meters (8,600 sq ft) in total, it has a pan-Asian feel that is both contemplative and contemporary. Apt then to find understated Christian Liaigre-designed furniture- in neutral tones- laid out with symmetry and simplicity in the perfectly proportioned living room. Here, massive glass windows are covered by three layers of amber-colored Jim Thompson unlined silk curtains; these contain the harsh glare of the Bangkok sun, but allow for glimpses of garden behind. They also allow for a slightly diffused light within.
Christian Liaigre is perhaps best known as the interior designer of New York's Mercer Hotel, but confesses to prefer smaller, residential projects. His combination of exotic dark woods and luxurious fabrics is illustrated in the dining room of this house, where a slatted wooden screen door opens to reveal a calm, formal dining room. Three silk lampshades above the dining table echo the color of the curtains, while the heaviness of dark furniture is alleviated by light parquet flooring. The room is calm, formal and understated.
Leading off the dining room is a more informal, relaxed family room, where Noon the pug curls up for a snooze and Ek-Annong and her husband take time out from their busy schedules. Natural furniture in modern designs by award-winning young Thai designers give the room a funky feel. The organic factor is furthered upstairs where a simple, meditative swimming pool shares space with the three bedrooms on the second floor. Here, more art pieces in wood and ceramic are displayed in peaceful poolside surrounds.
Japanese influences are evident in the woodwork in this home.
The family den (foreground) has wooden pivoting doors that open up fully to give views into the formal dining room- and beyond into the tree-lined street.
Situated adjacent Ek-Anong Phanachet's residence at 100 Soi Tonson is 100 Tonson Gallery. It has the lofty aim of making a vital contribution to the visual arts culture in Thailand. The gallery organizes a minimum of four to five exhibitions annually, including a curated exhibit ion; space is dedicated mostly to contemporary Thai art. Built from concrete, the gallery is a box-like structure with high ceilings and plenty of natural light mainly procured from skylights. For more details visit www.100tonsongallery.com.
A suitably opulent dining atmosphere is achieved with fine tableware and napkins that match the drapes and lampshades. Taking its inspiration from a Japanese ikebana device called a kenzan, whereby lead blocks are spiked with brass nails, delicate blue iris are secured in galvanized iron square trays along the center of the table. Their cool blue hues contrast beautifully with the ocher shades above.
The kitchen is an assured combo of wood and stainless steel fittings. The solid table and bench by Saiyart Sema-Ngern is an artwork in itself. All stonewares on the table and counter are by Eakrit Praditsuwana for E.G.G Enterprise.
The family room features rattan, van lipao (a weed from the south of Thailand) and water hyacinth furniture as well as tactile rugs in organics from a variety of artisans, artists and interior shops in Bangkok.
Low-level lounging chair in rattan with metal legs by Udom Udomsrianan of Planet 2001. The chair was an award winner at the Milan Furniture Fair in 2003. The water hyacinth rug in neutral tones is from Ayodhaya. Rustic chair designed and constructed by Thai National Artist Saiyart Sema-Ngern sits behind a handmade rug by Rapee Leelasiri, chief designer at Graph-TEX Studio. Khun Rapee is a multiple award winner for her stylish rugs in natural fibers. Central rattan and glass Threesome coffee table by Udom Udomsrianan.
Crystal wine glasses and champagne flutes with hand-crafted silver stems with gems were designed by Tam Devakul of T Positif. The handmade hammered-work cutlery and under plates are from Niwat at Gaysorn Plaza. The glasses' elegant lines and clean, modern shapes complement the long central flower arrangement by Khun Sakul where tubes of banana leaves form a base structure and green cattelya are housed in a long, slim acrylic vase from Cocoon. Christian Liagre organic-style wood side table. An installation on the stairs by Sakul lntakul features white cattleya hanging in light porcelain "senna" vessels created by the designer. Sinuous curving detail of low-level yan lipao loveseat by Suwan Kongkhunthian at Yokatha with brown raw silk cushions. A single bright red-and-yellow cattleya sits in a "tripod" bronze flower vessel designed by Sakul lntakul. Close-up detail of Fringe Design pouf by M. L. Pawinee Santisiri at Ayodhaya.
Beneath the painting entitled "A Day in the Life" by Chatchai Puipia is a large black leather pouf called the Black Spaceship by Udom Udomsrianan for Planet 2001. Wooden stools by Christian Liaigre.
Khun Ek-Annong's house is a veritable treasure trove of art. Adjacent the stairs is displayed a large blue-toned painting "Cyber Baby" 120031 by British artist. Andrew Stahl. It is one of a collection he painted whilst he was Artist in Residence at Silpakorn University in the summer of 2003. On left on the stairs is the hanging white cattelya arrangement seen on previous page.
On the far wall is a painting called "2002-20" by Somyot Hana nuntasuk; the two black stools on right were bought locally.
Above a dark stained wooden stool by Christian Liaigre is a painting entitled "Guitar" by acclaimed Spanish painter Gines Semin-Pagan. A mixed technique on canvas piece, it was painted in 2003.
A bench fashioned from railway sleepers designed and crafted by Saiyart Sema-Ngern and Thailand Nation al Artist Nit hi Sathapitanonda.
"Prai 1" (100 x 70 x 35 cm) a ceramic stoneware sculpture by Amornthep Mahamart (2003). Prai translates from the Thai as "water bubbles" and the sculpture floats if put in water.
Concrete girders frame downtown views from the third-floor pool side; at the far end is a bench fashioned from an old boat. also by Saiyart Sema-Ngern and Nithi Sathapitanonda. "The benches are intended as functional art," says Khun Ek-Annong, "and are great showpieces for the contemporary art scene in Thai land today."
SHOPHOUSE CHIC
The shophouse model in Asia is a compact one, but is often criticized
