfďŹ ce: 3 irving road, irving industrial building #01-05, singapore 369522 T: 6382 1514 F: 6286 1514 Email us: sales@closetdesign.com.sg
F l a s h I TEXT joshua yap
Atmosphere entices the posh set with its collection of irresistibly luxurious silk-covered cushions
When
it comes to adding the finishing touches to a home, it’s amazing the difference a few languorously strewn silk-covered cushions can make. Of fering a new collection of opulent cushions that ranges from 18” x 18” to 30” x 30”, Atmosphere provides a smorgasbord of silk and silk-blended cushion covers created exclusively by its studios in New York and Bangalore. Tastefully decked out in vibrant hues or flaunting refined floral motifs, they make the ideal props for low seating arrangements in the family room or bedroom, and may very well have you forego your bed with its cushy comfort. F
Available at Atmosphere 1 Nassim Road #01-03 Tel: 6838 0976
F u n d a m e n t a l s I TEXT joshua yap
Any
Stylishly sleek in brushed stainless steel, Liebherr’s SBSes 7273 PremiumPlus BioFresh refrigerator keeps it fresh with an innovative energy-saving technology
houseproud urbanite will agree that outfitting their pristine kitchen with the perfect fridge is an uphill task involving an agonising hunt for an ideal balance between form and f unction . Taking the guesswork out of your search, Liebherr’s SBSes 7273 PremiumPlus BioFresh artfully embodies both qualities to deliver superb performance in a streamlined stainless steel package. Its BioFreshPlus technology ensures that fruits, vegetables, meat and dairy products stay fresh up to three times longer by keeping them in an optimal storage condition at a low temperature with high humidity. A sure clincher f o r t h e e nv i r o n m e n t a l l y conscious pack, it also boasts an A+ energy efficiency class rating, consuming a modest 460.6kWh per year. F Available at kitchen culture Thye Hong Centre #01-02/05 2 Leng Kee Road Tel: 6473 6776 www.kitchenculture.com
PORTRAITS MAURICE LEE / MAUrICE COLOr box i F ocu s
53
overly designed restaurants have given way to understated chic. Mahdhir Mustaffa grills a trio of designers responsible for putting on the simple ritz in these eateries Thanks
to adventurous travel, global media exposure and a heightened appreciation for simplicity, Singaporeans have a deep shine for pared down boutiques, showrooms, homes and‌ restaurants.
JING
THE WHITE RABBIT
Form spoke to three designers who have zoomed in on this pared-down aesthetic in their restaurant designs: Peter Tay of Peter Tay Associates for 53; Antonio Eraso and Akira Kita from Antonio Eraso Co. for Jing; and Marc Webb and Naoko Takenouchi from Takenouchi and Webb for The White Rabbit.
F ocu s
Peter Tay sends a hip Danish chill whistling through this vintage terraced shophouse a few doors from the Peranakan Museum Humble and soft-spoken, it is rather hard to believe that Peter Tay is responsible for designing
homes for celebrities like Zoe Tay and Zhang Ziyi. Even when he was just starting out seven years ago, his first project was designing the salon of leading Singapore hairstylist, David Gan. With credentials that include an architectural degree from the prestigious Architectural Association London that counts worldfamous architects such as Zaha Hadid and Rem Koolhaas as alumni, it is impossible to disregard the talent of this 38-year-old. You could say that Peter thrives on design and finds it difficult to separate himself from his work as he sees interior design in relation to architecture, fashion and almost everything else. This can be discerned from his design projects that span bungalows and offices to boutiques and restaurants. The Melting Pot Cafe in Concord Kuala Lumpur was his first F&B gig, and in Singapore, it was Prime Society on Dempsey Hill. His emphasis has always been dimension, proportion, colour and experimentation. And unsurprisingly, for 53 at Armenian Street — which he counts as one of his most unique projects — he has gone back to basics and focussed on using simple elements of lightness to create a feeling of spaciousness in a stylishly serious manner.
What is the most unique aspect of 53?
What is your design style like? My signature designs are all modern without any hint of trendiness because trends come and go. Call it creating modernity. With every project, my style remains modern but there is character in each that is derived from a concept. For 53, the concept was to keep it neutral.
What is 53 all about? If you look at my other past projects, with the Armani Casa showroom at Raffles Hotel Arcade for instance, it bears the brand’s principle character and identity which I had to incorporate. With 53 however, when Michael Han (head chef and owner of 53) approached me, he wanted to create an identity with a clear and distinctive brand image.
How was the design approached? It is important to know that this is a design of understatement. Michael wanted to have that similar industrial sort of feel that he got while working in Noma restaurant in Copenhagen. He didn’t want it to look glamorous but ‘simple’ and quiet.
I w a n t e d people to feel the architecture. If I went heavy on the decoration, it would look like any other restaurant and that is why I chose to expose part of the brick wall on the first floor. It was all about injecting a feel for material. I wanted people to be able to touch and feel the walls and, the structure, and realise that this was an old place that had been given a lift.
How does Michael Han’s contemporary European cuisine that hints of influences from the renowned chef Heston Blumenthal affect your design? I u s e M i c h a e l ’s f o o d a s a metaphor. Personally, I feel that the interior has to relate to the architecture, as well as relate to its food. If let’s say, Michael was selling char kuay teow, the design would be different.
What was the reason behind using Scandinavian furniture? All Scandinavian furniture is either modern or classic. For example, the Hans Wagner Y-chairs that are used in the private dining room, are made of wood and they’re beautiful to hold on to.
“I believe that simplicity holds greater complexity” – Peter Tay
F ocu s
Since 53 is located in an old shophouse, were there any problems? I n th e b e g i n n i n g th e re wa s not enough power supply. We needed more electrical power, which meant we needed to submit a request and layout. The entire process took almost five to six months.
Is 53’s design addressing any trend? If you look at the design of many restaurants, most exude a certain type of warm Chinois flair or are inspired af ter modern Japanese and New York restaurants. But with this one, I was told to take another approach and this was great, otherwise I would have designed 53 like any other restaurant, boutique or showroom space. The word was austerity and appreciation of the food. I also didn’t want people to see my work as minimal and clean cut.
Honestly, some clients do not like minimal as they do not like the idea of a bare space. As for me, design is all about creating space.
old tree trunks from denmark grandly align the staircase
photography by maurice lee / maurice color box
What is your take on minimalism then?
F ocu s
Antonio Eraso and Akira Kita compose Jing with haiku-like precision, folding the ceiling into an origami-like sculpture of inverted peaks Those
who swear by Savile Row suits will fully understand the satisfaction of donning something custom-made and it is this feeling that drives South Americans Antonio Eraso, 45 and Akira Kita, 30, of Antonio Eraso Co. Founded in 2002, Eraso aims to create a sensible and functional interior for each project, with an accompaniment of bespoke craftsmanship and understated refinement. This mantra is fundamental to their design of contemporary Chinese restaurant Jing at One Fullerton. Generally, they do not design restaurants unless it is a request from a special client and to date, the only other eatery that they have worked on was My Humble House at the Esplanade. And since what they do is ‘bespoke work’, they design according to the space available because the same look might not suit another location. Their work varies from residential to commercial properties and offices, with projects done locally and overseas like in Phuket, Thailand. Currently, they are designing condominiums in Kuala Lumpur, Malaysia, and are looking at working on furniture and product design projects with a couple of European designers.
Both architects received their basic architectural education in Colombia but each tells a different story. For Antonio, architecture serves as a tool for travel and it has brought him to cities like New York, where he spent close to 10 years working on projects in the city and other parts of the world before settling in Singapore 12 years ago. Akira, on the other hand, returned home after an internship in Spain, where he spent most of his time designing public and social housing, which he feels has taught him to handle a variety of projects.
Can you please describe the geometric ceiling feature?
Akira: It’s not about a concept but more about taking advantage of the space. We saw an almost double height space and wanted to maximise that. When we studied the roof, we realised that we could make height the main character of the place. We then went on to include geometry and piled on loudness on top of that, while trying to keep the design simple and classy.
What were the creative starting points and inspiration when it came to designing the restaurant? Antonio: I would say that it was a process where we tried to understand kitchen and dining requirements. For a start, we began defining the seating arrangement. We decided to use chairs from the 1900s that were reminiscent of old Shanghai and extended our design from there.
What was wanted out of Jing? Antonio: First and foremost, Jing was an extension of what New Majestic (the owner and chef’s other restaurant) already had. They didn’t want to overexpose the kitchen and have an open concept because they found it passe and tired. They didn’t really want to be like any other Chinese restaurant.
Why the modern look for Jing? Antonio: The food is not typically Chinese. It has elements of Chin ese ing redie nt s th at are served and prepared in a modern manner. So, the owner and chef did not want it to look like a Chinese restaurant that one finds in Chinatown or anywhere else for that matter. Also, there was a very severe approach to any excess ornament.
