From start to finish, the whole process was a labour of love for Hud. While he did have 200 staff members at his office at the time, he did not want to cause any disruptions to his client’s projects, so he personally hand-drew most of the construction drawings and, on weekends, supervised the work himself.

In fact, it was sometimes hard for him to hold back from making tweaks and refinements. “Design is never static,” he points out. “The more you look at it, the more ideas will come along. During the design stage, I had to force myself to stop designing and start construction to avoid delay.”

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The site itself had a lot of potential. There were sweeping views since it was on an elevation; also, its location at the end of a cul-de-sac meant no worries about privacy. Additionally, the land had a natural slope from front to back. This topographical feature amounted to a stimulating challenge for Hud: he had the opportunity to develop “a more creative design solution.”

It is apparent that many of the architectural features played a part in creating a harmonious interaction between the building and its environs: the central courtyards, fish pond, large sliding glass windows, double roof, and roof decks were all carefully placed in order to respond to the given site conditions.

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After the Kota Damansara house, Hud wanted to make a change, so he went for a smaller but more open and flexible layout with this house. The built-up area ended up amounting to 6,800 sq ft and encompassed five rooms with en-suite bathrooms, two rooms for house helpers, a dry and wet kitchen, an entertainment hall, an office, and a bike room.

There were a few bumps along the way, especially during the renovation stage. One issue that arose was when the integrity of a retaining wall came into question owing to the land slope. To resolve this matter, it was necessary to employ bore piles, which are normally used for the construction of large and deep basements. Another unexpected problem cropped up when the branches along the road had to be trimmed because of the size of the equipment that was being used. Besides that, in an affectionate, joking aside, Hud also notes that things did not always get done on time because the main contractor was “an elderly, laidback, and patient guy”. 

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For Hud, the house needed to respond to Malaysia’s tropical climate by interacting with the natural elements. Water, air, and light all had a role to play in defining the entire space.To encourage natural ventilation and lighting, most of the openings are on a larger scale - hence the choice of sliding doors rather than smaller, more conventional windows.

Here and there, we find small corner openings that aid further in ventilation. One benefit of these openings is that they can be left open without allowing any rain to enter. As for the water element, there is a fish pond that is located at the centre of the house: it is designed to be a ‘moat-like’ barrier that helps with the front door security while also functioning as a cooling microclimate that encourages vertical air stacking.

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The materials used throughout this residence had minimal finishes because they were meant to match the overall design’s subtlety. Thus, a mood of muted simplicity is supported by the raw unfinished timber, cement render, off-form concrete, and clear glass. The understatement helps other elements to speak for themselves, as with the white flannel granite that highlights the natural colour of the water in the swimming pool.

At other times, the material choices bring their own touch of expressiveness: note the distinct character of the honed silver travertine and flamed black granite in the wet areas. Some materials were selected because they would change with time. This is seen with the slow-trickling waterfall, whose wall consists of large pieces of split-cut granite stone that would allow algae to grow. The core-tan steel cladding of the main entrance door creates a similar ageing effect.

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Given the design’s responsiveness to the climate, it comes as no surprise that Hud paid special attention to sustainability. The materials mentioned above were all chosen for their sustainable qualities, as they age well and require minimal maintenance. In terms of the design itself, there were several passive initiatives.

To reduce heat gain, most parts of the roof have double reinforced concrete slabs, while the overall massing is L-shaped in plan to shade most of the west façade from the sun’s exposure. Windowless walls were placed on the east and west sides to shield the interior from too much direct sunlight. 

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In terms of human engagement, the house offers a selection of comfortable areas, depending on the time, weather, and occasion. In the daytime, the dry kitchen and family area are favoured; at night, though, the focus shifts to the master bedroom with its attached TV. And when friends visit, the ventilated terrace that merges with the entertainment area by the pool offers itself as an ideal spot for hanging out.

The most magical experience is when it rains: raindrops plink and splash against the glass, while the views offered by the large openings almost make it seem like you are standing out in the open under the downpour. 

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Dotted throughout the house are items of furniture that were acquired locally or collected during trips abroad. These include the chic industrialism of Mies van der Rohe’s Barcelona chairs, the slender-ankled elegance of the Archibald chairs from Poltrona Frau, and richly textured carpets from Minotti.

Works by notable artists from the region also grace the walls: represented here are pieces by Yusof Ghani, Harris Ribut, and Filipino artist Ivan Acuña. In pride of place, though, are a few artworks by his own children. He declares with a flourish, “my children are my personal masterpieces!”

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