Art and Heart: Valcucine Manila by Edwin Uy Design Office

Housewarming: A Valcucine Manila walkthrough

With these innovative features in mind, I was more than ready for the walkthrough of Valcucine Manila with project architect Edwin Uy of Edwin Uy Design Office (EUDO).

He starts with the brief: “We aimed to recreate the ambiance of an Italian villa. The client, Brian Hontiveros, wanted visitors to experience a Valcucine kitchen or a Pianca piece as if it were already in their home.”

The brief meant moving away from the typical all-glass façade of commercial storefronts. Uy explains: “We tamed the glazing by framing it with black pillars. They allow people to glimpse inside but not fully, enticing them to enter. The two windows framed in black warm the interiors and control light coming in. Instead of relying heavily on spotlights and track lights, we welcome more natural light than your usual showroom.”

Enhancing Architectural Elements

“Uplighting enhances architectural elements like the ceiling beams. These beams are part of the building. Instead of hiding them, we covered them with wood to fit the design. Wood beams are common in Italian villas, and using the beams as overhead ‘partitions’ to demarcate spaces keeps the showroom open and airy.”

I tell Uy why his design is interesting: “The space plan is curvaceous, contrasting with the straight-edged pieces on display. Yet the fit of these linear elements within the curved shell feels very organic.”

“Thank you!” Uy smiles. “It boils down to clustering product displays in zones instead of a regimented array, which would have emphasized their angles and made them look incompatible with the space.”

Uy used curves to demarcate zones in certain sections of the showroom. A cylindrical wood screen encircles the work area for the staff, while a lozenge-shaped ceiling dropdown designates Valcucine’s Artematica and New Logica System below as a centerpiece. Uy elaborates: “Valcucine’s designs are functional and quite linear. Adding curves introduces a contrast in form. But I didn’t want to overdo it because you won’t appreciate the elements as much.”

Flexibility and New Experiences

Uy explains the flexibility in the design. “We dropped the beams from the seemingly floating, gabled ceiling to make them feel lightweight. We didn’t want a literal translation of an Italian villa. At the end of the day, it’s still a showroom, and it came down to delivering a new experience for guests. Flexibility was key. The walls can be repainted and reconfigured, ensuring any display changes still work.”

Striking Entrance and Home-Like Feel

“We chose an edgy kitchen space for the entrance instead of a foyer to immediately introduce what guests can expect from Valcucine Manila. We envisioned this with console tables at the entryway and a dining setup and living space by the window to evoke the feeling of home.”

Balancing Design and Product Display

How did EUDO balance designing and curating spaces to harmonize with the owner’s needs to showcase specific products?

“Through good collaboration,” Uy says without hesitation. “When Brian reached out, they specified the kitchen models they wanted. They allowed me to choose specific finishes and furniture pieces. All the furniture here are my picks. Modularity provided suggestions to align with brand standards. I follow this process for most projects, asking clients which items to showcase and creating an atmosphere that fits.”

Working Kitchen

One kitchen in the showroom is functional for demonstrations. The dining set is positioned for private events, as Hontiveros requested. Uy explains, “We aim to showcase open spaces with more intimate spots within Valcucine Manila. The beams and curves help subdivide the areas.”

Uy adds, “Another consideration was enabling the staff to monitor customers from any part of the room and see whether they need assistance. To pique their curiosity, customers must also see what’s happening in different areas.”

Material Palette

When asked about the decision-making process for materials and finishes, Uy says, “We always choose neutrals for their versatility. Inspired by the brands’ palettes and the villa concept, we used warm materials and finishes. We opted for a flat white space to contrast the glass and wood, which brings warmth. Skim coat concrete finishes blend with Valcucine’s palette, and dark blue accents were used for smaller spaces.

“Popular opinion says white makes spaces feel bigger, but that only works with dark colors for contrast.”

Challenges

“There are existing structural columns, which I welcomed as a challenge. We aimed for the columns to blend with the space, so we finished selected ones with concrete. Adding beams to partition the space made it homier.”

Bedroom

Uy elaborates on the bedroom setting: “The idea for this bedroom setting is to mimic the private spaces of a villa, with a lounge and entertainment room. It also showcases other products, including those from Pianca, the furniture brand. This space hosts modular systems like entertainment units and closets.”

Uy continues, “We originally wanted to use one material for the flooring for fluidity, but the wood finishes added to the warmth of the space. All the flooring was imported from Italy. It was challenging because we didn’t see the finishes in person and had to rely on the catalog, but I’m glad it all worked out in the end.”