Jing interior shots courtesy of antonio eraso & co.
Explain the design concept behind Jing
Akira: First of all, I must say that this was an amazing work by the contractors as I thought it was going to be complicated and would bite into construction time. Though the lines look random, they were initially drawn as a grid with carefully calculated drops. Antonio: It hides all the wires and the ducts that are hanging out and it became a nice piece of art. Initially when we talked about process, we wanted to raise the ceiling as high as possible. Then it became apparent that we couldn’t get away with air conditioning, exhausts, air ducts and piping, so it became a parameter that we ‘played’ with. And the holes play an acoustic purpose as well. They cut down noise.
Typically in a Chinese restaurant, the seating arrangement is rather tight but there is a lot of space in this one. Any reason for this? Akira: When you step into the restaurant and you only see your group and only a couple more, you feel unique and exclusive. It is more about this aspect rather than the aesthetic part of it.
Would you consider the restaurant design to be minimalist? Antonio: I think there is an idea of reduction instead where we reduce the provided elements and are wary of excessive and unnecessary ornaments. The emphasis on restaurant design in Singapore is pretty recent, say about 10 years to 14 years and it has evolved into something unique. Plus, people are getting more demanding with their cuisine.
“It’s not about a concept. But more of taking advantage of the space” – Antonio Eraso (left) and Akira Kita
F ocu s
So what is the current aesthetic trend for restaurants in Singapore? Antonio: I think that there’s a little of everything and I think it is about a complete experience that has got nothing to do with being minimalist.
no unnecessary grandeur here, just quiet, understated class
What are your takes on minimalism then? Akira: I’m not sure about minimalism anymore. I don’t know whether it’s still around but right now people are thinking of maximising space. And you can see it in contemporary architecture. Antonio: There is a belief here that an empty space is a wasted space and in our firm, we try to reduce the non-essential. To live or to dine in a very minimalist space requires a certain mindset and it’s not for everyone.
What is important when it comes to designing a restaurant? Antonio: It is like a stage performance you go to for a couple of hours and one that you go to see or be seen at. Geometric ceiling structures take centre stage
With designs such as Jing, why do you think it is getting popular of late? Antonio: Singaporeans travel a lot, so people see restaurants elsewhere and they go to places where they get to see what is happening.
So what is the trend like now? Antonio: A year and a half ago the trend was crocodile skin for boots and the ladies carried Hermes bags. These days, people are bashful about being seen in excesses. The luxury now, is not so much in the over-display of materials but more on the luxury of space, light, quietness and emptiness.
Marc Webb and Naoko Takenouchi indulge in a little old-fashion magic, pulling The White Rabbit out of the deconsecrated Ebenezer chapel For some,
working with one’s spouse often spells trouble but not so for newlyweds Marc Webb, 40, and Naoko Takenouchi, 34. Marc previously worked with Kerry Hill Architects and Naoko was a restaurant designer based in Tokyo. But after meeting in Chiangmai in 2004 for different architectural assignments, Marc managed to persuade Naoko to make base here and three years on, their firm Takenouchi Webb was formed. Together, they have designed resorts and bars in places like Phuket, Jakarta and the Maldives. Both are currently working on a concept design for a hotel in Oman and an upcoming restaurant in Sentosa. However, their aim is to specialise in designing restaurants. The White Rabbit in Harding Road is their first completed project in Singapore and it has a special place in their hearts. Following that, they have designed two other local restaurants, La Villa on River Valley Road and OverEasy at One Fullerton.
While they can’t really pinpoint who exactly designed which aspect of The White Rabbit, both are fans of modernist designs with hints of simplicity and rawness. Sporadically taking architectural cues from New York-based design firm Avroko, they aim for a quirky, funky and fun style. However, they say that each project is a learning process which they hope to gain knowledge from as they embark on more restaurant and architectural jobs.
Besides its physical appearance, were there any other creative starting points? M a r c : W e referred to a lot o f c o l o n i al and large British u n i v e r s i t y dining halls with r a i s e d p latforms, panelling a n d t i m b er walls.
What was the design brief like?
What was White Rabbit like before you embarked on designing it? Marc: When we first saw the place, it was an abandoned, derelict church but we wanted to keep as much of the original details as possible. And the idea that came about later was to convert it into a restaurant while retaining the essence of the church.
What was it about the place that you liked so much? Naoko: We were overwhelmed by the space and details like the grilles and mosaic tiling on the floor. But mostly, it was the big volume of the place that caught our fancy and we found that to be quite unusual. Marc: And we also liked the bit about it being rough. We didn’t polish it too much, preferring to leave the rawness in the material.
M a r c : The client wanted quite a lot happening within this space. They wanted a bar, a restaurant and an alfresco area to cater to lunch, dinner and drinks. At the same time, we wanted to keep everything confined to one area instead of dividing the space up into different sections. Naoko: A particular brief from the client was that they wanted an old world kind of style. Luckily, the client’s vision and our style gelled. So it was quite easy to communicate and toss ideas.
“The essence of the dining hall is that it is a big echo-y sort of space” – Marc Webb and Naoko Takenouchi
So what sort of design style would you describe The White Rabbit as? Marc: It is hard to define a style or design. However, I think it has got that sense of rawness to it and the materials that we chose like copper, add a modern edge to it as well. Overall, I personally find it quite slick in a classical kind of way. Naoko: As an instinct, the existing building left such a strong statement that we wanted to insert as much raw materials as possible. Take the bar for example. Although we didn’t use solid marble, we did choose a material that gave off the same texture and rawness to the design. Our aim was to make sure that these materials would co-exist with the original essence of the building..
So which came first, the restaurant’s concept or design? Marc: I think both developed at the same time because when we began, the client didn’t have a very precise idea on the type of food or even a name for the place. And as the design developed, the colonial feel followed, and from there, the menu was drawn up. Then came the graphics and name.
F ocu s
What sort of mood and ambience do you think this restaurant evokes? Marc: The essence of the dining hall is that it is a big ‘echo-y’ sort of space. So when you’re in here, you will hear the clatter of the utensils and be in a lively place, and we like that.
Marc: I think in Singapore the trend is changing with a concentration towards a less polished look. Naoko: Cer tainly when we compare generations, there is quite a big difference in terms of appreciation for design where some will prefer the polished look with chandeliers and everything shiny. As for the younger generation, I think there is more appreciation towards a modern style.
Why do you think this is happening? Marc: This could possibly be because of exposure to trends elsewhere since Singaporeans tend to travel a lot these days. Naoko: And from the media, they easily expose themselves to modern designs as seen in magazines and television. F
not your typical run of the mill lounge, the bar maintains a stylish appeal with its clever choice of leather sofas on antique parquet flooring
photography by maurice lee / maurice color box
Essentially, the White Rabbit portrays a very simple design, do you think that this is becoming a trend nowadays?
F o c u s i TEXT joshua yap PORTRAIT carolyn strover / havoc studio
From stunning wallcoverings in posh bachelor pads to plush carpeting in swishy establishments, you are probably already familiar with Goodrich Global’s offerings. Meet its visionary founder, Chan Chong Beng, who made his mark by bucking trends Chan
Chong Beng, chairman and co-founder of Goodrich Global is somewhat of a maverick in the interior furnishings arena. Some 25 years ago, when wallpaper was neither trendy nor popular, he started his company, championing premium wallcoverings from Europe, America and Japan. Today, he is reaping the benefits of his efforts as wallcoverings have become the de facto lifestyle accessory for urbanites dressing up their swanky pads. Unlike lesser entrepreneurs who shake in their boots when faced with financial crises, the consummate entrepreneur regards tough spells as the best time to suss out fresh opportunities to grow his business. The mid 1980s recession led him to recognise the limitations of the local market and gave him the impetus to venture into Malaysia, thereby opening the doors to a slew of overseas expansions to follow. When Asia was hit by the SARS crisis in 2003, rather than conserving his resources as many others did, he embarked on a momentous rebranding exercise for the company, placing it in a stronger regional market position by instilling more confidence and trust among its suppliers and customers.
Jointly conceptualised by Union and Lush Studio, the refined interior of Singapore Aesthetic Clinic is imbued with an aura of organic opulence thanks to Glamour and Natives wallcoverings from Goodrich Global
Even as the whole world is bracing itself for tougher times, Chong Beng remains unfazed as he’s confident that Goodrich Global will come out tops again. Having celebrated its 25th anniversary last October, the company has never been stronger with 18 offices in eight countries (Singapore, China, Hong Kong, India, Indonesia, Malaysia, Thailand and the United Arab Emirates), specialising in distributing and installing wallcoverings, carpets, fabrics and floorings. More importantly, Goodrich Global has become the go-to place for interior furnishings for leading architects and interior designers around the region. We catch up with the affable mogul to suss out the secret of his success.
