GO­ING WITH THE FLOW

Views of the Ts­ing Ma and Ting Kau bridges an­chor a three-storey fam­ily home

Home Journal - - CONTENTS - WORDS JOHNA BAYLON ART DIRECTION MAY LAU PHO­TOG­RA­PHY EDGAR TA­PAN PRO­DUC­TION EMILY LE­UNG

飽覽青馬大橋及汀九橋的雙橋景致的時尚三層住宅

Such was the ef­fect of the Ts­ing Ma and Ting Kau bridges on ar­chi­tect Frankie Ke upon vis­it­ing the property that would be one of their projects, a res­i­dence punc­tu­ated as much by the view it over­looks as its 3,000 sqft real es­tate. “When we saw the view, we thought all ar­eas should be con­nected – from the in­side out to the gar­den, to­ward the sea and sky,” says the founder of KES In­te­rior De­sign, of the three-storey abode.

De­vel­oped by Sun Hung Kai Prop­er­ties, the stand­alone unit had orig­i­nally come with clear, if not vis­i­bly de­mar­cated, zones: foyer, liv­ing room, din­ing room, gar­den. It was noth­ing out of the stan­dard tem­plate al­though, against the fluid view that lay in wait, the lay­out felt rather rigid.

So they de­cided to re­work the lay­out. Like the wa­ter it over­looked, says Frankie, the liv­ing and din­ing rooms had to flow – out, to­ward the gar­den, into the view, and ver­ti­cally as well, through the first and sec­ond floor bed­rooms, up to the master bed­room on the third floor.

They started by cre­at­ing a more open feel within the ground floor, con­nect­ing it to the out­door space and en­larg­ing both liv­ing and din­ing rooms as a re­sult. “At the be­gin­ning they had no in­ten­tions to redo the gar­den,” says Frankie, “but see­ing the view, I had to per­suade them to work on it as well.”

這句引入所說的,正正就是坐落青馬大橋和汀九橋下的3,000平方呎三層住宅。來自KES In­te­rior De­sign的創辦人兼建築師Frankie Ke以寧靜和諧的大海為設計靈感,精心打造共設三層的美麗家園。他分享:「甫入屋內,設計團隊即認為理應連結內外空間,成就海天一色、渾然一體的效果。」

這間獨立屋屬新鴻基地產物業,室內佈局稜角分明。舉例來說,入口玄關、客廳、飯廳和花園等生活空間均整齊方正。明確劃分的屋內結構未如海洋一樣變化多端,整體造型平平無奇。

有見及此,重新安排宅舍佈局乃首當其衝。Frankie以靈活的水流動態為創作靈感,重新安排整體設計,巧妙融合主要作用餐和放鬆休息的生活環境。除了引入景觀到下層空間外,也要連結分別散布三層之間的睡房和主人房間。

地面區域以連接戶外和室內空間的設計概念掛帥,提升客廳和飯廳的空間感。Frankie指出:「屋主從未想過重新裝修花園。但我認為應該好好利用如此美景,因而向他們加以說服善用戶外元素的優點,成功締造更加連貫的畫面。」

The rest of the house’s re­fur­bish­ment fol­lowed suit. At the en­trance, metal and wooden slats were in­stalled so that what’s in­side comes into view in waves, ex­plains Frankie: first the liv­ing and din­ing ar­eas, then the out­door gar­den, then the views. A sim­i­lar treat­ment was ap­plied to the floor of the en­trance, too, with wave­like pat­terns sub­tly prim­ing vis­i­tors and res­i­dents alike for the mag­netic draw ahead.

Out into the gar­den, the path­way was paved with stone, flanked by still wa­ter vol­umes on either side “to bring the wa­ter from the sea to the home.” Grass and other plant ap­point­ments

另外,屋內其他角落同樣依循上述裝飾概念。在入口處,金屬和木材板條組合而成的裝置仿如波浪流動的圖畫。Frankie解釋:「首先要為主題空間加入焦點,再而處理花園和外觀。」門廊的地板備有輕柔優雅的元素,為屋主和訪客等人奠下深刻的印象。

踏出花園,你會看見由石塊鋪設的花園小徑,兩旁則以緩緩水流走道作裝飾。這片戶外區域的植物盆栽活潑宜人,完美響應著對岸的翠綠群山。藍色大理石牆壁巧妙潤色著客人必經的樓梯走道,

were set in place to fur­ther con­nect the space to the views across. Back in­side, mid­way up the stair­case – which the team also had to widen – a com­mand­ing blue mar­ble stone greets com­ers and go­ers while hark­ing back to the sea close by.

Wa­ter touches con­tinue to ebb through­out the up­stairs bed­rooms. In the master’s room on the third floor, cream up­hol­stered pan­elling are etched with strokes and lines evok­ing move­ment.

Luck­ily for Frankie, this was a zero-fuss client with a sim­ple brief – one who loved de­tail, as well as ma­te­ri­als of stone and metal, and had a pref­er­ence for luxury. “All they wanted was some­thing lux­u­ri­ous, with de­tailed work­man­ship,” says Frankie. Care was taken to source fur­ni­ture from Italy, save for the Crys­tal Saint Louis chan­de­lier in the din­ing room.

It helped that the house in its orig­i­nal form also had strong points. The bath­room, for in­stance, as well as the kitchen, car­ried mar­ble and wal­nut mo­tifs that fell right at home with the rest of the house’s new con­tem­po­rary luxe feel.

In the din­ing room, mean­while, a mar­ble wall sim­i­lar to that by the stair­case tie in the var­i­ous touches of ho­tel suite luxury through­out the home. Light­ing fix­tures in hand-blown crys­tal ex­ude warmth when in use, and cede to a clear, glassy sheen when switched off.

As Frankie speaks, it’s tempt­ing not to won­der if, per­haps, there is one way to defy the grav­i­ta­tional pull of a good view, af­ter all: with de­tails so sub­lime yet so sub­tle, to see them, you have to turn away. // 氣派不凡的設計散發與別不同的海洋氣息。

到達上層睡房,以水為題的設計路向則漸漸減退。位於三樓的主人房備有獨特的簡約粉色內飾,刻蝕表面更進一步豐富房間的層次。

所幸的是,客人只有一個簡單要求:運用多樣化的物料,呈現糅合細節和典雅的美學。Frankie說:「客戶給予團隊很大自由度,他們需而的只是一個細緻無暇的現代化家居。」因此,團隊精心挑選了各款不同的意大利傢具,飯廳中的Crys­tal Saint Louis水晶吊燈正是一例。

精湛的設計手法打破平淡無味的舊有佈局,把原來的面貌再度昇華。運用大理石和及胡桃木圖紋裝飾的浴室和廚房與屋內不同範圍相映成趣,呈現時尚華麗的一面。

同樣,飯廳和梯間的大理石牆面均為整個家居注入高級酒店般的豪華風尚。親手吹製的水晶玻璃燈具漫射著溫馨和諧的光線,關掉後更像是一件晶瑩剔透的藝術品。

Frankie細想:「也許,世上總有抵抗迷人美景的方法。對策就是注入低調奢華的細節,展現無限光芒,蓋過美景。」//

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