During one of their regular strolls, he declared with arms flung wide that one day he would be famous and own a house on Vasquez St. It was all too surreal, but his sister indulged him with a smile. The dream was shattered when he plucked a flower off the wall of one of the houses. The owner screamed and called the police. Accused of theft, the red-faced youngster was escorted home by the cops.
Two decades later, Joe Salazar was the toast of the city’s fashionable set with a clientele topped by then First Lady Imelda Marcos. Then it happened. The Roxas’ ‘50s bungalow at 1850 Vasquez St. went up for sale. He was able to secure a bank loan with the help of Mrs. Marcos. He acquired the property and paid off the loan through the years by creating fabulous gowns, notably ternos for his benefactress. Even the lady across the street became a client, unaware that the designer was the "flower rogue" of long ago.
The house was a dream come true. Joe not only put his time and money into it, he gave it his soul. He re-created the bucolic landscape of his childhood in the heart of the city. Bamboo, balete and coconut trees gave it shade, screened off the surrounding high-rises and produced soothing, rustling sounds with the wind. Ferns, climbers and all sorts of leafy tropical ornamentals provided lushness and a rich, verdant mantle. Heliconias, a black and white bird of paradise and fragrant kamuning flowers were the exceptions to an otherwise green sanctuary.
Big white Japanese kois swam in a six-foot deep pond fed with water trickling from overhung bamboo poles. Huge boulders, antique clay jars and sugar mill grinders were placed as accents. He created a knoll accessible by stone steps that overlooked the house and garden. This was where he would go when he wanted to be alone to think.
He was always experimenting. He replaced the original cement garden wall with one made of river stones. Through the years, he collected red terra-cotta bricks from demolished old houses and when he had gathered enough, he replaced the river stones with them, inserting interesting bits of carved old wood in unexpected places.
Garden walks were formed out of old, wooden railway tracks and iron and huge slabs of piedra china. Full-length glass windows gave his office and reception area a view of the entire garden. He kept exotic birds in a soaring aviary. He built furniture from old wood and worked patiently at his craft. It was an idyllic life punctuated with moments of loneliness and a yearning for a happy family life.
The serpent in paradise came in the form of cancer. Joe Salazar passed away on February 14, 2004 at the peak of his career but not before bidding his beloved garden goodbye, softly caressing the fern fronds as he lay on a stretcher.
Two years before, he went to see then Manila Councilor Kim Atienza. The construction project behind his house was causing the ground to shake and debris to fall on his house and garden. Could the councilor do something about it? Seeing the validity of the complaint, Kim revoked the construction permit. Little did he know that it was only a matter of time before he would own the house.
The property was immediately put up for sale after Joe’s demise. People expressed their desire to acquire it either for a restaurant or for a building. For some uncanny reason, sure deals never materialized and it stayed that way for a year.
Kim Atienza, now chairman of the Buhayin ang Maynila Task Force and TV’s Magandang Umaga Pilipinas host where he reports on the weather, trivia and animalandia, and his equally accomplished wife Felicia Hung-Atienza, who worked for 10 years as a director at Merrill Lynch, decided that it was time to move out of their Syquia Apartments unit to a house with a garden. Their brood of two would soon be three. The Syquia garage was not their idea of a playground for Jose, 3, and Eliana, 1.
Their Syquia neighbor Apa Ongpin, who was also house-hunting, asked Felicia to accompany him to check out one on Vasquez Street. The house pleased Apa, but it was beyond his budget. For Felicia and Kim, it was perfect. "I see it as a place for our family to live in and for Felicia and me to grow old together," says Kim.
The deed of sale was concluded in June 2005. The garden and the shell of the house were to be retained, the roofing and termite-infested beams replaced. Work began in earnest to meet Kim’s December deadline. He wanted the family to celebrate Christmas in their new home. Heavy with child as she was, Felicia still took it upon herself to personally oversee construction. The bedrooms and their adjoining bathrooms had to be reworked. Ditto for the kitchen, the former atelier and stockroom at the back.
The family moved in on December 21. In Kim’s words, their home has "a very modern feel – like a New York City loft in the midst of a forest."
Joe’s former office serves as the couple’s work area. A long desk with his and hers computers is positioned facing the window. It is like working in the garden where a Joe Geraldo surreal terra-cotta sculpture of the Sacred Heart stands. The couple discovered Geraldo in Bacolod through artist Charlie Co. "He lives in a 20-sq.m. house filled with wonderful sculptures," they say. A second Geraldo terra-cotta is positioned at the back of the house near the kitchen door.