Having explored the showroom’s thoughtful design and innovative features, I sat down with Edwin Uy, Modularity Home General Manager Brian Hontiveros, and Valcucine representative Angelo Borioli to discuss the vision and collaboration behind Valcucine Manila.

Describe the vision for Valcucine Manila and your primary objectives. How did the old Valcucine showroom inform your design choices for this new one?

Edwin Uy: I started by incorporating lessons from the old showroom. Brian shared all their concerns and points for improvement, and we worked together to address them.

Brian Hontiveros: We have represented Valcucine for six to seven years. Our previous showroom was small and to one side of the Manila Peninsula, less visible than we wanted. The new, larger showroom in Rockwell, a prime location in Manila, allows us to showcase Valcucine better. We wanted a showroom that highlighted Valcucine technically and that visitors could interact with. Edwin created various scenarios to implement this.

How big was the previous showroom?

Hontiveros: Half the size of this one, which is around 300 square meters. The previous showroom was primarily for Valcucine, while this new one includes Pianca furniture and Albed doors.

Are there recent trends in client behavior or tastes that influenced the showroom design?

Hontiveros: Valcucine’s designs are impervious to trends. However, in terms of people’s behavior, the pandemic changed that significantly. Before, 80-90% of our clients who bought kitchens from us hardly used them. Because they have two kitchens—the beautiful one for show and the back kitchen for everyday use.

During the pandemic, they told me they were glad they had made the purchase because they started using their show kitchens daily and realized how functional they were. They’re so hands-on now! They know the finishes, the additional appliances they need, and even the measurements of their kitchen tops or islands.

That’s why some kitchens here are fully functional. People want to see how they work because they intend to use them. For the launch, Chef Bruce Ricketts did demonstrations in the oval room kitchen, putting his things in the drawers and on the countertops as if they were his own.

Uy: The goal is to inspire clients, educate them on the possibilities, and let them experience the kitchen models firsthand so they can envision using a Valcucine kitchen at home.

Could each of you walk us through your non-negotiables? What were some of the project’s limitations and opportunities? How much of the original plan made it through Valcucine Manila’s final design?

Angelo Borioli: The non-negotiable for Valcucine is style. The soul of Valcucine is modern, so we wanted a design that reflects this—nothing classical or traditional. We have established guidelines but adjusted them to the Filipino market’s taste. As for the materials, we were open to suggestions from Brian and Edwin’s teams.

Hontiveros: Valcucine has a concept called the Valcucine Atelier. To be called an Atelier, you must meet specific standards and guidelines. We achieved that with the aesthetics and models we included. Valcucine is strict about presenting the brand properly, as it’s a respectable kitchen brand. We’ve worked with Edwin before and knew he could make it happen.

Uy: It’s great to work with a brand I love. Even their branding collaterals fit the aesthetic I had in mind. It was generally smooth sailing. As for non-negotiables, I initially wanted an angular ceiling rather than a flat one. We achieved it somewhat; there were just too many pipes to raise it higher—the landlord wouldn’t let us touch them. Overall, it worked out. About 90% of the original plan was realized. We wanted a mezzanine, but the ceiling was too low for that. Still, what you see is generally what we envisioned.

Hontiveros: We learned that we presented the brand too technically in the previous showroom. With Valcucine, you can go all-out on technical innovations and features, but we realized people needed help relating to the product, hence the villa presentation style. Those who appreciated Valcucine at our old showroom were mostly engineers and people in the hardware industry. This market is hard to find, and considering Valcucine’s cost, we knew we had to make an extra effort to reach the general market.

Speaking of market, what are your strategies for presenting an Italian brand to Filipino clientele? How do you help clients envision using an Italian brand in a Filipino setting and marry Italian craftsmanship and elegance with our tropical weather and Filipinos’ penchant for maaliwalas?

Uy: Clients are much more knowledgeable about brands now. Filipinos have always favored European brands, especially for kitchens. Italy is renowned for craftsmanship and quality. Though ten years ago, we had to explain and introduce the brand to them.

European kitchens are typically small, while Filipinos want them large. Inviting everyone to a meal is very Filipino, making the kitchen a space to come together. We marry Italian design into our culture through finishes and layout. We ensure a variety of sizes to suit different spaces: condominiums, small homes, medium to large residences, and even offices.

Borioli: This showroom that Brian built is a milestone for Valcucine. Typically, our showrooms follow a factory/office style. Now, [during Salone del Mobile 2024] we’ve collaborated with three architecture firms from the Netherlands, South Africa, and China. The model for this [Valcucine Milano] showroom is designed by Neri&Hu. We want to demonstrate that our model kitchen could blend different styles. People use kitchens differently, and we want to show Valcucine’s flexibility. Valcucine Manila highlights our ability to create beautiful and functional kitchens for Western and Asian markets.

