Rooted in beauty: exploring Pia Wurtzbach Jauncey’s home and sanctuary

On the ground floor, a controlled palette of neutrals introduces a language of modern refinement. Jauncey notes the emotion she sought for the project was “Calm. That deep exhale is a kind of calm. My work life can get hectic and full of noise, so the moment I step through the door, I want to feel the opposite. Light, grounded, embraced. You know, like a warm hug after a busy work schedule? It’s a soft landing after a long day.”

The threshold experience immediately communicates her predisposition for welcome and sensory pleasure. Fragrance from Diptyque’s Baies diffusers signals an attention to multisensory cues. Art curation by Glenn Cuevo and calibrated lighting systems by Smart Home create a flexibility in mood that is simultaneously composed and informal.

Filled with familiar mementoes, Jauncey remarks on the living area, “There’s a trophy in the console downstairs that was given to me when I won Miss Universe. I didn’t get to keep the crown as we passed it on. This is the only piece I got to bring home that makes it official. Before, it reminded me of victory, of hard work, but now it reminds me to be more intentional with how I live. It’s small, but it marks a big shift in mindset.”

A continuous Atlas Concorde surface from The Tile Gallery links the ground level. This flooring establishes a visual and tactile counterpoint to Architect Paul Peña’s timber ceiling, a feature originating externally and carried inward to maintain architectural continuity. The ceiling introduces weight and presence, while the cool tile below stabilises the composition through equilibrium. The walls, finished in a milky hue congruent with the flooring, create a cohesive chromatic field. Intermittent injections of colour and texture punctuate the neutrality, preventing monotony and sustaining spatial interest.

The living zone is organised around an ivory Dolce sofa by Kenneth Cobonpue. The piece conveys authority without visual dominance. Escada pillows in neutral hues are an anchoring presence, while pink and green accents introduce subtle oscillations. A bronze Little People Boom Town lamp by Cobonpue provides both sculptural tension and functional light. A seated figure Bencab sculpture on the coffee table offers a visual contrast, echoed by candlesticks of similar patina. Bent rattan armchairs maintain material contrast and prevent oversaturation of upholstery. Works by Tata Montilla and Naomi Banal are hung marginally off-centre, creating intentional asymmetry. In the recessed niche, The Pietro Collection objects coexist with Cassina vessels in a manner that privileges dialogue over display.

The dining area extends the ground-floor composition. Cobonpue’s RMCHAIRs, upholstered in Escada Deep Green, establish chromatic alignment with the surrounding landscape framed by Glassbox windows. A bronze-legged, glass-topped table mediates between transparency and materiality. Above it, two Verpan Capiz chandeliers, differentiated in scale and height, contribute a balanced irregularity that introduces movement analogous to shifting light.

The lanai functions as a demonstration of restrained indulgence. It positions luxury not as accumulation but as precision. A sculptural timber table operates as the spatial fulcrum, its form asserting quiet authority. Binibini armchairs by Jed Yabut create a measured dialogue between statement and invitation. Three-sided windows by Glassbox erase the boundary between structure and landscape, while the pool becomes a reflective instrument that doubles the architectural composition. Lighting from a Pietro Collection piece acts as linear emphasis.

Although spatially recessed, the kitchen aligns fluidly with adjacent dining areas, facilitating social cohesion. Her munchkin cat, Tiny, circulates through the dwelling with natural ownership, offering a reminder that design must accommodate everyday life. The Poggenpohl kitchen prioritises understatement. Chalk-white cabinetry meets honey-toned oak, generating a restrained Scandinavian inflection softened by domestic warmth. The island, accompanied by caramel- leather stools, invites conversation. Modern appliances remain visually composed. Jauncey’s relaxed posture underscores how architecture becomes biography.

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The principal bedroom reinforces this logic of temperance. Gentle gradients, soft textures, and curated objects generate a restful sanctuary. A Ditre Italia bed establishes spatial hierarchy. Behind it lies a sculpted wall relief by Thomas and George which introduces depth through quiet narrative imagery. She reiterates, “I translated that settled sentiment through texture, proportion, and light. It’s the glow of a lamp against wood, the softness of fabric, picking a piece of artwork for a wall, the quiet elegance of pieces that don’t shout for attention but have presence.”

The walk-in closet follows a boutique model, with Pianca’s glass cabinetry foregrounding order. An Ashton-topped island and Tile Gallery flooring reinforce clarity. A Civil bench by Cassina introduces sculptural utility.

The second floor introduces a shift in register, moving from the calm neutrality of the levels below into a more introspective domain. A symphony of deep greens, which Jauncey admits is the antithesis of the “Pia Blue” she is strongly tied to, velvet textures, and warm woods pervade her home office. The bespoke Pianca shelving that lines the walls becomes a kind of intellectual portrait. Here, the vocabulary of Jauncey’s interior life reveals itself through books she has kept, photographs she has framed, and small objects from The Pietro Collection arranged in thoughtful sequence. It functions as an index of memory.

Across the office is the dressing room that functions simultaneously as Jauncey’s glam suite. It is a refined intersection of preparation and contemplation. Cassina’s Fauteuil Tournant, finished in a cappuccino textile that mirrors the warmth of the Matimco floor, anchors the corner as a sculptural object with ergonomic intelligence. The Studio Soliven rug beneath softens the strict geometries of cabinetry and flooring, introducing a textile warmth essential for a place devoted to personal ritual.

The third level, which includes guest bedrooms and an entertainment suite she refers to as a man cave is conceived as a retreat. Here, an even denser textural palette is introduced, while still preserving the coherence of Jauncey’s larger design ethos. A Pianca bespoke shelf creates a separation between the living and dining areas of the man cave in a subtle and purposeful way. She admits initial hesitance over the design of what turned out to be her most cherished chamber, “I was nervous it would make the space feel heavy, but it turned out to be my favorite area. The kind of space where you can just curl up and be; have a drink, play video games or absolutely do nothing.”

The grey guest bathroom by The Tile Gallery further demonstrates the design’s commitment to consistency. It draws from the same chromatic language used elsewhere: gentle shades, modulated light, and textures curated for their tactile pleasure and lasting integrity.

For Jauncey, this property is less a static container than a dynamic articulation of selfhood. It embodies growth, balance, and emotional intelligence, expressed through architecture that prioritizes coherence, air, and thoughtful restraint. Each spatial decision reflects a sensitivity to shape behaviour, mood, and daily ritual.

Spending the day with Jauncey, one cannot help but admire her attitude, she honours her roots, reflecting, “We didn’t have much growing up, but what we did have was warmth and openness. Our home was always a place where everyone felt welcome. A safe space filled with laughter and connection. I wanted to bring that same spirit here. A home that grows with you and makes anyone who walks in feel like they belong.”

The simplicity of Pia Wurtzbach Jauncey's childhood has become the backbone of her triumph as a beauty queen, “One thing I did bring with me, though, is a box of rosaries that people from all over the world gave me when I was Miss Universe. I’ve always thought it would be beautiful to keep them in my home. A quiet reminder of faith, kindness, and all the people who’ve shared a little piece of their hearts with me along the way.” Jauncey herself, like her property, is a study in modern sophistication shaped not by spectacle but by purpose.

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