A Two-Storey House with Proud Filipino Design
Indigenous materials and dynamic spaces complete a contemporary Filipino home
Making a house feel “lived in” can often be a daunting task, especially if the space can be easily taken over by the look of generic modernity. But for homeowner Jimmy and architect Angelo “Gelo” Mañosa of A. Mañosa + Architects, the challenge was how to incorporate a distinct Filipino identity into the space as well as how to bring the outdoors in.
The result is an intelligently-designed space that takes advantage of the natural view corridors, garden backdrops, good ventilation, and natural light, while displaying a penchant for homegrown materials and a respect for traditional Filipino architectural details.
Original article by Tisha Alvarez. Styling by Issa Villar. Pictorial Direction by Carlo Vergara. Photographed by Jun Pinzon.
Read the original article (“Pinoy Pride”) in the November 2007 issue of Real Living Magazine. To download a digital copy of Real Living Magazine, visit Summit Newsstand at https://summitnewsstand.com.ph/real-living.
The house looks modern and majestic from the outside. Architect Angelo Mañosa created a high pitched roof and wide overhangs, which he says are ideal for our hot and humid climate.
Long overhangs are needed to protect window and wall openings from the effects of "heat gain" better known as the amount of energy a material absorbs.
Architect Mañosa also made use of a Mañosa trademark, which his father Arch. Francisco Mañosa popularized: the finial. “This was placed on top of the roof apex as a symbol of the Philippine salakot," he shares.
Buffed yet unpolished, slip-resistant floor tiles ensure safety during all kinds of weather.
As one of the first statements that guests will notice, the front door of a house can be designed as a foretelling of things to come. In this case, the Lagdameo door was inlaid with wood in vertical configurations.
Rather than creating one structure, the house was broken down into two pavilions by cutting a pond between the den and the living room. The pond can be seen on the extreme right. The narra floor in the living room is actually recycled wood from the old Philippine National Bank building in Escolta. The furniture in the living area is from Diretso in LRI Design Plaza, N. Garcia St., Makati. The pieces make use of Cebu abaca which does not darken unlike other abacas. Other interesting items in the living area are an old Muslim baul, overrun with a mother-of-pearl inlay, and a smiling blue-and-white Buddha on the shelf, a travel find.
When making a house design, it's important to consider how to let light and the outdoors enter the interior spaces. The den is one of two rooms one would step into upon entering the house. Both living room and den are bathed in sunlight owing to the many windows and glass doors.
Artworks featuring Philippine rural scenes adorn the walls. Drawings on the wall are by National Artist Jose Joya.
Shelves display some of the resident's travel finds. They also act as nifty storage solutions.
Ceilings may add visual interest in many parts of the house. In the den, the high pitched ceiling is reminiscent of traditional Ifugao huts.
The ceiling height allows air to circulate more within the rooms. Too add visual texture, the ceiling is lined with banig.
In the passageway between the den and the living area is a glass etching of a cross-section of the Gloria Maris, a Philippine shell.
As a means to entertain guests, an island bar can be constructed midway between the dining and living rooms. This not only delineates spaces but provides another lounge area where guests can transfer before feasting.
The refurbished dining table is from the family home in Paco, Manila. The chairs are newly custom-made to go with the vertical slats of the dining table. The artwork on the wall is by Cesar Buenaventura.
The dining room leads up to a lanai that opens up to the garden. Spaces that open up to the outdoors are bathed in natural light which makes them look more expansive.
Following a theme found in the rest of the house, even the ceiling in the lanai is covered in grass reeds similar to bamboo.
Stairs lead up to the study, the guest bedroom, and the master bedroom. Three sketches by National Artist Jose Joya are highlighted on a wall at the landing.
The pendant lamp is from Jakarta, Indonesia.
The idea in the master bedroom was to have a floating bed with a tapered base, giving the illusion of a suspended bed. Though it looks built-in, it can actually be separated from the shelves behind it. A glass etching of another Philippine shell, similar to the one on the first floor, serves as a focal point.
Like the den, the master bedroom also has a high ceiling, this time lined with rattan. The high roof is needed to be able to drain heavy rainfall.
Well-designed shelves are used as storage spaces and as receptacles for accents and knickknacks.
To keep up with the theme of using indigenous materials, fine abaca covers the cabinet doors in the master bedroom's walk-in closet.
The bathroom features an open bathroom encased only by glass.
An elliptical relationship between indoors and outdoors is reinforced by the pond that cuts the house into two pavilions and breaks the den from the living room. This pond also extends to the garden, creating a major design feature that makes the structure envelop into itself.
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