Upstairs, after entering a narrow door at the back of the shop, is another world. Those I have made acquaintance with during one of his intimate dinner parties spoke of having the impression of journeying to a genteel yet contemporary setting. We all agreed this is one of the best houses in Quezon City.
The idea of having the downstairs for his shop and upstairs for his residence came from his experience of growing up in Angeles City, Pampanga. His story is rich in lessons from the school of hard knocks; his home is the reward for his industry. Paras was raised by a childless aunt in their old stone house in Angeles City. Better known as bahay na bato, this type of house is mainly made of stone blocks on the ground floor and wood panels on the upper floor. The ground floor is mostly used for storage while the upper part is the residence.
Amando lived in the Paras ancestral house for much of his early life. After receiving a business and accounting degree from Holy Angel University, he asked permission from his aunt to convert the ground floor space of their grand house into a small hair salon. Having started modestly in 1964, even Paras was surprised with the way the salon has prospered. It was boom time after all, with American servicemen using Angeles as their rest and recreation playground. Paras gained renown during this period and he was able to go into other business ventures. Pretty soon, he left the ancestral home and moved into his own property.
For a while he contemplated settling in the US where he studied haircutting with Vidal Sassoon in San Francisco for a month. In 1976 Paras also gained a license in cosmetology from the state of California. He returned a year later after resolving that the Philippines was his home and doing business was still better here. It was fortuitous that a cousin was selling his property. This was the sign for Paras that he had made the right decision. Although his home is not as grand as the family’s ancestral residence in Pampanga, it has since evolved into his own style. Having lived in an old house, Paras has a feel of what to include in its designs and features, including the balconies, hardwood floors and antique objects.
The stairs that lead up to his house immediately set the exquisite tone. A converted Victorian gas lamp illuminates the space and complements the yellow shade of the walls. The full-length curtain trimmed with gold is also yellow, framing the bright light from the window. On one side hang prints from 19th century Blanco paintings in gilded frames. Touches of gold can also be found on the plant stand and the cast ironwork on the lower window. An antique Persian rug warms the atmosphere, making the visitors feel welcomed as soon as they step in.
Opulence with an understated quality pervades the sitting room. As soon as we opened the door from the stairs, we had a good perspective of the room. A Balinese screen with gold-leaf trimmings covers an entire wall. Its window at the center reveals Paras’ collection of tradeware ceramic and the lush container garden of his covered balcony. A maroon velvet sofa sits before the screen, blending well with the damask red side chair. Beside the low square Chinese coffee table, a plantation chair with inlay and rattan weave gives the impression of an updated colonial design. The room is partly formal and relaxed.
Paras also showed us some of his art collection, including a Shoko Mifune terracotta sculpture on the coffee table and a Victorian portrait by an unknown artist of an English mother and her daughters hanging on the west wall.
The covered balcony surrounding the sitting room relives the hallways of old Philippine colonial houses. Up to this day, the hallways or pasilyos allow ventilation and keep direct sunlight from entering the main rooms. This seems to be adapted for the tropics to keep temperatures in houses that are made out of stone cool. Old oil lamps from India line Paras’ hallway. Two layers of windows may be opened or closed depending on the season. Most of the wood used for this space is seasoned and durable. Paras had them refinished to show off the patina of old wood. A dragon planter from Indonesia highlights a corner. This is one of the coolest parts of the house and Paras can be seen sitting on the plantation chair after work, reading a good book.
Across the sitting room is the predominantly Art Deco style dining hall. Paras used full-length mirrors to make the space look larger. The lamps standing on a pedestal at the corner and on a side table are all from 1920s Europe when Art Deco became popular here. The stained leaded glass window and doors leading to the kitchen are also from that period. Paras found an old Vietnamese table to round out the English tooled leather he bought from an antique shop. A Victorian lamp with crystals hanging from the ceiling lights up the dark furniture. Plants, flower bowls and two Angelito David watercolors soften the angles of the Art Deco designs.
Before getting to his private sanctuary, Paras installed a small sitting room in his bedroom. This is where he listens to music and watches videos and television. Another spot for him to unwind, this gives off again an updated colonial design look. A Lee Aguinaldo painting hangs behind a low cream sofa. In the center of the Persian rug is an old portmanteau or trunk that he converted into a coffee table. A Ting Ping Lay sculpture sits atop it.
Revealed through full-length windows is the luxuriant greenery outside. Paras chose ferns in containers to bring the outside into his personal space. They are held by Majolica jardinieres, which he continues to collect. More pre-colonial stoneware pottery from different parts of the Philippines and China occupy the top of his English gothic cabinet. The sheen from the wide wooden floor planks gives off a bright reflection that helps bring out the antique wall panels from a 19th century house in Pampanga.
Paras’ back garden is connected to his bedroom by a cast iron spiral staircase. Orchids, forest ferns and other tropical plants create a dense foliage that makes the garden interesting throughout the year. He even installed a white-painted wooden latticework to frame a space in the garden for tall plants with big leaves.
He also converted a disused stone mortar into a table topped by an old wood-covered cartwheel. He then refinished 1950s wooden chairs with simple design and installed then around the table. To keep the wall garden lush, Paras devised an irrigation system that collects rainwater on the down spout. When turned on, this resembles a fountain, soaking the dense foliage.
The back, like most parts of his house, is a sanctuary that replenishes the soul. No wonder even a trip to his hair salon is similar to a remembrance of pleasant memories of living well. Paras cultivates an intelligent process of making the business of beauty go beyond luxury. For him, it is a necessity that everyone is entitled to. A well-appointed hair salon, an inspiring home and relaxed clients all conspire to keep Paras ahead of his field.