Hontiveros: I agree with Angelo. Kitchens aren’t specific to one country anymore. Valcucine designs solutions for the world, prioritizing sustainability, ergonomics, and aesthetics, making these kitchens adaptable to any setting. They have customizable worktop heights, deeper counters, lift-up doors, and full-extension drawers for ergonomics and safety. And they have the Logica system that reimagines a simple splashboard, base counter, or overhead cupboard into storage.

Valcucine does not commission famous designers, who generally follow trends, to design the kitchen models. Our founder, Gabriele Centazzo, remains the creative designer of all Valcucine kitchens. He’s a genius, a visionary. In the early 2000s, he pioneered the dematerialized kitchen, revolutionizing kitchen design by minimizing material use and maximizing efficiency, functionality, accessibility, and sustainability. It’s not superficial; it’s about practical, sustainable innovation. I believe in the brand.

You said it was a smooth collaboration. What were the biggest challenges for your roles?

Uy: The biggest challenges were construction, implementation, and building regulations. Ensuring quality in construction is always a challenge!

Hontiveros: Curation. The showroom is much bigger than the previous one, but there’s so much for us to show. Selecting which to highlight is difficult. Clients see one to three options, but there are thousands. Curating effectively is the challenge.

What client profiles do you tailor your product choices to?

Hontiveros: We show four Valcucine systems here. We reverse-engineered the process to match client profiles. The first kitchen targets the general market with a traditional configuration and affordable range. The second has a wow factor, with lower tables around the island, offering a premium experience. The third appeals to both traditional clients and tech enthusiasts. The last kitchen is industrial and most compatible with Valcucine’s DNA. We placed it at the back so clients can gradually absorb the brand’s essence before seeing this one.

During Valcucine Manila’s showroom launch, guests interacted with the kitchens. Any notable feedback or observations?

Borioli: Guests appreciated the kitchens’ beauty and Valcucine’s performance. Durability, innovation, and advanced technology stood out. The impact resistance tests, where guests dropped a heavy, solid glass ball on Valcucine glass, showcased quality. Interacting with the modules helped guests understand what makes our kitchens premium, justifying their position and price.

Hontiveros: We aimed for a unique showroom, and Edwin made it happen. We’re probably the most unique showroom in Manila now! We launched it in a non-traditional way with a house party setup. We didn’t want to hard-sell the products; we let the quality speak for itself.

Do you know how celebrities and influencers charge brands to post about them? Many of our guests posted about the showroom on social media without us telling them. I like that. I entertained people until nearly 11:00 PM; some visitors even crashed our party!

That’s great to hear! Any specific learnings from this project for you all?

Uy: I love experimenting and creating fresh concepts and solutions. One key takeaway: A showroom doesn’t need typical spotlights or track lights. The villa concept with subdued lighting worked well. You can use light sources that are common in homes. You don’t have to stick to showroom norms.

Interesting take! Now, what did you enjoy most about working with each other?

Hontiveros: This is our second project with Edwin. We first opened our office here so our staff could experience our products. Working with Edwin is smooth. He understands the requirements and applies his creative perspective, which marks a good architect. He doesn’t force his way but balances client needs with design aesthetics, leading to successful partnerships. We found that balance with Edwin.

Uy: I’m honored Brian and his team chose me. Designing is enjoyable when you appreciate the brand. Apart from designing their office and the Valcucine Manila showroom, I collaborated with Valcucine on a project before, so I have a genuine affinity with the brand. From the outset, Brian and the team provided clear guidelines and information, making my job easier. Some clients say they’ll give you free rein, but then they change their minds. Valcucine’s guidelines helped streamline the process.

Angelo, you’ve seen your share of Valcucine showrooms. What sets Valcucine Manila apart?

Borioli: This showroom is among our best, from architecture to location, quality of materials, and kitchen models. I like how the brand’s production and technology and the possibilities of customization are demonstrable here. Clients can play around with the system.

Lastly, Edwin, considering your work and evolution as a designer, what makes this Valcucine Manila showroom an Edwin Uy project?

Uy: I don’t have a signature style. I work on each project differently. This is the second high-end showroom I’ve done. In this one, I have redefined what a showroom can be. I went beyond what was expected and reimagined this into something new. And I guess that marks it as an Edwin Uy project—how it goes beyond the confines of the conventions of a typology. •