AT THE GUEST room, a native runner highlights the bedspread. An abstraction by Romulo Olazo and a Spin lamp from Flos contrast the antique jar and the bareness of the Mexican manzanita branch. Photo by Bobot Meru
THE FOYER features the brown ceiling that contrasts the neutral-colored tiled floor. A surreal painting by Gerri Dueñas is the focal point of an arrangement consisting of a figurative work by HR Ocampo, a Kudus horn from Firma, and rare corals on plexiglass which are set atop an aluminum cantilever ledge by Antonio Citterio for B&B Italia. Photo by Bobot Meru
THE HUB of the house is furnished by a Mart lounge chair in black wool, a carrara marble coffee table an an aluminum side table from B&B Italia, a Croissant sofa from Kenneth Cobonpue, a bargueño from Osmundo Antiques and Harry Bertoia’s Diamond chair from his father’s collection. Photo by Bobot Meru
IN Tali Beach, Batangas, designer J. Antonio “Tonichi” Mendoza is enjoying a modern rest house where the space responds to the environment. Call this architectural integrity.
The property is 700 sq m—modest compared with other homes in the area. Mendoza’s design was inspired by mid-century architect Richard Neutra, the modernist architect famous for fastidiously geometric but well-ventilated structures. Neutra’s influences are visible in the single-story rectangular shape and flat roof. Horizontal planes hover over the walls.
“The balcony rail connects to the cantilevered canopy that leads to the entrance. All the sliding doors are tucked into pockets,” Mendoza points out. “Neutra was also known for parapets and black mullions which I have on the sliding doors.”
The materials aren’t as significant; the crux of the rest house is the airy space enclosed.
To integrate the building within the landscape, panoramic windows and frameless, mitered glass joints in the corners of rooms allow maximum light into the house and provide generous vistas of the seaside and the house.
Windows have full-length blinds and jalousies, a mid-century feature, all by Hunter Douglas.
“I like corner windows because they open up the room,” says Mendoza.
The bedrooms are in the wings, designed to soak in natural light with views on at least two exposures. The space stretches outward and opens to the terraza/living area and poolside on the west side which, in turn, merge into the seascape. A banquette by the poolside lets you enjoy the sunset view.
“The layout is free-flowing, designed for cross ventilation. It’s just the basic architectural principle. When architects and designers build for themselves, they make the simplest concepts compared to what is done for clients. Maybe it’s because we are dealing with design all the time, trying to make the next project better than the other. When you’re your own client, you take the most elementary,” he explains.
The surfaces are modest—cement, homogenous tiles and veneer. “I opted for a grey oak finish to make it more contemporary. Wenge is sooo last century,” says Mendoza.
But he invested in expensive hardware that can withstand the elements, such as Spanish locks and Italian faucets. He likens his house to a Gap outfit, made stunning with flashy accessories.
While vacationing in the Hamptons, Long Island, Mendoza observed that flagpoles were pitched in front of the beach houses, an idea he picked up. He says with a chuckle, “When you see the Jolly Roger or the skull and crossbones, that means I am in residence.”
Severe black and white
He maintains his signature color scheme—anthracite, deep brown and the severity of black and white. The brown ceiling is another unique feature no ordinary client would take to.
Aside from the exquisite geometry of the exterior, the house is made stylish by Mendoza’s personal touches. While many homeowners like to juxtapose antiques with modern furniture, he combines intricate objets d’art and contrasting textures. The sleek lines and striking neutral colors of furniture highlight the ornate craftsmanship of antiques.
“The designs for myself are punctuated with Philippine art. You need to soften the place with antiques. If everything is all modern or very new, the house could be cold or impersonal.”
The major pieces in his beach house are cushy, Italian furniture, accentuated with a mix of a classic Harry Bertoia Diamond Chair and Kenneth Cobonpue’s popular Croissant sofa.
Maranaw element
The Maranaw gadur is a recurring element. “These objects are given as dowries. The bigger the gadur, the higher the stature of the couple getting married. I like its form,” explains Mendoza.
Religious relics such as a large crucifix from Bohol and a Gothic-style retablo of four angels surrounding Mary and Christ in gold-leaf on wood with a shadow box framing are in the hallway. These images are alongside a profanely surrealist painting by Gerri Dueñas of a naked man, covered with a hood, balancing himself on a plinth with a pyramid on top of his head. The artist explains that it is the imagery of the laborious creative process.
Disparate elements
The bedrooms have sleek Italian beds and wenge and anthracite lamps which blend with antique chairs, tables and dressers.
To establish a visual connection between the beach and the house, Mendoza uses natural elements such as horns, corals, driftwood and green bananas. In his bedroom, a scale model of the 1937 J-Yacht Ranger with billowy white sails adds character.
In keeping with the cantilever of the architecture, Mendoza designed a cantilevered table with an inch-thick plexiglass perpendicular to make it float in the dining area. It is complemented by Patricia Urquiola’s slim-back chairs.
Mendoza’s attention to detail and precise placement of objects make the house very memorable indeed. One guest room has a beautiful mix of an antique chair with a backing of interlaced wood, a sarimanok on an antique table, a sleek desk lamp and an ornate gilt-framed mirror. In the terraza, an old bargueño or Spanish traveling trunk is used as cabinet and display area. He stresses the contrast between the rough surface and the smooth and modern white Italian vase, the organic form of the coral fan serving as counterpoint.
The entertainment area has disparate elements. The dark Italian sofa and black Bertoia chair are a contrast to the carrara marble-topped coffee table, decked with an antique coconut grater shaped like an animal, elegant silver church candelabras and corals.
“I like to be surrounded with things I like—a mix of expensive and inexpensive objects with aesthetic value. I can buy Italian furniture anytime, but not the antiques which are rare and part of history. I want Philippine art to be presented in a world-class way. A sarimanok can come across as a curio, but displayed properly, it projects itself as a museum piece. My arrangement of good pieces is never arbitrary, but always calculated from the start,” explains Mendoza.
Ultimately, Mendoza has found tranquility in his getaway. Unlike in Makati where he works 24/7, he can now entertain friends yet also find solace for his creativity.
Copyright 2009 Philippine Daily Inquirer. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
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