Selective simplicity: a glimpse into the home of Julia Montes

Practical considerations guided many of the renovation decisions. Storage proved particularly important. Montes prefers spaces that remain uncluttered yet comfortable, and wanted something distinctly Philippine-made. For this, she turned to cabinetry by Space 2000, allowing the home to incorporate the finest, locally-made craftsmanship within a contemporary framework. The joinery integrates quietly into the architecture so that daily necessities remain present yet discreet.

The ground floor unfolds as a sequence of open spaces where living, dining and kitchen areas remain visually connected. This arrangement encourages a fluid rhythm of movement through the house. The home is beautifully scented and feels fresh and inviting, with nostalgic music playing throughout the shoot. 

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The living room greets visitors with a composition shaped by organic forms and natural materials. A palette of warm neutrals establishes a calm foundation. At the centre sits a taupe sofa layered with deeper-toned cushions. A cream carpet grounds the seating area and introduces softness underfoot. Windows frame the room and draw daylight across the surfaces. Curtains in matching cream fabrics combine sheer and heavier layers, filtering light while preserving privacy. 

A dark rattan chair designed by Casa Selma stands in one corner. Its sculptural form introduces a structure that does not compromise comfort. Nearby, broad leaves gathered from Montes’s garden rest beside a rattan lamp also by Selma, allowing the presence of the garden to enter the room. Across the space, Selma’s house-shaped lamp introduces a quiet symbolic note. The silhouette recalls the idea of shelter, perhaps suggesting the enduring connection between craft and domestic life within Filipino culture. 

Moments of colour appear sparingly. A blue and yellow Hero chair by Giorgetti introduces a strong contrast within the otherwise muted palette. Several coloured small tables grouped together, the lower wider ones are from the Bambu range by Calligaris, replacing the conventional coffee table. Their rounded forms gather at the centre of the room, supporting a sculptural pendant lighting piece designed by Bartoli. The walls carry only two artworks. On one side of the room, a John Sanchez woven artwork hangs across another more traditional oil on canvas piece, which rests against the wall atop a narrow console. The spareness allows light and material to define the character of the room.

Across the seating area stands an entertainment console produced by Space 2000. The piece extends along the wall in warm timber tones. Its modular construction provides generous storage while maintaining visual clarity. Behind it rises a wall clad in square stone tiles arranged in a measured grid. Rust, charcoal, ochre and slate tones shift subtly across the surface. The material brings depth to the room while recalling the textures of natural landscapes.

Personal objects soften this arrangement. A sculptural lamp sits beside a small stack of books and glassware. A bamboo-style framed work by Chris Patio leans casually against the stone beside a dark ceramic vase containing leaves from the garden. Open shelving reveals additional books and a pair of Poltrona Frau burgundy leather pots designed by Simona Cremascoli. The leather’s burgundy hue mirrors the warmth of the stone. Cookbooks appear repeatedly among the volumes. They point toward Montes’s private life. Friends describe her as an enthusiastic cook who prefers preparing meals herself. The books hint at evenings spent experimenting with ingredients and techniques.

The kitchen from Dexterton by Miratap provides the setting for that most favourite activity. To that point, Montes is comfortable at the island slicing citrus fruit on a wooden board. A broad island occupies the centre of the room, finished in darker cabinetry that grounds the lighter surroundings. The surface serves both as preparation area and informal gathering point. Behind it, cabinetry forms a grid of muted beige panels. Appliances are integrated within the joinery so that the eye moves across the wall without interruption. Above the cooktop, a stainless steel hood introduces a precise metallic note. Glass vessels and greenery rest near the sink while a bowl of fruit sits in the background. Sunlight moves gently across the cabinetry and stone surfaces. The room suggests an environment shaped by use and personal enjoyment.

Nearby, the dining area offers a setting for those meals. The dining set is from Calligaris, the table is a dark Cartesio ceramic extendable table stands at the centre, supported by an angular base that introduces subtle structure paired with cream upholstered Adel dining chairs. Curtains extend from floor to ceiling, softening the daylight that enters the room. Layers of sheer and heavier fabric temper the light and maintain privacy. The palette remains consistent with the rest of the house. At the centre of the table sits a small glass vase containing slender stems of foxtail leaves. The arrangement is simple. The room feels open and adaptable, suited to gatherings that range from quiet breakfasts to extended conversations over dinner.

A console arrangement demonstrates the house’s sensitivity to proportion and material, whilst Italian-made, it is executed in a Scandinavian style. This warm timber stands against a plaster wall whose texture recalls traditional lime finishes, but done in a thick impasto type finish. One panel introduces a muted beige tone. Above it hangs a square decorative wall detail composed of dark blocks arranged in a grid by Casa Selma. The rough surface contrasts with the smooth cabinetry.

A handful of objects occupy the console surface. A selection of Venini vessels stands in a mismatched but cohesive pair, one in grey and another in amber, whose colour echoes the wood. A pair of books supports a polished glass sphere. The grouping suggests objects gathered gradually rather than arranged for effect.

Upstairs, the bedroom introduces a softer register. A large, sumptuous bed designed by E-ggs forms the centre of the room. Its curved headboard is upholstered in textured beige fabric. White linens maintain clarity. Bedside tables in warm wood carry pale stone tops and hold only a few books and a sculptural Massimo Zasseroni lamp by Giorgetti. Similarly styled Casa Selma carved wooden panels on the ground floor can be found arranged above the bed to introduce rhythm to the wall and cohesion to the home. Each square carries a slightly different texture so that the surface shifts gently with the light.

A desk, which acts as a mini-bar by Space 2000, occupies a recessed niche in one corner. Floating shelves hold a mix of books and vessels. A Calligaris chair with a woven cushion and knitted throw creates a place for reading or reflection. Curtains fall from ceiling to floor along the windows, allowing daylight to move softly across the pale floors and walls. The room feels contemplative. It provides distance from the demands of public life.

Throughout the house, the collaboration between Montes and Bangayan reveals a shared attention to proportion, material and atmosphere. Their approach favours quiet coherence rather than visual intensity. The home suggests that domestic space can function as a form of equilibrium. Within its rooms, work, family life and the simple act of preparing food come together. Creativity in cooking particularly appears as a daily ritual through which Montes expresses care. In that sense, the kitchen, and indeed the home, may be understood not merely as a functional room but as the centre of a small philosophy of living. 

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