Town & Country (Philippines) - - CONTENTS / AUGUST - By ali­cia Colby sy

Rob­bie An­to­nio col­lab­o­rates with the Philip­pines’ finest ar­chi­tects and de­sign­ers for Revo­lu­tion Pre­crafted.

Time is our en­emy here at Revo­lu­tion but it’s also my great­est im­pe­tus,” Rob­bie An­to­nio says, as we make our way down the nar­row hall­way that runs through his pent­house of­fice. “We never have enough of it.” A wel­come in­ter­rup­tion from a lively con­ver­sa­tion about all that is up­com­ing at Revo­lu­tion Pre­crafted, its founder and CEO leads us to the re­cep­tion area where the ren­der­ings for his new mu­seum project with French “star­chi­tect” Jean Nou­vel hang. In those few short steps, and some­where in be­tween sen­tences, it be­comes clear that keep­ing up with Rob­bie is not for the faint of heart. Never un­hinged and al­ways at full-wattage, his thoughts and ideas are fo­cused and plen­ti­ful. With ev­ery word he ut­ters he dis­plays the con­fi­dence and con­vic­tion he has in his own vi­sion. “There is a dearth of space that al­lows for lo­cal, re­gional, and in­ter­na­tional art di­a­logue. I hope that cre­at­ing four dis­tinct mu­se­ums with dis­parate gen­res would help bol­ster cul­ture in the coun­try at a min­i­mum, and south­east Asia at large. The great­est thing about cul­ture is that it is univer­sal. Revo­lu­tion will be build­ing four mu­se­ums de­signed by four dis­tinct Pritzker Prize-win­ning ar­chi­tec­tural firms, so artists such as Jeff Koons, Andy Warhol, Fran­cis Ba­con, and Jean Michel Basquiat are shown side by side with our very own Ron­ald Ven­tura and Pok­long Anad­ing.”

In 2015, An­to­nio rev­o­lu­tion­ized art, ar­chi­tec­ture, and de­sign with the launch of his com­pany, Revo­lu­tion Pre­crafted, which be­gan as a pro­ducer of ul­tra-high de­sign pre­fab­ri­cated homes and pavil­ions from the world’s most cre­ative minds, in­clud­ing struc­tures by de­sign greats Zaha Ha­did, Mar­cel Wan­ders, Tom Dixon, and Daniel Liebe­skind, and celebri­ties like Lenny Kravitz and Daphne Guin­ness. Two years later, his young com­pany has evolved from one that builds com­mu­ni­ties to one that dif­fer­en­ti­ates them, and its of­fer­ing now ex­tends to mul­ti­pur­pose struc­tures that can be uti­lized for a range of ideas such as retail pop-ups and restau­rants to ameni­ties, spa­ces, bars, and, as An­to­nio has in­tended for his own per­sonal project, even a mu­seum. “I don’t want to just build struc­tures. We are try­ing to pro­vide con­tent, and pro­vid­ing ma­te­rial in an ex­pe­di­tious man­ner will cre­ate more value in the com­mu­ni­ties in to­tal­ity and in the coun­try at large, ” he con­tin­ues. “We have al­ways been about de­sign de­moc­ra­ti­za­tion. The Lou­vre Abu Dhabi is a bil­lion­dol­lar project de­signed by Jean Nou­vel. We are now go­ing to have a mu­seum by Nou­vel in the Philip­pines—but the space it­self is flex­i­ble. We’re ac­ti­vat­ing spa­ces for all to cre­ate max­i­mum value.”

Rec­og­nized by Art­net as part of The World’s Top 100 Art Col­lec­tors for 2016, An­to­nio has been listed along­side the likes of François Pin­ault, Steve Cohen, Leon Black, Leonardo DiCaprio, Mi­uc­cia Prada, Al­ice Wal­ton, and Wang Jian­lin, to name a few. Re­cent men­tions in­clude An­to­nio as one of the Twelve Young Art Col­lec­tors to Watch along­side Amar’e Stoudemire, as well as part of Harper’s Bazaar’s Art Power List. He was also rec­og­nized as part of the Top 5 Most Pro­lific Art Col­lec­tors of 2016 along­side Paul Allen, Bernard Ar­nault, Mukesh and Nita Am­bani, Ro­man Abramovich, and Dasha Zhukova.

His Nou­vel-de­signed struc­ture will be trans­formed into a vis­ual art mu­seum and will stand with three other art spa­ces ded­i­cated to per­for­mance art, ar­chi­tec­ture and de­sign, and art tech­nol­ogy. These three ad­di­tional art spa­ces will be de­signed by Pritzker Prize-award win­ning ar­chi­tects Chris­tian de Portzam­parc, Philip John­son Alan Ritchie Ar­chi­tects, and Kenzo Tange and As­so­ciates.

