It helped that there was a track record of great teamwork: they had already collaborated on another property seven years before.

Ng notes that one of the main attractions for the designers was the opportunity to tailor the space to reflect the background, personality and taste of the clients: “fulfilling design always starts with a story to tell and a narrative to follow.” 

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Indeed, it was the clients’ own proposal to remove the original ceiling space and add a mezzanine floor. This initial creative direction then had to be thoroughly worked out together.

Ideas were abundant since the clients were so closely involved in the design stage. This meant that there were quite a few rounds of changes before the final version was settled upon. Still, as Ng notes, “this is crucial in bridging the client vision and to ensure the outcome meets the brief. The process is what makes it worthwhile.”

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Throughout the process of both designing and renovating, the designers had to be adaptable in order to respond to the various challenges. A case in point was the treatment of the three main beams that removing the original plaster ceiling would reveal. Initially, the intention was to apply wood panels to highlight the underlying bone structure of the architecture. The choice of material was of the essence here: it would have to be sufficiently lightweight, easily applicable and available in the correct format.

“There were discussions about using PU Wood (faux wood),” says Ng, “but unfortunately, there were limitations in terms of manufacturing, production, and importing during the pandemic.” Ultimately, the wood panelling idea had to be set aside. Instead, the design team opted to paint the beams in white for a minimalist feel. This approach wound up having its own merits since it allowed the upper spaces to rest in luminous simplicity. 

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The pure white minimalism of the beams and ceiling also helped to tie the space together into a coherent whole. In fact, the initial brief from the clients was that the design should be as seamless as possible. With this in mind, the designers opted for large format tiles in the bathrooms and kitchen to add to the visual width. They also used polished terrazzo for the common floor, thereby creating a smooth, subtly-flecked expanse. Large-format teak veneers were employed for the feature walls because the intent was to make them a warm and textured focal point.

Elsewhere, touches of colour sustain the continuity; thus, the hint of pastel sky blue in the body of the island counter follows through to the dry pantry. The overall muted, restrained tone is echoed in the open kitchen area, where the cabinetry was spray-painted in an off-white hue and where the kitchen top and backsplash consist of custom-made Dekton compact surfacing. 

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As for the renovation stage, some design solutions had to be generated on-site. For instance, given the existing roof allowance and the height restrictions imposed by adding the mezzanine floor, it was necessary to recalculate and make adjustments to achieve the most ergonomic set-up for the clients. An unexpected challenge involved figuring out the logistics of handling the large format porcelain slabs for the flooring. Even the issue of terminating the corners of tiles required the design team to think on their feet. 

One of the most gratifying moments was when all the different details, colours and textures started to come together. This was when interior design and space planning could properly converge with interior decorating. Ng outlines her studio’s philosophy: “We do not believe that a design should look a certain way; rather, we help clients to express their feelings and likes through design. We ensure that all these small details serve as reminders of memories which are written throughout their abode.” 

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Lee herself had to wear multiple hats, as she was both the client and the interior decorator for this project. In doing so, she drew together various qualities: there was meticulous attention to detail, but at the same time, there was a sense of playfulness and an honouring of personal histories. There is no mistaking the personal touch in certain choices.

For example, each room has its own switch selection to suit its respective space. These switches were sourced from a wide array of brands, including Corston, Dowsing & Reynolds, Schneider, Fontini, and Buster + Punch. Besides that, charming details were added by corner skiffers from the UK and Germany, a sliding library ladder for the mini library, and laser-cut pattern motifs on the dry pantry cabinet. 

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One overarching theme was that of mid-century design. Stand-out pieces from that period include the Eames Lounge Chair and Ottoman, which Lee and Doran collected when they lived in New York City, and an elegant TV cabinet that was imported from Denmark. Other pieces come from a later date but still trace their lineage directly to mid-century modern aesthetics.

Thus, we find the playful geometry of the Carlo Ran Library from Stellar Works, the organic simplicity of a Louis Poulsen table lamp, and the clean, sleek lines of Kawajun door handles. A hint of quirky minimalism is added by NOMON wall clocks, which double as abstract art pieces. 

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While the couple’s tastes were celebrated throughout the design, it was also important to consider the needs of a third client: their dog, Sky.

The designers stayed true to their commitment to customising the space by ensuring that there were ‘Sky doors’ which allowed access to essential areas (like the bathroom) but which were at the same time discreet and able to blend into the overall design. Ng enthuses, “It was small considerations like these that made the space that much more personalised.”

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