One of the first signs COVID-19 registered itself in society was in how quickly it corrupted community spaces, and how social order was replaced by segregation and self-direction. But how does this recalibrated vision for a socially distant reality—at least for the time being—change the way we live at home?
For design creative Raymond Abrenica, not much apparently if you head on up and take a look around what’s going on in his Makati rooftop studio. “It’s a city respite that was designed in 2010 and from scratch,” he says. “A lot of its features are highly digital in form and remain timeless until now.”
The roughly 400 sq. meter studio feels like a world away from the bustle at ground level, largely in part to the “deceptively simple” foundation of the rooftop space. But a closer look at the hard-to-miss details that gleam in the afternoon sun—thanks to floor-to-ceiling sliding window doors—reveal the intention behind Raymond’s design decisions. Which, simply put, advocates freedom from conventional expectations and a mindfulness where the past, present and future are drawn in.
“I was always inspired by the intersection of design, fashion and living,” he says, seen notably in the core assets of the space such as the library that houses books and magazines he grew up with and the bar kitchen, which is a combination of high-tech solid surface and natural travertine stone made for banquet dining.
But what really comes into focus is the loosely “futurist” aspect of Abrenica’s design narratives—open space, sufficient ventilation, natural illumination and romantic textiles that when taken together seems like the perfect blueprint for post-pandemic living.
The root of the studio’s timeless appeal stems from its free-flowing floor plan where you can stay separate and socially distant but still be in each other’s company. The fact that it also emerged in 2010 and yet feels appropriate for the current times’ demands (e.g. telecommuting capabilities, demarcated work and play spaces, safe communal opportunities) shows that collectivism is just as important as individualism.
Here, we talk to the interior and living design creative and discover home ideas anyone can pick up to step into a more livable future.
It’s a beautiful space with lots of breathing room, interesting details, and a range of materials and textures. Can you tell me some of your favorites here?
My personal fave would have to be the Dragnet table by Kenneth Cobonpue in black. It’s the first you see on the foyer. Matched it as well with vintage Nordic chairs by Mathieu Mategot for Gubi, which are a nod to industrial perforated textures.
Personal faves are also all the Konstantin Grcic chairs en masse—in one space known for being a multi-facet designer with pared-down, geometric aesthetic. I love the vintage Vico Magistretti Silver chair, which is the industrial version of the classic bentwood café chairs popularized by Thonet. And which is 20-plus years old. It also matches the multi-use table by Enzo Mari who just passed away this year.
I also love my Bruno Munari lamp—one of the earliest designers whose retrospective exhibition I attended as a design student. A lot of the timeless pieces here stand on their own—with their own story to tell—from each designer who made them.
“There isn’t anything beautiful you must hide or not use. There shouldn’t be any gap or void to perform function without aesthetic”
It looks like there’s not a lot going on but when you look closely, there’s so much thought behind it. How would you define the aesthetics of your space?
It might be deceptively simple but with so much mindful thought. And that’s how pared down interiors allow for an eclectic mix to combine together harmoniously. The exterior seems unobtrusive and wouldn’t even reveal itself outside. I particularly like the wide angle sliding window doors, which open up to Makati views. If only we had zero pollution.
What’s the most challenging part about appreciating design and art?
A lot of disagreement comes from taste. Good design is cultivated through education and time, and there is some criteria that makes design and art good or bad. There is also an intersection called design art, which fulfills a different need. It may be uncomfortable or obsolete but it stood for something when it was created.
We’re a year into the pandemic but do you think COVID-19 will have an effect on our personal spaces?
People began to Marie Kondo early on. People spent so much time indoors and also discovered they do not have to make multiple trips outside or how a lot of it was unnecessary and could be done digitally. There was a period of rethink or reset. People appreciate how everything needed to function properly at home and even enhanced how they had performed rituals.
“We are all designers, and maybe everyone can come up with beautiful solutions”
So what has this year taught you about home and personal living spaces?
With COVID-19 or not, there isn’t any reason why home and personal living won’t be a priority to mindful living.
How do you envision the perfect post-pandemic home?
I like to believe that we have all been living in self-improvement even before the pandemic, so it just heightens more our mindful decisions to make our surroundings more livable. It’s little things. Nature, being able to have natural food, space to breathe, your coffee ritual, your WFH lunch, lessening unnecessary interactions. We are all designers, and maybe everyone can come up with beautiful solutions.
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