The mu­se­ums will be sit­u­ated at the new­est Cen­tury Prop­er­ties real es­tate ven­ture in Batan­gas, Bat­u­lao Artscapes, set to launch later this year. Lo­cated 90 min­utes away from Manila by car, it is a master-planned de­vel­op­ment from Cen­tury Prop­er­ties Group that will of­fer the best of both na­ture and city con­ve­niences to its res­i­dences by trans­form­ing 142 hectares of its land bank into an ex­pan­sive, fully in­te­grated leisure, recre­ational, retail, and res­i­den­tial des­ti­na­tion. This neo-res­i­den­tial art and leisure com­mu­nity will be the world’s first liv­able art park and will be pop­u­lated with spa­ces de­signed by world-renowned ar­chi­tects and de­sign­ers from the evolv­ing Revo­lu­tion port­fo­lio of

pre­fab­ri­cated homes, pavil­ions, and struc­tures.

For this project, An­to­nio took the op­por­tu­nity to work with top Filipino cre­atives Ken­neth Cobon­pue, Ed Calma, Budji Layug, Royal Pineda, and An­thony Nazareno to de­sign homes for the com­mu­nity. “Ini­tially, we got in­ter­na­tional per­son­al­i­ties be­cause we launched in Amer­ica, but now we’re ex­tend­ing the port­fo­lio to the best de­sign­ers and artists in the coun­try be­cause I hap­pen to be here. We are strin­gent about the peo­ple we get and we col­lab­o­rate with ex­em­plary peo­ple and take them out of their com­fort zones. For in­stance, this is the first house de­signed by Tom Dixon, Mar­cel Wan­ders, Ken­neth Cobon­pue, and Daphne Guin­ness. We work with each of them to ex­trap­o­late new­ness and chal­lenge them to hope­fully get their most revered work.”

Ar­chi­tect Ed Calma has al­ways thought that houses could be man­u­fac­tured in con­trolled fac­to­ries, just like cars, given to­day’s tech­nol­ogy. His Poly­gon house for Revo­lu­tion is the be­gin­ning of this ex­per­i­men­ta­tion. “I wanted the house to be of a sin­gle ma­te­rial held to­gether on a steel ex­oskele­ton. I chose an in­su­lated metal panel which can be used for wall and roof as a sin­gu­lar ex­pres­sion of sur­face. The panel can be cut and bent in the fac­tory and can be packed, de­liv­ered, and as­sem­bled on site to­gether with the metal frame,” he shares. His faceted form house de­signed for Bat­u­lao is the re­sult of the nat­u­ral ex­pres­sion of his cho­sen ma­te­rial. “It doesn’t try to be­come our his­tor­i­cal im­age of what a house should look like but a new ar­chi­tec­ture dic­tated by tech­nol­ogy and de­signed to work with the en­vi­ron­ment, it re­sponds to the pro­gram­matic needs of the user.” An­to­nio shares that days af­ter they launched the Poly­gon house, there were a few dozen in­quiries from around the world. “I have found that some clients are brand­fo­cused while oth­ers are pro­duct­fo­cused. I spec­u­late and I sur­mise. Some­times I’m proven cor­rect and some­times I’m sur­prised, and that’s in­ter­est­ing. I draw in­spi­ra­tion from it, which I ap­ply to my next project—col­lab­o­ra­tion.”

Sim­i­lar to Dutch de­signer Mar­cel Wan­ders, who was one of the first to cre­ate a home for Revo­lu­tion Pre­crafted, Filipino in­dus­trial de­signer Ken­neth Cobon­pue, most known for his range of high-end fur­ni­ture made in Cebu, is not an ar­chi­tect, but is very ex­cited about his first con­ceived home for Revo­lu­tion. “When Rob­bie asked me to de­sign a com­mu­nity of houses for the Bat­u­lao project, it was at a cer­tain price point that I nor­mally don’t work with. I’ve also never de­signed houses be­fore so I re­ally wanted to do it be­cause it was a chal­lenge and I love to do things I’ve never done.”