Since they got married almost four years ago, they have been heavily investing in art and modern chairs. Painters Elmer Borlongan, Alfredo Esquillo, Santiago Bose and Nune Alvarado are favorites. Their body of works could be described as surreal or "edgy" art.
"Art is about life. This is part of life. Life is not all flowers," Kim explains.
Interesting pieces like a 1920 Le Corbusier chaise lounge, a Ferrari-Hardoy Butterfly
Chair and a Frank Gehry cardboard Wiggle Chair are found in the former reception area. A floor rug of leather strips by Jeremy completes the minimal furnishings. The ambience is cozy and intimate. The garden view is refreshing. This is the couple’s favorite part of the house.
The dining-cum-living room with its twisted wooden posts from an old Batangas house has been left intact – its once brown cornices painted white like the walls. "We retained the ‘50s folding doors of narra wood and glass that lead to the garden. It’s Joe’s," they say.
Three arresting works of art with an anti-American imperialism theme line the walls of the living area. All three are featured in the book Vestiges of War: The Philippine- American War and the Aftermath of an Imperial Dream 1899-1999. One of them, an Alfredo Esquillo 2001 oil on canvas entitled "MaMckinley," had been loaned out to the Whitney Museum in New York. It shows a female Thomasite with the face of American President McKinley clutching an Asian baby. The woman’s claw-like hand is similar to a predatory bird’s. The other two paintings, "Free Trade" and "Miss Asia" by Santiago Bose, were purchased by Felicia. Not to be overlooked are a Gerrit Rietveld revolutionary plywood chair in red and blue, an original Harry Bertoia Bird Chair in blue from the ‘60s, a second Frank Gehry Wiggle Chair and a ‘60s Saarinen Tulip Chair.
Not faraway is an imposing Esquillo triptych called "Inspirasyon, Pagka-upos at Pagsusuka." The work is three-dimensional and comes in very strong. One cannot stay indifferent to it. Below it is a Julie Lluch sculpture from her ‘80s cactus series.
The dining area is "neutral ground." It is the only place with "sedate art." Here Arturo Luz’s "Golden Temples" (acrylic on canvas) and one of his linear metal sculptures are found. The molave wood dining table with chrome legs was custom-built by Tony Estacio. Eight different iconic chairs from the ‘50s and ‘60s are gathered around it. What used to be a niche for an air-conditioner now holds a mounted antique image of the Virgin Mary. Kim says it was salvaged from a fire. The antique dealer was happy to sell it to him for P400.
The house’s old ‘50s kitchen is now a modern, all- stainless steel beauty. Its door has been widened to give the family a view of the front garden as they dine on a stainless steel box-like table in the center. There are custom-built chairs made from centuries-old hardwood by Jerusalino Araos. Of limited edition (only 20 of them), the chairs are inscribed KKK (Kay Kim Kami). A pair of low rocking chairs of the same hardwood material, gifts from Araos for Jose and Eliana, are found alongside.
The bedrooms have a minimal look. More paintings from the couple’s art collection hang on the walls. There’s an Esquillo painting of a Black Nazarene procession in the master bedroom as well as a round rocking chair of molded fiber glass called "Pastille" by Eero Aarnio. Felicia designed their simple narra wood bed. For more space, what used to be Joe’s fitting room has been joined to the master bedroom. The guest comfort room with its white bowl washbasin on unpolished wood stays as is.
The atelier at the back of the main house has been converted into a family den and play area. Its second floor now serves as Kim’s seminar room. "This is where we keep our clutter," he says. Chairs of varied shapes from the ‘50s are found here.
Dusk has descended. At the top of the knoll, an unpolished molave tabletop is set on two sugar stone grinders together with Bertoia’s Diamond lounge chairs from the ‘60s. At the foot of the knoll are Verner Panton chairs.
Jose and Eliana wander barefoot around the garden. "I want them to be jungle kids," their young father says in jest.
Due to give birth any day now, Felicia smiles serenely and offers me some candy bars. From its perch, the family pet kalaw bird cries out to be fed. Other pets will join it soon. Yes, there will be more birds, fish, snakes and even singing frogs. The children’s laughter fills the garden. I am happy for Kim, Felicia and their children. They have found their dream home in the city just as my late friend found his in the same place not so long ago.