“Over the years, Goodrich Global has built its reputation on quality, reliability and most importantly, trust.” – Chan Chong Beng, Chairman of Goodrich Global
F o c u s
Designed by award-winning Hijjas Kasturi Associates, the Putrajaya International Convention Centre in malaysia features topof-the-line Goodrich wallcoverings and carpets that meet the rigorous requirements of this worldclass facility What do you think are the contributing factors to Goodrich Global’s success? I think we are very fortunate to have the right people working for us, as well as the right suppliers to provide us with a wide range of the best products. Another reason for our success is that we have always been really focused. We started by specialising in wallpaper because I truly believe in the product. This is why it still makes up the bulk of our business to this day. I have seen many businesses fail because they are distracted by passing fads. Only when you are focused, can you see potential areas for development and foresee possible problems.
How does the company set itself apart from its competitors? Over the years, Goodrich Global has built its reputation on quality, reliability and most importantly, trust. This is why we’ve invested heavily in our branding and expanding our businesses overseas to bring ourselves closer to our customers. If interior designers are involved in projects in countries like China or Indonesia, they can specify the products they want in Singapore and we can supply and install them in the respective countries. They need not worry about logistics, custom duties and installation.
How do you establish and maintain your network of customers and suppliers over the years? I am fortunate enough to have a mother who had the foresight to send me to an English school when I was young so I’m effectively bilingual. Being conversant in English, Mandarin and Chinese dialects is a clear advantage when I first started as the local market was dominated by Hokkien-speaking businessmen. On top of that, I am able to travel and attend all the major fairs in Europe, and communicate directly with the suppliers. To make sure the business stays relevant, I started looking for CEOs to run the business seven to eight years ago. I think I have finally found somebody who is suitable to take over the company in Loo Yong Poo, our current CEO. I did this because my customers today are younger than me and I may not be able to communicate well with them. As old business connections fade, we need newcomers to interact with new customers. I do not necessarily think it’s best to hand over my business to my children. I leave that decision to my CEO. Only if he deems that they can add value to the business can they come to work for us.
This girl’s room is pop-art kitsch, personified with an effervescent wallpaper mural of dancing girls
Operating in eight different countries, do you see any differences in tastes and preferences between them? How do you cater to these differences? Generally, pink and red coloured wallcoverings are more popular in Singapore as we are predominantly Chinese. Indonesians on the other hand prefer green while Malaysians go for yellow as it is the royal colour. That said, when it comes to high-end products, the differentiation becomes less because people are becoming more affluent and well-informed of international trends. There are, of course, certain cultural taboos that we have to be sensitive to. For example, we will not bring in wallcoverings with pig motifs into Muslim countries.
The master-suite exudes seductive boudoir chic with classic black and white wallpaper softened by sheer hanging drapes
Demonstrating how wallcoverings may be your best tool to inject distinctive personalities to individual rooms, Area Infinity dresses the dining room of this singapore home in Jalan Daud with a Moroccanstyle wallpaper, giving it a mysterious charm
F o c u s
Is Goodrich Global involved in product development and manufacturing? We created the world’s first hand-painted wallpaper and currently have about 20 painters working on that product line in Beijing. We discovered a technology that allowed us to remove the vinyl coating from wallpapers so that we can paint on them and seal in the artwork with a layer of lacquer. Although it is relatively more expensive than regular wallpaper, it is still cheaper than having an artist paint directly on your walls. This is as far as we’ll go in terms of manufacturing. I don’t see the need for us to be heavily involved in production as we are already offering a comprehensive range of products from around the world. More importantly, I don’t wish to eat into the market share of my supplier’s products.
Even though wallcovering is more popular than ever before, there are still some people who are sceptical about its durability. What do you say to them? Many people ask me how long wallpaper will last and my answer to them is that so long as it is properly installed, it will be there as long as the wall is there. To dispel their fears, we offer our customers a three-year guarantee against peeling of our wallcoverings. We also encourage sceptical custom e rs to tr y installing wallcoverings on a feature wall for starters. More often than not, they will love it so much that they want to have the rest of their walls covered as well.
What are some of your thoughts on how far the company has come?
Pictures courtesy of Goodrich Global
Injecting this swanky bachelor’s pad in Hong Kong with an animalistic sexiness, ME Interior Design chose to enhance a feature wall with dramatic faux fur-printed wallcovering from Goodrich’s Natives collection
Not many companies are able to survive for 25 years so we must have done something right. Even as we continue to reinvent ourselves to stay relevant, there are a few things that will not change. In order to maintain our position as market leader, we must always win the trust of our employees and customers by not compromising our integrity, product quality, reliability and level of service.
What are some of the future plans for the company? While the next 25 years may be challenging, I’m confident that we can overcome whatever difficulties by being vigilant in what we do. We are looking to increasing our overseas businesses in terms of sales as well as operations. I think there are still a lot of places where we can develop. We have not fully explored the full potential of some of the countries we are already in like Indonesia and China. I think we have only covered the tip of the iceberg so far. Even if the economic situation worsens locally, our business overseas will p ut u s i n g o o d s te a d to weather the storm. F
Irish expatriate, Patricia Grace, waxes lyrical on her Martaban Road conservation terraced house which was restored and adapted to her requirements by architect Vincent Lim
TEXT Ashley lin i F l A I R PHOTOGRAPHY ALAN LEE / k studio
Adhering to URA’s strict guidelines on returning the facade to the original, Vincent replaced the colourful stained glass windows put in by the previous owner with timber ones that follow the original panel-type design. The concrete pillars, air-vents and balustrades embody the blend of tropical, Chinese and Victorian influences
F l A I R
Three
years af ter Patricia Grace and her family moved into their double-storey terraced house in Martaban Road, the residential enclave off Balestier Road has been vigorously rejuvenated. Modern condominium towers with sparkling glass facades have replaced the sprawl of nondescript single-storey terraced residences which used to characterise the neighbourhood. In an ironic twist, the new developments have heightened the historic appeal of Patricia’s house which is part of an intact row that was built in the 1940s and officially gazetted for conservation in 2003 as a heritage building.
Recounting her decision to buy the house, Patricia says: “I grew up in a standard family home in the suburbs of Dublin in Ireland. It is somewhat similar to those you might see in Serangoon Gardens. Each house on the street had the same standard layout – gardens front and back, filled with similar plants. Through school lessons a n d t h e I r i s h g o v e r n m e n t ’s interest in preserving buildings and historical areas, I developed a keen interest in my Irish heritage and an appreciation for world history in general. So when I moved to Singapore, I was immediately drawn to th e old shophouse architecture. But I spent th e initial years living in a duplex apar tm e nt in Pate rson Road until I found this fantastic heritage house which was within my budget.”
The plaster was removed to expose the handsome brickwork on an entire wall. Reminiscent of art galleries and wine cellars, it is perfect for showcasing the owners’ collection of paintings by Asian artists. Vincent also designed a long timber ledge for displaying collectibles like vases and sculptures
Taking centrestage on the ground level, the exposed cast-iron staircase is akin to a sculpture. its Victorian filigreepatterned railings recall the British colonial influence
F l A I R
the ground floor is one seamless space, uninhibited from front to back, with natural light flushing in through the facade openings and the air-well at the rear
Designed with an enclosed forecourt instead of the common pedestrian walkway which rules Singapore’s Peranakan-style terraced houses facing major thoroughfares, the facade of Patricia’s house, which features an eclectic mix of geometric pierce-work air-vents and faux Palladian columns, has been restored to its original splendour. Acting on URA’s instructions, the colourful stained glass windows installed by the previous owner were replaced by solid timber ones faithful to its period architecture. Except for the ponds with trickling fountain flanking the short passage leading from the gate to the portico, the facade does not betray a hint of the changes that have transformed the dim and dilapidated interiors to bright, modern and airy. Answering Patricia’s brief for an open seamless space on the ground level that is flooded with natural light and ventilation, Vincent Lim of VeTarchitecture did away with partitions and liberated the kitchen with transparent glass sliding doors opening onto the air-well with timber decking. The only structure cutting through the visual openness of the space is an exposed staircase featuring Victorian style cast-iron rails. Patricia enthuses: “There is a great feeling of space downstairs. The airwell pretty much divides the space into two. It creates some fantastic natural lighting effects in the afternoon as the sun moves across the top of the house. It is rivalled in the evening by the ambient effects that Vincent created in the patio (air-well) with a mix of strategic lighting and the sound of falling water emanating from the fountain at the back.
