Home tour: This sustainable sanctuary in Camiguin combines modernist style with natural elements

May 25, 2023

Cover House No17 sits between the Camiguin mountains and the Bohol Sea, at the highest elevation of a lot along the island’s Bulkang Daan

House No17 sits between the Camiguin mountains and the Bohol Sea, at the highest elevation of a lot along the island’s Bulkang Daan

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Inspired by the great modernist movement, the architect Edwin Uy designs a sustainable gem in the heart of Camiguin

Between the mountains and the sea of Camiguin Island is a gem of a modern residence designed by Edwin Uy. The house is an homage to the natural terrain and materials found in the lush tropical setting of this island province. Growing up in Cagayan de Oro, the architect is no stranger to the beauty of the Philippine countryside. It comes naturally to him to identify and enhance what a piece of land offers in terms of shape, texture and materials to be used.

House No17, as Uy calls it, is located on Bulkang Daan, the national highway leading to a volcano. Residents in the area are mostly farmers and livelihood comprises mostly fishing and mountain farming. With just a 1,000 sqm lot and a house footprint of only 200 sqm, Uy designed the structure to feel as light and airy as possible, letting wind and daylight freely pass through its open windows and terraces all throughout the day.

Above The rocky path leading to the main entrance was literally chiseled from the site as centuries-old volcanic rocks emerged from the excavations, and a stone-cutting machine was used to refine it for the driveway

The rocky path leading to the main entrance was literally chiseled from the site as centuries-old volcanic rocks emerged from the excavations, and a stone-cutting machine was used to refine it for the driveway

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“In Camiguin, zoning is not as strict, and so we tried to find a spot without too many trees in the middle of a rolling and rugged terrain. The best position for the house in terms of topography is at the highest elevation. The topography was everything; it dictated the orientation of the house. Basing it on wind factor, we had to direct the house to face the Southeast side to avoid the Western side. Hence the West area is where we put the garage, making sure there are plenty of trees so the heat is not felt so much,” the architect shares.

The client, an American with Italian roots, is a real-estate broker in California who sold a lot of houses by Richard Neutra and other Modernist architects of that time. He came to the Philippines and fell in love with the country, staying in Camiguin for 20 years. He is no newcomer to the island but when the time came to build his own place, he wanted one that was reminiscent of the iconic houses he used to sell in Palm Springs.

Read also: Camiguin in 24 hours

Above The topography of the land dictated the design of the house

Above The house is an example of critical regionalism. All the stones used were quarried from the site, adding warmth and texture to the interiors

The topography of the land dictated the design of the house

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Inspired by the simple, provincial life, he only requested from the architect two bedrooms, a gym and a three-car garage. The size of the bedrooms was not as vital to the client as much as the expanse he needed for the living areas where he planned to entertain a lot. Uy then created an elevated terrace as extension of the living room overlooking the pool, cabana and the sea beyond it.

“Linear shapes were used parallel to the terrain. I realised the terrain would be better utilised if there was a lower ground floor so part of the lounge area was carved into the surrounding rock and soil, somehow creating a second-floor feel,” Uy explains. “Everything else just fell into place. We were even able to place a compost area at the bottom of the property where leaves and soil can naturally flow when washed down by the rain”.

Above The client loves to host parties and entertain people, so an open space plan looking out onto the pool ensured good conversation and traffic flow for visitors

The client loves to host parties and entertain people, so an open space plan looking out onto the pool ensured good conversation and traffic flow for visitors

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There is a heavy use of texture on the outside, such as the driveway and the façade, but a sleeker and more singular use of material inside. According to Uy, this was intentional to strike a good balance between the varying textures of the building. Centuries-old volcanic rocks were found on site during excavation and he chose to reuse these for some wall and landscape enhancements. “It was all about the environment. When I finished this project, I really found the architecture as a great example of critical regionalism. Showing great respect for the land, all the stones we used were quarried from the site.” Adding to the visual drama on site are boulders that were too huge to move and were kept in its original spots. For the architect, keeping the boulders was not so much for aesthetic reasons rather than as a reminder that the structure is one with its location.

Above The furniture was kept modern and minimal, providing a cool contrast to the highly textural exteriors

The furniture was kept modern and minimal, providing a cool contrast to the highly textural exteriors

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The rocks also provided a chiselled look for the driveway with its random cut and arrangement. The client bought his own stone-cutting machine resulting in a beautiful flat stone finish for the walls and the pool deck. Inside, the cold texture of the stone was used as accent material playing with the warmth of wood burl and the rawness of plain concrete. There is also a play on perspective as linear and diagonal forms first greet the eye but grow more cubic and boxier as one goes inside.

“The look and feel changes as you move around the house. Instead of just shielding and protecting the house against natural elements, I pushed to open up more toward the pool side with glass louvres and a wide terrace, discouraging the need to use air conditioning. I was always designing like this long before the energy crisis became a thing”, says Uy.

Above Because the sea cannot be entirely seen from the site, the house and the cabana face the pool and each other, focusing on the appeal of its natural surroundings

Because the sea cannot be entirely seen from the site, the house and the cabana face the pool and each other, focusing on the appeal of its natural surroundings

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Above Linear shapes were used by Uy for the house, keeping parallel to the terrain. A lower ground floor was carved into the surrounding rock and soil

Linear shapes were used by Uy for the house, keeping parallel to the terrain. A lower ground floor was carved into the surrounding rock and soil

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The angular planes of the house were done on a multi-level arrangement so as to appear comfortably nestled between mountain and sea. The cabana is facing the house instead of the ocean which is quite an unusual layout for vacation homes. Uy explains, “The site is already very nice in itself. In most subdivisions, you usually want to avoid the neighbours so the view is focused outward. But here there are no neighbours so you don’t have to look outward. Critical regionalism is about understanding the context of the environment as part of your architecture.”

This keen observation of his surroundings has helped him develop unique techniques throughout his career. From various post-graduate studies in Milan, London, France and Hong Kong to being mentored by noteworthy internationally acclaimed designers such as James Irvine, Stefano Giovannoni, Alberto Meda and Maarten Baas, he has taken back to the country what he has learnt in Design Thinking & Strategy. Today, Uy has proven himself a master in crafting space and stone.

Above The cabana is a great place to hang out for guests as well as a quiet refuge for the owner to work and to appreciate the surrounding nature

The cabana is a great place to hang out for guests as well as a quiet refuge for the owner to work and to appreciate the surrounding nature

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“The site is low so the sea is not in sight, and we cannot predict if there will be neighbours in the future,” further expounds Uy. “So better to not depend on the surroundings for the view. Since the client likes to host a lot of parties, we wanted to encourage the guests to spread out but still be in contact with each other visually. I tried to respect what the site had to offer.”

Living away from the metropolis is a growing behaviour among new and old homeowners seeking to get the most quality of life out of their homes. Communication is easier now thanks to technology, allowing people to consider remote places as work bases especially in a post-pandemic era. Uy’s client was already ahead of its time, building a house in a natural enclave where rest, recreation and work can flourish. Although procurement of materials was challenging due to the schedule of boats going in and out of the island, in the end there was a different kind of fulfilment for the architect once the resident and his guests started experiencing the place as to how he had planned it.

Above The bold architecture that Edwin Uy has displayed for this residence is an homage to the natural terrain, environment and climate of the location

The bold architecture that Edwin Uy has displayed for this residence is an homage to the natural terrain, environment and climate of the location

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“Lifestyle, topography, natural elements, climatic conditions—these are all the factors that we heavily consider when we design houses for our clients especially in unusual locations like this. When there is a good conversation between architect, client, and nature, you will definitely feel the difference.”

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