The intermittently sectional layout of the original was rationalised into a single space by erecting an aluminium frame over the whole. A sense of openness was preserved through the use of the skylight, which bathed the interiors in natural light. Another benefit was that the closed space could now be air-conditioned.

Careful attention to detail was required to bring the space together in an unforced manner. Thus, while marble flooring was initially considered, the owner eventually opted for wood, which was more welcoming and felt less “like a public space”. A subtle continuity of theme was achieved by using black margins as a motif throughout, hence the black outlines of the door frames, window frames, and balcony railings.

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INNER PEACE

As a former interior designer herself, the owner was mindful about creating a dwelling that reflected her own values. “A home should be sacred,” she affirms. “It should nurture, heal, and rejuvenate.”

The redesigning process was thus an opportunity to look inwards and to establish a sanctuary—a place that would be a refuge from the world of work and stress. Nature itself would be invited in, becoming an internal, rather than an external, feature.

The main example of this gently counterintuitive idea is the indoor courtyard with its trailing vines and prominent fiddle-leaf fig tree. One cannot help but experience the courtyard as an intimate microcosm. The owner explains: "All the elements are here: water, earth, fire and air.”

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The overall spatial configuration also plays a part in the way that the house embodies the intent to sustain a relationship with the sacred. The owner shares that her Buddhism practice was a guiding principle: “I designed it based on how I give alms to monks.”

Monks would be invited over; they would give talks in the lounge, and then they would make their way to the adjoining dining room to have a meal.

“It’s all about intentions—when your intention is such, the flow of the energy is such.”

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CALM AND COLLECTED

The furniture and decorative objects play an important part in embodying the owner’s worldview, life experiences, and evolving tastes. “My aesthetic changes with time. I used to like classical, antique stuff, but I slowly developed a preference for clean, modern lines, and simple furniture.”

Still, the owner has held on to significant items, from family heirlooms and nyonya pieces to a table from her “Balinese period”. As she explains, "There are no set rules but interior design must be reflective of a story."

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One object that has been a part of the owner’s story for many years is the Buddha in the interior courtyard. The statue was made in Myanmar but was chanced upon in an antique shop in Thailand. While the Buddha occupies pride of place in this focal spot, it is not specifically meant to fulfil a religious purpose. Instead, it sets the tone with its “serene face giving a warm welcome."

The artwork found in the dwelling is eclectic. Individual pieces have been collected over the years from local artists or through Christie’s. Placed together in this space, the pieces resonate with one another as well as with the furnishing and design choices.

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For instance, in the living room, the representation of the moon in a painting by Raphael Abeng Scott, which is echoed in the calm circles of the Cosmos hanging lamps by Vibia.

Similarly, the recurrent Buddhist elements emerge strongly in the twin pieces found in the foyer. These paintings by Choong Kam Kow incorporate references to sutras (Buddhist scripture) and thus hold a special place in the owner’s heart.

Unsurprisingly, this residence has proved to be a well-loved family home. The clean design and meditative mood mean that it is easy to feel welcome here. As the owner describes: "The house doesn’t overwhelm and intimidate because there’s a sense of peace when you walk in.”

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