Whimsy pops up in the sleek stainless steel kitchen with a Chinese Cultural Revolution-style mural that features Tricia’s daughter drinking Coke and waving a hamburger with Chairman Mao’s likeness in the background
F l A I R
In keeping with the spirit of the air-well, the powder room features a translucent glass front
“Guests often comment that the brick wall and cast-iron stairs create the feeling of having dinner in an art gallery or wine cellar. Generous wall space is one of the advantages of a conservation terraced house so I decided pretty early on that it would be nice to break the continuous surface by revealing the original brickwork. In addition, I felt it would make a nice background for the paintings I have amassed over the years. Once I explained to Vincent that I had a somewhat eclectic collection of Asian vases and artefacts, he immediately suggested a long ledge.” Having spent most of her working life in Asia, Patricia explains that it was only logical that she has an interest in the works of regional artists. Her first purchase a decade ago was a painting by a Burmese artist. Today her collection includes several pieces by Vietnamese artists and a pair of paintings by Singapore artist Tung Yue Nang.
“I particularly like sitting on the sofa in mid-afternoon. When you look to the right, you see the greenery framing the air-well. If you look left, you can see the foliage of the mango trees on the main road through the windows at the front. It is unusual in the middle of the city to have such access to wildlife — birds singing, squirrels scampering up the trees, and fish and terrapins in the ponds. And when you look up, you can see the skylight and the array of full-length doors and windows framing the upper sides of the stairwell which Vincent has installed (to open up the different spaces to better receive natural light and enhance cross ventilation). “We tend to have dinner on the wooden-decked (air-well) patio in the evenings, assuming the rain stays away. It has grown better with age as the plants and foliage have matured and, more recently, a pair of birds is attempting to make a nest in one of the trees which means lots of birdsong in the morning! “The Singapore climate obviously provides the opportunity to live a part of our life outside. I have noticed in many of the houses I have visited that they all have the concept of ‘wet kitchen’ but it has actually only been in the last 10 years that Singaporeans have taken to the concept of eating outside. “When I came to Singapore in 1997, very few restaurants had outdoor (alfresco) dining areas and open-top convertible cars had not yet hit the streets. Now, of course, that has changed. But when you grow up in a cold and wet climate where it rains a lot, you tend to make the most of it when you end up in a nice tropical climate like this. This is why the dining area inside the house is reserved more for formal entertaining.
Covered with timber decking, the airwell has become the family’s favourite alfresco dinner spot
F l A I R
View of the courtyard from the second level. Cascading green overgrowth forms a cooling canopy at one end
The wall murals in the kitchen and stairwell are also great conversation starters. The one in the kitchen was inspired by the time Patricia spent in Beijing the year after the Tiananmen incident in 1989 when the people she encountered there were still attired in sombre Mao suits. But in a whimsical Warhol moment, she incorporated her daughter into the mural which features the young girl waving a hamburger while drinking a can of Coke in the foreground with Mao Zedong striking his signature pose in the background. As for the mural of curlicue orange blooms with black stems that burst forth from the upper wall of the stairwell, Patricia says it was inspired by fengshui. She says it took four painters 10 days to complete the mural and they had to balance themselves precariously on a specially-erected bamboo-scaffolding and in very awkward positions, too, from crouching to lying flat on their back.
being Too bright and too warm for hanging paintings, paTricia decided on a mural for the wall below the skylight. It was executed by four painters balancing on a bamboo scaffold
Neatly tucked into the space beneath the mezzanine, the en suite master bathroom is a stroke of genius. Designed with a custom-built bathtub and transparent glass surrounds, it ratchets up the luxury quotient of the master bedroom
F l A I R
Space constraint breeds innovation. A trap door with drop-staircase that can be stowed away leads to an overhead storage compartment in the narrow passage Convenience is everything in the morning rush so Vincent designed separate compartments for the shower and toilet which are partitioned behind the wash basin
What never fails to elicit surprise when guests are allowed a glimpse of the master bedroom upstairs at the front of the house is the en suite bathroom that is tucked snugly into the space beneath the semi-open mezzanine. Patricia describes it as a romantic Balinese vision with a custom-built bathtub and transparent glass frontage that looks onto the bedroom. It is a luxurious addition as original conservation terraced houses often come with a solitary bathroom on the ground level at the back of the house. In his adaptation to fit Patricia’s requirements, Vincent also introduced separate shower and toilet compartments at the back of the upper floor for the convenience of the other family members. The house today is a far cry from nearly five years ago when Patricia first set eyes on it. Back then it was only a dark, dank shell that had been abandoned for a long time and the front was obscured by the heavy, low drooping canopies of mature mango trees growing on the pavement. Today, thanks to the regular reminders that Patricia sends to the National Parks Board, the trees are well pruned so that they no longer obscure the facade of the entire terraced house row. So both inside and out, Patricia’s home is bright, chirpy and cheerful. F
Boasting a West Coast waterfront view that stretches from Sentosa to Jurong island, it’s easy to understand why the owners love dining out in the pavilion
TEXT Ashley lin i F l A I R PHOTOGRAPHY ALAN LEE / k studio
Flee the crowded East Coast for the green hills of the West Coast. Richard Ho Architects remake this duplex penthouse, whooping up its patio with a pavilion that boasts an incredible waterfront view
F l A I R
Arguably
one of Singapore’s best kept secrets, this duplex penthouse atop the 10-storey Pepy’s Hill condominium is the closest one gets to a local equivalent of luxury residences at The Peak or Deep Water Bay in Hong Kong that boast commanding and unobstructed views of the blue sea and green hills. Built in the mid-1980s, Pepy’s Hill is one of the island’s rare residential developments that sit on the crest of a hillock. One other example is its neighbour, The Peak on nearby Pepy’s Road. What’s amazing is that the owners of this penthouse, Tommy and Susan Rathleff, have a panoramic view of the sinuous architecture of The Peak jutting out of the verdant hills behind them when they are relaxing in their roof-top pavilion at dusk and taking in the sun setting over the coastline stretching from Sentosa to Jurong island.
The residences on the West Coast have long played the cool detached hermitage to the trendier crowdpleasing East Coast. But the sweet irony is that the towering new condominiums that are springing up cheekby-jowl in the Mountbatten and Meyer Road area in the East are lending a welcome sheen to the smaller clutch of older condominiums sprawled over larger areas that dot the sparsely populated West Coast, off Pasir Panjang Road, which links the city centre (Shenton Way) to Pasir Panjang and Jurong. For newcomers to the West Coast, they are often pleasantly taken in by its hilly terrain and lush forests, and even more amazed that there are splendid views of the sea as well. Quite a number stumbled onto the area’s ecological attractions when they hiked across the high-rise treetop walk along the Southern Ridges spanning Mount Faber, Telok Blangah Hill, Kent Ridge Park and West Coast Park, hotfooting across the architecturally stunning Alexandra Arch and Henderson Waves green connectors.
The raised timber pavilion is the jewel on the 102-sqm patio. It is framed in the back by the green hills of the Southern Ridges. On the left, The Peak condominium with its wavy architecture jutting out of the hill slope, conjures up a Californian sunshine visage
The Rathleffs didn’t need much convincing when they first saw their 614-sqm Pepy’s Hill penthouse. The price was a steal compared to those in Orchard Road and they immediately grasped the tremendous potential of the open terraces and roof-top patio despite the fact that the previous owner didn’t maximise them, preferring to keep the internal spaces firmly walled in and separated from the fabulous outside view. All that changed under the expertise of Richard Ho Architects.
View of the patio looking past the pavilion on the left, towards the open terrace
F l A I R
More than four times the width of the average heritage terraced house, the seamless living, dining, play and TV lounge areas individually open onto a common open-air terrace that stretches over 22.5m
F l A I R
Architect Richard Ho, assisted by Lawrence Puah, removed all the walls along the entire 22.5m stretch that opens onto the open-air terraces on the two levels as well as the internal partitions for a more seamless and fluid spatial experience. So on the lower level, the interiors stretch unimpeded from the entrance lobby at one end to the TV lounge at the other, rolling past the living and dining areas and a games area furnished with a billiards table. Unfailingly, each area opens onto the terrace and is infused with copious natural light and air, seemingly merging with the sky and the view of the sea beyond, broken only by the low hum of traffic along the AYE and Pasir Panjang Road. When you consider that the average conservation terraced house is 5m wide, this penthouse boasts the width of more than four terraced houses and with every centimetre opening onto the terrace. Lawrence says this mitigates the original low ceiling height (2.4m). Most visitors wouldn’t notice the vertical constraint because the horizontal openings more than compensate for this inherent shortcoming. Lawrence also reconfigured the space internally by turning the layout into two distinct corridors. The visible corridor houses the living, dining, games and study areas on the lower level and the bedrooms and family rooms on the upper. The invisible corridor houses service areas like the wet kitchen, laundry area, guest room and bathrooms. The lady owner, Susan, thinks the wet kitchen which is sequestered behind the chic dry kitchen island is a brilliant Singapore invention.
