and a modernist chandelier overhead
By night the artfully lit translucent glass bridgeway plays a different tune as it crosses toward the master suite. The vibrant painting at the end of the passage is by Impy Pilapil.
Second floor plan.
From the front entrance, the house soars to a double-height atrium-foyer, a perfect setting for a baby grand. A dramatic glass-lined bridgeway crosses the foyer overhead, connecting the two side masses. Straight ahead, a clear view runs through the glass-walled mansion to a strip lawn on the north, revealing a separate Japanese-themed pavilion that appears to float on a long lap pool.
The atrium is the symmetrical center of the interior architecture. To one side, the formal said is furnished along classic modernist lines (by the house-proud owners themselves) with the far wall forming a wide picture window framing the garden. To the right, within the opposite mass, a staircase made of matte black planks, cantilevered from a white wall, ascends to the upper floor. From there, a cluster of bedrooms connects with the large master suite via the glass-bottomed bridgeway over the central foyer.
The patio leads to a garden landscaped by Ponce Veridiano. The white picket fence provides a domestic reference for the neutral geometry of the architecture, while horizontal sunshades add modern touch.
The classic modern mansion by night. Three modules—a central mass flanked by two similar but smaller masses—are combined on an impressive scale to make the big white house an ideal setting for entertaining.
The informal side of the Dee lifestyle is reserved for the pavilion "floating" behind the main house. This Japanese-style gazebo serves as a lolunge for the lap pool which is wrapped around it, as a casual luncheon hall, and as a home. spa.
Front elevation of the Dee residence.
The architect uses contemporary materials—concrete, glass, and stone—in a bold but neutral palette, while manipulating their scale, proportion, and symmetry. Part of the grandeur of the house derives from the use of white marble combined with solid black frames, which define the expansive spaces, Onglao has made a design signature of the vertical scale of passages in his projects: all sliding doors stretch from floor to ceiling, allowing the visual space to flow unencumbered. Another hallmark is his use of cubist themes: the repetitive vertical lines on the outer fence reappear inside, in slatted wall dividers. The multi-mirrored dining room beyond the stairs is framed by two tall black sliding door panels, designed after Piet Mondrian paintings, but here "colored" with different textured glass.
The informal side of the Dee lifestyle takes places in a separate entertainment pavilion "floating" behind, and to one side, of the main house. This Japanese-style glass and iron gazebo, with its quirky hipped bamboo roof, acts as a lounge for the pool wrapped around it as well as a casual dining hall or games room for the whole family. Upstairs, there is a private spa for home massages. The gazebo is thus a perfect venue for the Dee family's lifestyle of food, fitness and well-being.
roque residence
Gunn & Cris Roque
BATASAN HILLS, QUEZON CITY, METRO MANILA
DESIGNERS BUDJI LAYUG & ROYAL PINEDA BUDJI LAYUG+ROYAL PINEDA DESIGN ARCHITECTS
"Every project is unique. But to design a home to suit a property's given characteristics, one that at the same time evokes sensual delight, is a challenge. For this site, which had great natural potential, our objective was to design a house in harmony with the surroundings," BUDJI LAYUG
Deep in Quezon City, tucked in the shadows of massive government buildings, is a long, 3000-square meter property on which is built a thriving garment business and a delightful home. Workaholic owners Gunn and Cris Roque were expanding their fashion enterprise and their family when they decided to build their home on an undeveloped back lot, close to yet removed from their workaday world.
The couple wanted a home that would showcase what they considered the best available in modern Asian design: furniture created by popular designer Budji Layug and new works by members of Movement 8, Layug's design colleagues. The Roque residence was the first house that Layug had built from the ground up after completing the award-winning pueblo-style Zulueta home on the slopes
Sinuous lines and organic spaces flow through this remarkable split-level residence The house streddles the natural mound Fronting the entrance, while a crescent-shaped swimming pool wraps around the curved sate pavilion.
The family den-cum-television room in the second curved pavilion overlooks a view of the main curved sate pavilion "afloat" the crescent-shaped swimming pool, a recent addition by architect Royal Pineda-In the foreground is a modern Yin-Yang chair by Kenneth Cobonpue.
The informal lanai on the lowest level is furnished in Budji Layug and Royal Pineda's much-vaunted "Tropical Modern" style. The sofa set with matching ottoman is designed by Evolve, the solid wood coffee table by Claude Tayag, the abaca woven rug by Soumak, and the paper art pieces by Mind-masters.
The massive curved picture window in the grand sala allows a sweeping view of the crescent-shaped pool and the garden beyond, All interiors were custom designed and accessorized by Budji Layug, while the garden was landscaped by Ponce Veridiano.
Deep in Quezon City, tucked in the shadows of massive government buildings, is a long, 3000-square meter property on which is built a thriving garment business and a delightful home. Workaholic owners Gunn and Cris Roque were expanding their fashion enterprise and their family when they decided to build their home on an undeveloped back lot, close to yet removed from their workaday world.
The couple wanted a home that would showcase what they considered the best available in modern Asian design: furniture created by popular designer Budji Layug and new works by members of Movement 8, Layug's design colleagues. The Roque residence was the first house that Layug had built from the ground up after completing the award-winning pueblo-style Zulueta home on the slopes of Tagaytay in 1983. The house took two years to conceptualize and complete—down to the last piece of art.
Making the most of the limitations imposed by the site, and working within a concept which he calls "organic-modern," Layug designed a curvilinear 750-square meter split-level house on the naturally rocky property. At the entrance is a large rock mound, from which the house flows in an L shape. The front elevation is a multilayered grouping of clean, dark-colored modernist roofs over a sand-colored resort-like structure. At both ends, the central volume flares outward to curved "pavilions" with expansive picture glass windows. Bordering the main living
