DE­TAILED STROKES

An artist demon­strates her creative flair in dec­o­rat­ing her fam­ily’s charm­ing sanc­tu­ary |這位藝術家裝飾家園時發揮天賦才華,打造一屋迷人裝潢

Home Journal - - HOMES MANILA - WORDS AND PRO­DUC­TION MANICA C. TIGLAO PHO­TOG­RA­PHY TOTO LABRADOR AS­SISTED BY ALDWIN ASPILLERA GROOM­ING BY KIRT DINALISO FOR MURIEL VEGA PEREZ

Step­ping into Tra­cie An­glo Di­zon’s home, it’s pretty hard to be­lieve that an in­te­rior de­signer didn’t work their magic here. “I’ve been dec­o­rat­ing on my own, so it’s tak­ing a while,” says Tra­cie. Hav­ing cut her teeth in the creative in­dus­try as an art di­rec­tor for a fashion mag­a­zine as well as for nu­mer­ous tomes, and now as an artist, Tra­cie’s ap­ti­tude for styling spaces is most ap­par­ent in the home she shares with her fam­ily.

In 2016, Tra­cie and her hus­band Vic­tor, a former in­vest­ment banker and the co-founder of the up­scale bou­tique travel com­pany A2A Sa­faris, de­cided it was time to re­turn to Manila af­ter spend­ing over half of their lives over­seas – they had been re­sid­ing in Sin­ga­pore for seven years, and prior to that Tra­cie had been based in New York while Vic­tor was in Lon­don. The cou­ple pur­chased a 2,700sqft lot, which, notes Tra­cie, is rather mod­est in the Philip­pines, but is nor­mal in Sin­ga­pore, and spa­cious in Hong Kong. “Every­thing is rel­a­tive and we’re happy with it,” she

走進Tra­cie An­glo Di­zon的家,很難相信如此優美的裝潢並非出自室內設計師之手。「一直以來,我都是親手自己設計居所,所以要花好一段時間。」Tra­cie表示。現職藝術家的她曾涉足創意產業,擔任某時裝雜誌和多本著名刊物的藝術總監。在這個跟家人同住的生活空間內,她的設計風格得以完美展現。

2016年,Tra­cie跟丈夫Vic­tor決定搬回馬尼拉。曾任職投資銀行家的Vic­tor是豪華旅行社A2A Sa­faris的創辦人之一,二人大半生也在國外生活,其中有7年曾在新加坡定居,此前Tra­cie常駐紐約,Vic­tor則在倫敦。夫婦倆購入一塊2,700平方呎的土地,Tra­cie知道這個面積以菲律賓一般住宅而言不算大,在新加坡屬普遍,對香港來說則非常寬敞。她說:「所有東西都是相對的,我們

“THERE AMAZ­ING LIGHT AS SOON AS I EN­TERED THE ROOM VERY MUCH ATTRACTED TO THE CLAS­SIC

says. Their Sin­ga­porean ar­chi­tect, Lawrence Puah of Ak­i­haus, who has ex­ten­sive ex­pe­ri­ence restor­ing shop­houses and had worked on their pre­vi­ous home, knew ex­actly how to max­imise the floor area. Serendip­i­tously, his pitch - a “trop­i­cal brown­stone” – res­onated with Tra­cie’s af­fec­tion for shop­houses, town­houses, and brown­stones. She says, “I re­ally loved the idea of liv­ing in a brown­stone again, but I also didn’t want a New York replica.”

Build­ing up­ward proved the right strat­egy. Con­structed with four lev­els, in­clud­ing a full base­ment that houses a mud­room, out­door grilling sta­tion, and a four-car garage, the struc­ture al­lows for each mem­ber of the fam­ily to have their own sanc­tu­ar­ies. “I re­mem­ber my ar­chi­tect telling us that we can’t have the size, but we can have lay­ers,” re­calls Tra­cie. “We

非常滿意。」擅於翻新店屋(在香港我們形容為「下舖上居」)的新加坡建築師Lawrence Puah曾為二人打造舊居,非常清楚如何為他們善用空間。巧合地,建築師的強項在於設計「熱帶褐色砂石建築」,正好配合Tra­cie對店屋、獨立屋和褐色砂石建築的鍾愛。她指出:「我很想再住進一個褐色砂石屋裡去,但絕不想要另一個紐約式住宅。」

往上建屋是正確的選擇。完成後的屋子共有4層,包括一個設雜物房、戶外燒烤區和可容納4架車的地下室,每位家庭成員也能擁有私人天地。Tra­cie憶說:「建築師說過我們不能擁有

“WE LIKED THE IDEA OF HAV­ING LOTS OF LIT­TLE ROOMS AND POCK­ETS TO DIS­COVER”

liked the idea of hav­ing lots of lit­tle rooms and pock­ets to dis­cover.” Tucked away in a cor­ner of the main floor, for in­stance, is a sunken liv­ing area that is meant for more ca­sual en­ter­tain­ing. Di­rectly above it is a mez­za­nine that serves as a home of­fice and li­brary, its walls lined with built-in shelves that make the most out of the lim­ited space.