Architect Lawrence Puah removed the surrounding walls and introduced sliding glass doors to open up the interiors to the view and natural light and ventilation
The sliding timber screens that separate the TV lounge is an evolution of those which architect Richard Ho designed for furniture gallery owner John Erdos’ apartment
The decor is globalist but the Danish origins of the man of the house comes through in this Scandinavian moment, helped in part by the distressed blond wood flooring
richard ho Architects crafted the space into two distinct corridors, a visible public stretch and an invisible one that conceals the dry kitchen and service areas behind the kitchen island which is aligned next to the dining area Born in Britain, Susan has lived all over the world from West Africa to South America and Australia before moving here with her Danish husband. She loves the sun but she is amazed by how family and friends who stay at her penthouse on their holiday here spend every day sun bathing at the pool or on the open terrace. With the generously sized open terraces that are 2.85m-wide and a large 102-sqm patio with reflecting pool, Susan’s guests have their pick of sun tan spots. Susan has furnished the terraces with different settings from tall table with bar stools to comfortable Balinese loungers and deep contemporary sofas. One consistent feature that her guests cannot fail to notice wherever they sit on the open terrace is the series of sloping A-leg concrete columns running at regular intervals down the length. An inherent part of the building’s structure which certainly differentiates it from the archetype third millennium glass and steel condominium block, they impart an awkward charm.
As stylish looking as the dry kitchen, the wet kitchen is an essential component in the invisible corridor that conceals the service and storage areas including maid's room
F l A I R
Yesterday’s architecture is today’s distinction as no contemporary development has so wide an open frontage and definitely not a series of awkward sloping ‘A-leg’ columns Similarly, guests always notice the open terraces the instance they enter the house. But what escapes them is Susan’s favourite open-air spot, the timber pavilion that is hidden from view by the building’s staircase core adjacent to the entrance. The pavilion comes into view only when you turn right after skirting past the flagstones set in the reflection pool facing the entrance. Lawrence says that the open patio previously housed a dilapidated rock garden. Determined that the space which has an incredible view of the West Coast seafront in front and the hills of the Southern Ridges at the back is not forgotten and forsaken, Lawrence installed the open-sided timber pavilion on a raised platform to maximise the panoramic views.
Easy and breezy, the family room on the upper level is as deliciously comfortable as its sweet candy palette
Decorated in the Asian tropical style, the master bedroom with en suite wardrobe and bathroom occupies one end of the upper level
The tropical architectural gesture of the pavilion is apparent but so is the clean modern sense of aesthetics that Lawrence displays in his makeover of the penthouse. It is evident in the streamlined organisation and efficiency of the spatial layout and composition. Deceiving the eye, the coffer ceilings concealing the lighting also disguise the fact that the original height is too low. When you explore the small individual spaces like the powder room and wine cellar, you will discover that Lawrence has paid as much thought and attention to their proportions and dimensions as the large public areas. The same is detected in the choice of materials. Other than colour and texture, durability and functionality are high priorities. It is seen in the use of composite timber planks for the patio and terrace decking, and the distressed oak flooring that features shallow grooves for the interiors. And then there are the small details like floating vanity tops and counters in the bathrooms that conjure up a strong 3D perspective.
The penthouse is never short of sunshine. In the evening, the rays of the setting sun penetrate into the master bedroom
Architect Lawrence Puah chose the wash basin and mixer from Hansgrohe’s Axor Massaud collection designed by JeanMarie Massaud for the stylish bathrooms
F l A I R
Tripping through the penthouse, it is easy to forget that the building was completed in the 1980s when the idea of the Internet had just leapt from the petri dish to the hard disk. But for the sloping columns in the open terraces which are impossible to remove, Richard Ho Architects has managed to gain total control over the spatial layout, overcome the inherent constraints, maximise the views and inside-outside connections, and transform it into a contemporary abode with a crisp vision coherent with the clients’ requirements. F
Evoking the Bali vibe up in the air, richard ho architects created a granite feature wall with candle holders in the double-height entrance lobby and a reflection pool that leads to the patio and pavilion
F r a m e i TEXT Ashley lin PHOTOGRAPHY ALAN LEE / k studio
Great cultures think alike in pursuit of abodes that harmonise with nature and maximise well being. This house by Richard Ho Architects follows vastu shastra, the Indian equivalent of Chinese fengshui Following the vastu shastra mantra, the swimming pool is located in the north-east and the dining area looks out onto its sun-bathed water in the morning for a fresh start to the day
Architect Richard
Ho hardly flinched when he was asked to revamp the original layout that he had proposed for this detached house in the prime Holland Road area. Having dealt with clients who are serious followers of Chinese geomancy or fengshui, he understood the concerns of his expatriate Indian client and his wife who hail from New Delhi when they wanted to make changes based on the principles of vastu shastra, the ancient Hindu practice of constructing buildings in harmony with natural forces for well being that is fundamental to traditional Indian architecture. The couple had shared their enthusiasm for their new house by showing Richard’s initial floor plan to family and friends when they were back in India on holiday. One of them, an expert in vastu shastra, was ecstatic over the positive qualities of the site due to its regular rectangular shape and position on top of a node of land. He advised the couple on the best directions and sectors for particular rooms and they communicated the information to Richard so that he can incorporate them into the design and layout.
Drawing comparisons between vastu shastra and fengshui, Richard says both are premised on similar principles; predicated on directions, proportions and being in harmony with nature. Richard says there is no conflict between the tenets of good architecture and those governing vastu shastra, noting the similarities in their logic. He adds that they appeal to and satisfy the spiritual and emotive aspects of the occupants of a physical space or building; providing them the additional confidence and assurance that the design of every space is properly considered and carefully customised to maximise peaceful, positive energy.
The lady owner’s contemporary taste is evident in her choice of furniture like this lounge setting facing the pool, visiting the annual Salon Mobile in Milan for the latest from the most important Italian luxury manufacturers
F r a m e
Vastu is in agreement with architecture’s golden rules. Its highest ideal is a house laid out according to grids of perfect squares The bridge linking the two wings look onto the doubleheight living room
A paragon of modern tropical architecture, the two-storey house features a U-shape layout, wrapped around an open-air courtyard. The grand double volume living room occupies the central link while the two parallel wings house the dining room and kitchen in one and the guest rooms in the other on the ground level. There’s nothing unusual like odd-angled doorways, awkward corners or strange accoutrements which are tell-tale signs in many fengshui-oriented houses. Instead, every room appears to be a perfect square or rectangle with large openings — transparent glass doors or windows — that welcome in plenty of natural light and air. It is handsome functional architecture that evokes seamless tranquility with no jarring provocative gestures. The most unusual structure would be the spiral staircase in the courtyard.
Eco-friendly environmental architecture begins in the double volume living room that ensures ample natural light and also ventilation through the openings on two sides
F r a m e
The interesting thing is that the rules of vastu shastra are derived from the depiction of a man lying with his head pointing northeast, in a grid of usually 64 squares (Think of it as plotting the layout using the old fashioned graph paper printed with square grids). This explains the strident geometric layout of the house and why Richard is perfectly happy designing the rooms as perfect squares or rectangles. There is no contradiction between vastu shastra and the golden rules of architecture. The changes which Richard and his assisting architect Eugene Tan made to the initial plan are in the orientation and position of the different spaces within the house — the swimming pool is relocated to the northeast at the front of the house, the master bedroom on the upper floor to the southwest in the rear, and the other spaces switched accordingly to correspond to the vastu master’s recommendations.
The owners’ painting collection by contemporary Indian artists is showcased throughout the house. The solid granite washstand in the powder room is a Richard Ho signature
F r a m e
Elegant geometry permeates the interiors. Every frame like this transition between the dining room and dry kitchen is properly delineated
A triptych of doors lends the dining room formal flair
F r a m e
The spiral staircase allows guests to move from the courtyard to the patio upstairs without passing through the private sleeping domain The pool and master bedroom are in diagonally opposite directions and Richard says it makes perfect sense. He explains that when you wake up in the morning for an early swim and have breakfast in the dining room, you would want to face the rising sun. And when you retire to bed, the connection is to the setting sun in the west. He points out that this vastu shastra principle relates the spatial layout to the sun’s progress and the owner’s routine throughout the day.
Seated in the covered patio sandwiched between the two guest rooms on the ground level in the southwest corner of the house in the afternoon, the lady owner says a breeze blows constantly through the patio opening, funnelling wind into the courtyard with its tunnel effect. It is confirmed by the rustling sounds of the leaves and the wind whistling softly through the crevices in the bamboo blinds before it caresses them. And when the many doors throughout the house are thrown open, there is little need for air-conditioning. A professional in the Corporate Social Responsibility field with an interest in sustainable environmental and e cologic al practices, the lady owner iterates that vastu shastra has proved relevant and effective in reducing the family’s carbon footprint. She is considering installing solar panels in the future for cost effectiveness.