Cobon­pue tells us that the lay­out was paramount to him when de­sign­ing his two-story homes that will be avail­able in two- and three-bed­room con­fig­u­ra­tions, and he went through many drafts un­til he found the right one. Also im­por­tant to him was that the homes look dif­fer­ent from one an­other, as he ob­serves that many row homes lack in­di­vid­ual char­ac­ter. “Due to lim­i­ta­tions in size, there is not much land­scape al­lowed for homes like these, so I thought, why not make the land­scape part of the house, or grow on the house,” Cobon­pue says. “I called the col­lec­tion

of homes Hed­era, af­ter a green climb­ing plant, and they are lit­er­ally green­houses. Walk­ing through the com­mu­nity will be like walk­ing through a for­est. Be­cause of the way plants grow, each home will look dif­fer­ent.”

The de­sign part­ner­ship of Budji Layug and Royal Pineda en­vi­sioned the homes they cre­ated for Revo­lu­tion to be pro­gres­sive and de­sign-driven while tak­ing into con­sid­er­a­tion the re­al­i­ties of con­structabil­ity and cost. The two made sure that their homes were ef­fi­cient in terms of pro­duc­tion and kept to a cer­tain stan­dard of qual­ity

“We wanted to present some­thing global with our sen­si­bil­ity as mod­ernists and nat­u­ral­ists, and, of course, as Filipinos—some­thing with va­ri­ety that ex­cites the neigh­bor­hood. We re­al­ized that if it works for Revo­lu­tion lo­cally then it can go univer­sal, and that was ex­cit­ing for us.”

Aligned with the soughtafter Budji + Royal phi­los­o­phy and sen­si­bil­ity, the two houses they cre­ated were prac­ti­cally con­cep­tu­al­ized in the sim­plest, most ef­fi­cient man­ner. The Facet house, char­ac­ter­ized by a chang­ing façade, is named as such be­cause the facets can be strate­gi­cally placed where the sun hits the house. This fea­ture makes the de­sign not all about the aes­thetic and vis­ual pleas­ing but ra­tio­nal, too, as it re­lates to its nat­u­ral en­vi­ron­ment. “We cre­ated a main struc­ture then we cre­ated facets or faces that can be added on af­ter to cre­ate char­ac­ter and va­ri­ety for ev­ery owner. It is a vis­ual and log­i­cal ap­proach to ar­chi­tec­ture, and at the same time, more flex­i­ble,” Pineda ex­plains.

The sec­ond of their two homes is called the Tranche house, a fully mod­u­lar house con­ceived to grow as a fam­ily grows. It is made for own­ers who want flex­i­bil­ity for adding spa­ces to their home. “We Filipinos like to keep adding,” Pineda con­tin­ues. “With this house you can add with­out com­pro­mis­ing a neigh­bor­hood, and while do­ing so it’s not ar­chi­tec­turally of­fend­ing.” Layug adds, “Homes can be in­di­vid­u­al­ized by tex­ture from ma­te­ri­als or dif­fer­ent el­e­va­tions. Own­ers can even add color, but it will al­ways re­main the same struc­ture. We have cho­sen col­ors and ma­te­ri­als that blend with the to­tal­ity of the de­sign.”

With all that Revo­lu­tion Pre­crafted now of­fers, it’s not sur­pris­ing that its homes are pop­u­lat­ing com­mu­ni­ties in and around the Philip­pines, from Bat­u­lao to Palawan and Pam­panga, and around South­east Asia. Uti­liz­ing the of­fer­ings of Revo­lu­tion homes, de­vel­op­ers have the op­por­tu­nity to cre­ate unique­ness and “paint dif­fer­ent pic­tures in dif­fer­ent frames” in their lo­cal en­vi­ron­ments and land­scapes. Revo­lu­tion’s larger of­fer­ing of dif­fer­ent types of struc­tures at dif­fer­ent price points still ad­heres to its orig­i­nal vi­sion, global in scale, and is now ready to serve the world. An­to­nio adds, “I clearly did not start the pre­fab in­dus­try, but we are ex­plor­ing in­no­va­tive fron­tiers and use pre­fab in a mul­ti­tude of other cat­e­gories—from homes to mu­se­ums, amenity spa­ces to retail pop-ups, and ver­ti­cal struc­tures. I hope to dis­rupt the en­tire in­dus­try. The com­pany is the first truly global branded real es­tate com­pany that can serve any mar­ket in the world.” «

The Hed­era homes, de­signed by Ken­neth Cobon­pue (be­low). Op­po­site: Ed Calma.

A ren­der­ing of the poly­gon house, de­signed by Ed Calma. Op­po­site: Revo­lu­tion pre­crafted founder Rob­bie An­to­nio.


The Facet and Tranche houses, de­signed by Budji Layug (op­po­site) and Royal pineda (be­low).

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