Culling from her arse­nal of work ex­pe­ri­ence as well as a col­lec­tion of one-of-akind ac­ces­sories sourced from nu­mer­ous trips to ex­otic lo­cales, Tra­cie’s abil­ity to mix and match styles, de­sign move­ments and pat­terns are on full dis­play through­out the abode. “I like French de­tails - there’s a side of me that’s in love with this gilded, glamorous look,” she says. “But there’s also a side of me that’s more prac­ti­cal, and is into mid-cen­tury modern fur­ni­ture. I think that’s why I com­bined them in our home.” She re­mem­bers the time she and her ar­chi­tect dis­agreed on in­stalling French mould­ings on the walls of the oth­er­wise modern kitchen. “I ad­mire peo­ple who can be faith­ful to one dec­o­rat­ing style, be­cause I can’t seem to do that. So I ex­ist with both.”

Tra­cie re­it­er­ates the house re­mains un­fin­ished, though ev­ery stylishly ar­ranged nook and cranny con­tra­dicts the state­ment. “I’m not the type who buys pieces in­stantly,” she says. “I like to wait un­til I find the right one. And that gives me some­thing to look for­ward to.” //

寬闊面積,但可以擁有層次。屋內建有多間小房和小區域讓我們發掘。」例如主樓層一角是個嵌入地面的小空間,讓一家輕鬆進餐。上方建有夾樓層,用作家居辦公室和圖書館,牆上設嵌入式儲物架,善用有限空間。

Tra­cie憑個人豐富的工作經驗,再加上無數獨一無二的旅行戰利品,在家中盡情發揮創意,混搭不同風格、設計和圖案。Tra­cie解釋:「我很喜歡法式設計細節。這邊廂熱愛這種奢華風,但另一邊廂也十分著重實用,偏愛中世紀傢具,所以在居所內將兩者結合。」她又憶起建築師當初反對在現代廚房牆壁裝上法式飾板。「我很欣賞有些人能忠於一種裝飾風格,因自己好像做不到,所以決定兩種風格兼得。」

Tra­cie強調屋子的裝飾工程尚未完成;環顧居所四周,你或不表認同。她指出:「我不是那種即時買齊所有東西的人。我喜歡等待、期待,直到遇上最合心意的設計。」// HO≤E JOUR­NAL

“I LIKE TO WAIT UN­TIL I FIND THE RIGHT PIECES. THAT GIVES ME SOME­THING TO LOOK FOR­WARD TO”

EARTHLY DE­LIGHTS Many of the fur­ni­ture pieces come from the own­ers’ pre­vi­ous res­i­dence in Sin­ga­pore. On the mez­za­nine level is a li­brary and home of­fice where Tra­cie works, while the kids spend time read­ing. “The li­brary is some­thing we can’t live with­out,” she says. 無盡喜悅 大多數傢具擺設均來自屋主的新加坡舊居。中層為圖書空間和家用辦公室,讓Tra­cie一邊處理工事,孩子又可一邊閱讀。她表示:「我們不能沒了圖書室。」

RARE FORM The fa­cade is loosely in­spired by brown­stones in New York. Op­po­site page: The sunken liv­ing room fea­tures part of the cou­ple’s art col­lec­tion, in­clud­ing a Yayoi Kusama pump­kin (above) dis­played be­low a match­ing Kusama litho­graph print. 色彩深度 外牆靈感源自紐約赤褐色砂石的建築。對頁:客廳放滿夫婦的藝術珍藏,包括草間彌生的南瓜和印刷品裝飾。

PAL­ETTE CLEANSER The mas­ter’s bed­room is a calm oa­sis punc­tu­ated by wall­cov­er­ings by Braque­nie and up­hol­stery by Manuel Canovas. Op­po­site: Shades of grey deftly neu­tralise ar­eas pop­u­lated with de­tails, as il­lus­trated in the foyer, kitchen, and stu­dio. 一絲不苟 主人房以Braque­nie牆飾作亮點,並選用Manuel Canovas襯墊。對頁:不同深淺 的灰為空間注入平實純淨的細節,如圖可見的圖書空間、門廳和廚房。

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