Designed in a U-plan that echoes vastu’s ideal square grid, all the rooms open onto a central courtyard
Surrounded by greenery borrowed from the neighbours’ gardens, the partiallycovered upstairs patio is a favourite with family and guests
F r a m e
Pointing to the open-air spaces such as the central courtyard, patio and upstairs balcony, she says that they enrich and enhance the outdoor entertaining opportunities. “Our guests appreciate outdoor party settings. Many of them are especially attracted to the upstairs balcony which has great views of the surrounding greenery (borrowed from the neighbours’ gardens). Richard’s idea of installing the spiral staircase that leads from the courtyard to the balcony is very appropriate. It allows guests to move up there without passing through the private areas inside the house (the son’s bedroom opens onto the balcony).” When it came to furnishing the house, the lady owner visited Milan before deciding on her purchases which include sofas and armchairs from leading Italian manufacturers Minotti and B&B Italia, and outdoor seating from Paola Lenti. Very much her own decorator who chose everything including the soft finishes like curtains and bedlinen, she allowed the clean architectural lines of the house to shine through. As for the artworks, she relied on the bold modern paintings by emerging Indian artists which she and her husband have patiently acquired over the years. Another ethnic Asian touch is seen in her prized selection of Persian carpets and Turkish kilims. Much like the couple’s decision to build their house according to vastu shastra principles which aptly reflect their cultural heritage, their choice of contemporary furnishings is evidence of their international mindset. F
Open at both ends, the tunnel effect fans a constant breeze through the ground floor patio which is furnished with outdoor furniture by Paola Lenti
The guest room opens onto the patio
F a c e s i TEXT eddy koh Portrait maurice lee / maurice color box
Architect
Terence Chan of Terre is a perfectionist; exacting and meticulous in every aspect of his life and craft. His passion and penchant for impeccable style and iconic designer objects, understated aesthetics and ultra-neat compositions are evident from his handsome architecture and tranquil interiors to his well-groomed appearance. Quietly hip even when he’s dressed down for the weekend, Terence never forgets his favourite accessories which include Tiffany rings designed by star-chitect Frank Gehry and BR01 watches by Bell & Ross. Everything from his trendy look to his ever expanding collection of designer furniture reflects his respect, admiration and taste for the world’s best designed consumer products including chairs by British avant-garde Tom Dixon and Danish legend Carl Hansen. It is a sensibility that permeates his projects; evident in his rigorous approach to space planning with an emphasis on elegant geometry and symmetry. All this, on top of the multitude of sophisticated tableaux which he coordinates and composes for every project using a combination of the owner’s eclectic possessions as well as new acquisitions which he sources for to create the appropriate mood and the desired ambience. No wrinkle, fold or awk ward aberration escapes this 38-yearold’s attention. He would make good target practice for the higgledypiggledy class who abhors order and neatness. It would be a challenge to find an unwanted crease or untidy spot in his well-organised wardrobe which features individual shelving, drawer, cubby hole or receptacle for every imaginable item. At work, his studio in Chinatown is a paragon of effortless flair; his eclectic furniture looks artfully scattered but is actually deliberately composed around the customised worktops with an insouciant ease that is current yet timeless. Much in the same vein, every creative idea that he dreams up and presents to clients would have been as carefully researched, thoroughly considered and fastidiously executed with high precision and delicate finesse; endearing him to those who appreciate haute concepts and an exclusive atelier approach.
Blessed with impeccable taste and an exacting eye for every detail from the main frame of the house to the tiniest tabletop display, architect Terence Chan of Terre leaves no quarter neglected One of Terence’s earliest clients, a legal eagle, who commissioned him to transform a gaudy mockTudor house in the Holland Road area into a contemporary residence with slick interiors continues to sing his praises although the project was completed several years ago. He would repeat to guests the ingenuity of the sliding panels that conceal the many storage areas and disguise the numerous bathrooms on three floors to the addition of an open timber deck on the second storey that links the two bedroom wings and the glowing glasshouse effect in the bathroom with tropical greenery. He remains enamoured by how Terence managed to interpret his requirements spot on, striking a fine balance between luxury, comfort and function, especially in the lush living room which doubles as his music studio complete with grand piano and a concert-class harp. Not surprisingly, Terence says his greatest satisfaction is the client’s positive reaction to his work. Since striking out on his own in 2002, Terence has completed some 15 projects. His residential portfolio includes houses in Oei Tiong Ham Park and Chatsworth Road. These clients are discerning individuals who appreciate Terence’s eye for refined details and ability to harmoniously fuse the gap between architectural and interior design; integrating the micro and macro inside and out. “I don’t work with a style and I usually work from the inside out. That’s why when I do architecture I like to take charge of the interiors as well. I like to showcase the client’s lifestyle and their collections of art, furniture and accessories. It explains why my architecture is very toned down and subtle with a timeless quality. It allows the client’s personality to stand out and shine through,” Terence explains. Recently, Terence has ventured into the more public realm of designing F&B outlets, namely, Picotin at the Turf Club, Beaujolais in Ann Siang Hill and Grandma’s for the Akashi Group. Exhaustive in his research into the history or background of each restaurant and their target audience and operational requirements before coming up with his ideas, Terence has successfully infused their interiors with his elemental style. Coincidentally, memories play a key role in all three F&B outlets. For Picotin, Terence dug into the rustic charm of French farmsteads to complement the hearty cuisine and green surrounds of the turf club. Over at Beaujolais, his nostalgic take on the classical Parisian bistro easily won over the regulars of the two-decade-old wine bar. As for Grandma’s, there’s nothing old fashioned about it but for the metal grilles which allude to Singapore in the 1960s (metal grille windows and gates were ubiquitous to every home from HDB flats to terraced houses and bungalows). It’s a small gesture but enough to trigger the memories of local diners who recall Sunday lunches cooked by their grandmothers in the old family home. It is this tug at our emotions that makes a difference and Terence’s wand works the magic with minimal fuss.
Living by the maxim that fashion is a fad but style is forever, Terence Chan and his small atelier engender an haute couture approach to architecture and interiors
F a c e s
TERENCE CHAN's design psyche What makes you obsess over getting every detail down pat, from the proportion and scale to the material, texture and colour, individually and as a sum of the parts? It’s in my blood. Every element needs to find a right place in a collective whole. It’s a constant thinking process that is developed over the entire design course of the project. Take for example, lighting strategy. From the distribution of key lighting elements within a space to creating a certain mood and ambience, to highlighting certain planes, edges or focal points through a combination of linear reflected lights and grouping of spots and the careful selection and placement of decorative light fittings to enhance and highlight the space or volume, I aim to achieve a state of equilibrium, where all things just seem to naturally fall into its place almost effortlessly.
What aspects of your character contribute to the rigour and order in your design? My aesthetics is mainly modern classic and contemporary. Sometimes it’s eclectic to reflect the client’s personality and lifestyle. Soft and sensitive in the little fine details, composition and finishing touches but always strict, ordered and rigorous in the overall framework. My thought process follows a rational approach with regard to the organisation of the space, the layout, the lighting strategy and all the basic design considerations such as proportion, scale, texture and colour. I am also pragmatic about the client’s budget. What’s important is that we need to make the client feel truly at home in the space.
Growing up and in your work life, what factors shaped your creative flair? As a child, I had an instinct for designing and building stuff, using almost any available material, starting with paper, cardboard, plaster and later progressing to building blocks, Lego bricks and large-scale models. I grew up sketching, drawing, painting and making handicrafts. Instinctively, I always knew that I wanted to design. Arts, sciences and technology were my strengths in college. I remember enjoying the creative process of every art project and lesson, even during biology class when we had to draw still life and dissect animals. The rational thought processes combined with precision and meticulous efforts required during lab works for physics and chemistry classes contributed to my overall being. The intensity and concentration with the machinery tools used during technical classes and the rationale precision engineering works involved in creating an object or project also helped. All these trades shaped the way I am. Architecture became a natural choice.
Creative people straddle two extremes: the compulsively neat and the incredibly chaotic. You belong to the first. Yet we detect your ability to create order out of chaos in the way you use different materials in the design of a single object like the bedside table in your room. How do you reconcile these conflicts and how would you respond to a request for a freewheeling bohemian interior? It’s a state of mind to strike a fine balance in terms of introducing unusual and unexpected materials to an object or project depending on the scale in question. It demands a high level of control, refinement, sophistication and lots of experiences…you need to acquire a good eye for beautiful things and a passion for knowledge of products, food, fashion, photography, art, furniture, interiors, architecture, etc.
Why do you prefer designing interiors to architecture?
I would gladly take on a bohemian interior as I always keep an open mind and a positive attitude. I love the challenge of creating order out of chaos, to provoke a reaction or a conversation where things look so perfect together yet are entirely different altogether. It’s exactly the reaction I get when I have new visitors at my studio which is a calm and collected oasis within the chaotic urban fabric of Chinatown.
You have a knack for composing beautiful tableaux using an assortment of furniture and accessories. How did you cultivate your eye and palate for choosing the right stuff? I’m always surrounded by beautiful things and objects. I believe one has to be surrounded by beauty. It helps me to better distill the raw information and draw on my inspiration. It is human nature that our subconscious is always drawn to beautiful things and carefully composed tableaux. The difficulties lie in identifying why it is such and why certain visuals or compositions appeal to our senses, bringing comfort, joy and delight while others do not. I guess maintaining a keen and open mind without any pre-conceived ideas or baggage counts for a lot. My photographic memory helps as much as plenty of practice by trial and error.
Tell us about your passion for collecting designer furniture and interesting artworks? I usually collect unique designs from easy chairs and dining chairs to lamps and one-off pieces. They have to appeal to me first. The next would be getting to know more about the piece, the design intent, the designer/creator’s biography and the history or context of its creation. It would be ideal if the piece could complement my current collection.
It was more of a practical and pragmatic consideration. To get the design studio established within the shortest time with a wide selection of published completed projects, interiors was a natural option. As for the architectural works, we have already completed one bungalow with two more due for completion in mid-2009. We are also busy designing the interiors of these two houses.
Why are you perceived as more of an international modernist rather than an Asian tropical design advocate? We’re all part of a global society. We’re designing for the present but the works need to take us into the future. I believe or hope that the works that we do can have that ability to withstand time and cultural expression. And that they will look and feel current and classic in the next 10 or 20 years. You’ll find a very strong modernist i n t e r n ational expression with subtle Asian tropical elements in our projects. They might not be apparent at first glance but linear dwellings facilitating crossventilation, courtyard living moderating internal temperature and climate, buildings with deep overhangs protecting the rain and heat, controlled openings framing views of landscape, the use of axis for sequential progression for pause and flow while moving through a building are all concepts that are deeply rooted in our culture. It’s just that the physical manifestation we adopt is international modernist and not Asian tropical. Maybe it reflects my preference for international expression. As with my art collection, I would collect both international and Asian pieces but the latter are usually without the heavy cultural undertones or baggage. But you’ll discover subtle references to their cultural background upon careful observation.
PEEKING INTO TERENCE CHAN’S EN SUITE BEDROOM
Living with his parents in a four-bedroom apartment in Elias Green makes life a breeze for Terence Chan. He enjoys hot home cooked meals and has no laundry worry. His personal space is not compromised as he has converted two bedrooms into a large suite with attached bathroom. A pristine composition of clean lines and crisp linen in soothing shades of white, dove grey and cafe au lait, it reflects his understated style and impeccable taste in art and furniture.
Exuding a sensual showroom quality with original artworks and iconic furniture coordinated to seduce and soothe, Terence’s bedroom is a microcosm of his universe and design mantra
F a c e s
Terence appreciates the pleasures of being surrounded by his favourite things. So next to a window, he has placed his Cappellini Pylon chair designed by Tom Dixon and the Tusk table designed by Bill Sofield while a Ralph Lauren Home Collection easy chair stretches its extra-deep length in front of a vintage Danish console. Pointing to the Carl Hansen CH25 chair and B&B Italia Maxalto easy chair standing at the foot of the bed, Terence tells us that he rotates the furniture with the others in his collection that reside in his large Chinatown studio.
F a c e s
Well informed, knowledgeable and always up to date on the who’s who in the world of art and design, Terence easily rattles off the names behind the numerous paintings and black and white photographs adorning his bedroom. They include original and limited edition prints and drawings by David Hockney, Chagall and Picasso, and iconic pictures by Ian MacMillan (The Beatles crossing Abbey Road) and Jurgen Vollmer (Doorway portrait of John Lennon). With so many things occupying a compact space of about 24sqm, it’s amazing how Terence created order and tranquility when they could have toppled towards anarchy. Instead, he has tamed and coaxed them into displays worthy of the Hermes boutique windows on rue Cambon in Paris or the still-life settings cameraready for legendary photographers like Robert Mapplethorpe. Terence’s extraordinary ability at coordinating and styling these artistic interior vignettes also contributes to the germination of his architectural concepts or as he explains: “My architecture begins from the inside out.”
Terence’s en suite bathroom
PHOTOGRAPHY BY MAURICE LEE / MAURICE COLOR BOX
Seemingly crafted from a block of solid granite, the vanity-top-cumwashbasin with the drawer sliding out from the side is a Terence Chan signature design. Besides his hom;e, it can be spotted in several of his residential projects
Terence exercises absolute restraint inside the house. demonstrating that ‘less is more’, he designs a narrow opening in the ceiling to allow a shaft of sunlight in
F a c e s
CHATSWORTH ROAD HOUSE
The different wings of the house all open onto a central courtyard
PICTURES COURTESY OF TERENCE CHAN / TERRE
Extremely clean-cut and pared down with flat top and flat front, this house exemplifies Terence Chan’s architectural tendencies. He says it is one of a cluster built by an extended family (but in a different style and by other architects). He was commissioned by the client and occupant to design just this unit in a modernist style. Terence says the frontage on the first storey incorporates a four-car garage with a wide column-free opening. Responding to the climate and privacy considerations, the different wings (positioned like a ‘Z’ but with a straight instead of slanted link) open onto a green turf and timber deck courtyard that forms the heart of the house. Internally, the architecture is a precision exercise in strong linear geometry. Don’t expect Terence to produce grand architectural gestures such as overwrought columns and opulent friezes or the dazzling dramatic atmospheric overtures of a Zhang Yimou Beijing Olympics opening number. The key mantra for Terence is restraint in achieving optimum sophistication.
OEI TIONG HAM PARK HOUSE Commissioned by the owner to execute the interiors of this house designed by architect Calvin Tan of AKTA, Terence Chan produced some brilliant ideas. They include a bronze screen with glass inserts and silk panels with bronze trim. And he used plenty of furniture from Christian Liaigre to help achieve that timeless classic look which is his forte.
Terence designed the bronze screen with glass inserts for a look that straddles nostalgia and modernity Kitsch and vintage are reinvented for the 21st century sophisticate in the dining room. Dining chairs in baby blue upholstery, mid20th century sunburst clock with sparkling rays and black crystal chandelier make eclectic but hip companions
Comfort is never forgotten in a Terence Chan interior. The casual vibe suggested by the rumpled grey covers of the sofa and armchair make the idea of snuggling down with a good book so much more seductive
F a c e s
GRANDMA’S
PICTURES COURTESY OF TERENCE CHAN / TERRE
Terence explains: “Both Beaujolais and Grandma’s address the concept of memories and timelessness. With Beaujolais, we looked to the old world charm of a Parisian wine bar, an extension of the ‘old Beaujolais’ which the regulars and expats loved. With Grandma’s, we created a warm and friendly family dining experience in keeping with the demographic profile of the specified shopping mall that targeted families and kids.”
Beaujolais Aware that childhood memories shape our palate, Terence indulges in a hint of 1960s nostalgia a la the metal grilles with his Grandma’s restaurant concept
F a c e s
Console designed by Terence Chan for a show apartment
TERRE SIGNATURE FURNITURE An avid collector of authentic designer furniture, Terence Chan has come into his own as an excellent furniture designer. The many pieces that he has custom designed for his projects include built-in cabinetry and storage spaces as well as loose stand-alone pieces such as coffee tables, side tables, consoles and screens. Terence says that he usually designs them to complement and enhance the theme of the interiors. He likes to experiment with mixing and combining different materials in a single piece. And if one could attribute a signature to his furniture, it would be a mid-20th century sensibility; an era distinguished by the likes of Jacobsen and Eames, aerodynamic shapes and forms inspired by space travel as well as the mix-n-match use of colourful laminate and Bakelite together with handcrafted natural timber with bold grains and textures.
Local furniture manufacturers should look up Terence. His chic stand-alone furniture like this console and vanity table make promising candidates for the retail market
Vanity table designed by Terence Chan with concealed mirror for a show apartment
PICTURES COURTESY OF TERENCE CHAN / TERRE
Furniture settings inside the Christian Liaigre showroom in Bangkok
Terence Chan explains his passion for Christian Liaigre furniture Terence likens Christian Liaigre’s furniture to exquisite works of art or sculpture: “Liaigre’s furniture expresses great sensitivity for pure simple forms with perfect proportions and truthful materials. But when you look at them carefully, you will discern an underlying complexity in the beautiful details and unusual combinations of different unexpected materials, textures and colours. For instance, he uses leather in subtle pastel shades of lilac, baby blue, lavender and pale green paired with rich hues of orange, curry, maroon or red within the same piece for sharp stunning contrast. Occasionally, he also applies brocade and exotic timber finishes. He somehow manages to evoke a certain glamour and sophisticated old world luxury.” Terence was introduced to the brand Christian Liaigre in 1999 while working for Wong Mun Summ at WOHA. “Several years later, after setting up my own studio, I was fortunate to be introduced by a client to a shop in Bangkok that carried the brand. We have since fostered a very good relationship with the Christian Liaigre group in Thailand. We love the fundamental essence and sensibility of Liaigre’s furniture sensibility. It is something that we’re constantly searching and exploring as we develop our own furniture. F Christian Liaigre Ltd 2/4 Wireless Road, Promenade Decor Bangkok 10330, Thailand Tel: 662 655 0388 Email: sales@christian-liaigre.co.th
F l i n g i TEXT daryl tan PHOTOGRAPHY maurice lee / maurice color box
Melding subtle modern touches with deep-rooted traditions, Jim Thompson Thai restaurant injects surprising twists to its menu and dEcor for a fresh yet familiar take on Thai fine dining These
days, restaurants are all about the sensory experience. Whether it’s basking in stunning interiors or amalgamating the smell, taste, texture and sounds to titillate the palate and emotions, multi-sensory dining makes for an invigorating trip out. And nowhere is this more evident than at Dempsey’s latest star denizen, the Jim Thompson Thai restaurant – run by the same owners as Asia’s renowned Thai Silk company of the same name. The 700-sqm restaurant’s sumptuous set-up sets the stage for a heightened dining experience amid lavish detailing with old-world Siamese eclecticism integrated with hints of Sukhothai palace architecture. Created to resemble Thompson’s teakwood abode by the Chao Phraya river in Bangkok which has since been converted into a museum, the interiors are breathtaking, to say the least. Occupying what was previously the document office of the Dempsey army barracks, the ceilings soar 15m high, elevated by colossal free-standing columns that accord the premises its spacious colonial grandeur. Awash in neutral tones and fresh pastel hues coupled with the rich, textured fabrics that are but a larger-than-life showcase of the company’s forte, a surrealistic sojourn awaits all who enter.
The dining hall is interspersed with smaller private island settings featuring comfy high-back couches that make startling conversation starters
The old world Siamese milieu of Jim Thompson’s interiors is invigorated by the brand’s own fabrics and upholstery
F l i n g
something glittering, something reflective. Silvery thai arTefacts and bevel-edged mirror tiles create a glamorous moment It’s easy to imagine awaiting an imperial soiree with the king here, thanks to the high level of detailing that Jim Thompson’s design director, 38-year-old Tinnart Nisalak, has incorporated. There is a dynamic interplay of tradition and modernity: whether they be classically patterned silk on dark timber chairs; elaborate table settings of candles, sculptures and hand weaves; or the avant-garde mirrored artpiece beckoning guests from one end of the dining hall, the decor never lapses into the ubiquitous tropical rusticity evident in many Thai restaurants. Emanating an ethereal ambience with glorious amounts of natural light, the entire experience is heightened by exquisitely perfumed air and soothing music. “The concept is what I’d describe as ‘Absolutely Thai, Thompson-style’. No expense has been spared to create a distinctive Thai aesthetic inspired by our founder, from the lavish reinterpretation of 19th century Siamese arts, crafts and architecture to the elegant dining ware and the iridescent Thai silk that we are renowned for,” explains Nisalak. Jim Thompson: A Thai Restaurant No 45 Minden Road, Dempsey Hill Tel: 6475 6088 www.jimthompson.com
Jim Thompson design director, Tinnart Nisalak, walks you through the restaurant interior and decor In creating a space for dining, I wanted the structure and elements to work together to create a sense of heightened awareness, to wake up both the senses and the mind, all based on a modern Thai sense of beauty. The right structure is provided by this very handsome heritage building, which we were fortunate to find. It’s bold and spacious inside, so it can properly showcase elements like art objects and wall mosaics. It’s both stimulating and tranquil, so that you feel both relaxed and aware as you enjoy your meal. The interior elements are all derived from traditional Siamese arts and crafts, everything from lacquerware and ceramics to woven utensils, wood carving and metal work. And of course iridescent Thai silk. The objects are all handcrafted from natural materials, but most are done in a modern way to highlight particular qualities like form, texture, sheen or pattern. Almost everything has been specially created for this venue. A couple of elements are rooted in the arts practised for royal and religious purposes, for example, the wall mosaics made of reflective glass tiles, which are traditionally used to decorate the exteriors of palaces and temples. The modern mosaics here in the restaurant are not intended to simulate the appearance of a palace or temple, but to call attention to the beauty of the mosaic craft itself, in a modern way. Another example is the restaurant’s delicately carved fruits and vegetables, which are a culinary craft that originated in the palace. Many elements were inspired by the life of Jim Thompson and his eclectic mansion in Bangkok, which is now a museum. For example, the black and white tiles in the wine bar echo the tiles in the house foyer. The wine bar’s wooden screens quote the rectangular grid pattern of the distinctive wooden panelling used in traditional Siamese houses like Thompson’s. Similarly, Chinese architectural ceramics are used here as much as they are in the house. The lamp fixtures made of metal bird cages refer to Jim Thompson’s own pet cockatoo. Bird-keeping is also popular nearby the museum among the Bangkok Muslim community of weavers who joined Thompson in reviving the local silk industry. A reference to Thai Muslim craft is seen in the bold geometry of the floor mosaic, which is based on the pattern of mats woven in the southern provinces. In the restaurant’s outdoor section, the reflecting pool and gardens are reminiscent of the landscaping at Thompson’s house today. The table settings are an important part of the show, especially in the main dining room. The delicate lacquer trays, ceramics, candles, silks and floral sculptures are all meant to please the eye and the touch just as the food satiates the palate. It’s elegant, yet friendly. In these and other ways, the restaurant’s design is a contemporary interpretation of Siamese art heritage and of Jim Thompson’s passion for Thai culture. It seems to fit Singapore nicely because it’s such a mix of influences – Chinese, European and South-east Asian – which is also true of Thai cooking. F
F l i n g
i TEXT JENNIFER CHOO
Avillion massages its luxury chill drill with its Avi Spa by the water edge in port dickson Little stands between the lounge and the sea. The concertina glass doors fold away on all sides and just in case guests get carried away by the blue sky and sea, safety nets at the foot help prevent them from falling into the water
The
Avi Spa is the latest addition to the Avillion Resort which caused a minor sensation in Port Dickson when it opened in the early 1990s. Back then, its floating-in-the-water concept with serene dark wood chalets and sensual open-air bathrooms introduced the natives who had never seen the inside of an Aman resort to a different level of chic. Conceived by Axis Network Design Consultants whose portfolio includes Chinoz on the Park, Sage at the Gardens Residences and Level 7even at Hilton KL, Avi Spa is located in its own double-storey glass house at the tip furthest from the resort proper. Almost ephemeral looking, its minimal structure is composed of glass and plenty of open spaces. Axis also plumbed pale wood, white and shades of turquoise to complement the tranquility of the surrounding water, an inspiration best described as Long Island, Hamptons, in the Malacca Straits. The breathtaking view of the calm sea and picturesque sunset is best enjoyed from the almost circular timber deck made from yellow balau. Reminiscent of palatial estates owned by double-barrel surnamed WASP millionaires, one can imagine sipping champagne on the sun deck. What is rather remarkable is that even though the deck looks like it is floating on the sea itself, it is actually floating on a water feature with an infinity edge surrounding it. The sunken core hosts a lounge area complete with playful blue and white striped upholstery. Axis Network’s fresh contemporary Avi Spa is a welcome move away from the Balinese style so popular in these parts. It manages to fuse the distinct Peranakan style with an undeniably contemporary feel. The Peranakan influence is most apparent inside the seven Avi spa suites. Comprising floating verandah, massage salon and relaxation bath, each suite is adorned with batik mural, turquoise sarong-inspired bed linen and ceiling fan with blades mimicking flower petals for a whimsical touch.
Jutting out into the horizon like a keyhole pier, Avi Spa’s sunken circular lounge in yellow balau wood and turquoise striped upholstery is, arguably, the best spot to enjoy the sunset in Port Dickson
Inspired by Peranakan culture, Axis Network Design used the nyonya’s favourite shade of turquoise as the main palette, painted giant murals of peony flowers on the walls and adapted the sarong into bed linen For Spa parties or those who are not booking the full bodyworks, the Avi Space on the upper floor caters to requests for limb or back massage. It is furnished with easy chairs which alternate between turquoise and beige chenille sporting a green modern Peranakan motif – all facing the glorious sea. F AVI SPA Avillion Port Dickson, 3rd Mile, Jalan Pantai 71000 Port Dickson, Negeri Sembilan Tel: 606 647 5740 www.avispa.com.my
Pictures courtesy of Axis Network Design Consultants
Less exclusive but nevertheless luxurious, the Avi Space on the upper storey features a row of lounge chairs that look out to sea
F i n a l e
Picture courtery of Daum
Daum’s latest equestrian crystal sculpture, Troy, is a reminder to never look a gift horse in the mouth. keep this tribute to Ulysees and ancient Greek war strategy in sight to keep you alert to the Madoffs and Ponzies