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UP FRONT ED’S LETTER p6
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VISION INSPIRATION: FADE TO WHITE p18 DESIGN DECONSTRUCTION: MINIMALISM p24
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NAMIBIAN HOUSE p44 FRESNAYE HOUSE p56 JOBURG HOME p68 HOUT BAY HOUSE p78 VREDEHOEK HOUSE p90 PRETORIA APARTMENTS p102 LONDON APARTMENT p112
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REASONS
1 “Press”, the new and stunning heavy glass range by TOM DIXON p 124 2. We track the design journey of the duo at ANATOMY DESIGN p126 3. Painter-printmaker PEBOFATSO MOKOENA and his multifaceted, multimedia work p128 4. VALOYI, the luxury accessory brand by Harmonie Mbunga p130 5. Introducing GLORINAH KHUTSO MABASO, winner of the Trenery Print Competition 2020 p132 6. Jeweller Kirsten Goss shares the inspiration behind her ABODE cutlery and serving ware p134 7. Sandalene Dale-Roberts' Naturalis creates new RESTAURANT SCREENS for safer dining p136 8. The story behind CORAL STEPHENS HANDWEAVING and their bespoke, handmade textiles p137 9. The new FibreGuard Pro fabric collections by HOME FABRICS p138 10. We chat to Steven Whiteman of PEZULA INTERIORS about their eclectic mix of wares p140 11. The revamped NANDO'S in Rosettenville features work by some of VISI’s fave designers p142 12. Chris Van Niekerk’s ECOSKELETON insects made of leaves, wood and bark p144 13. MOSS WORKS SA and their striking installations made from preserved moss p145 14. KHOSI LETEBA launches his Bodula Bench in collaboration with Wiid Design p146 15. EARTHY INTERIOR DÉCOR inspired by the wide-open spaces and bone-dry landscapes p148 16. A look at the AFRICAN JACQUARD fabric brand and its founder Christine Daron p150 17. The new WEST COAST FOSSIL PARK designed by Jo Noero p152 18. KLEIN THE GROCER, innovative South African restauranteur Neil Roake’s new store in Amsterdam p154 19. We drive the PORSCHE TAYCAN, the iconic brand’s first ever electric vehicle p156 20. Meet the GALAXY Z FLIP folding screen phone by Samsung p158
WIN p42 SMART IDEA p160 COVER IMAGE CREDIT Photograph Elsa Young / Bureaux
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We’re still at home.
As we speak, I’m typing away sitting at our living room table with my constant companion at the other end during these past lockdown months – my teenager – doing her matric schoolwork. That makes it the second issue of VISI done remotely … and it also marks the second wave of home-improvements for the Smith household. It’s been a thing, right? Sounds like everyone has spent a large part of lockdown thinking of ways to re-imagine, revamp, and redo their homes. For us, it’s mostly been about colour – an instinctive response, I guess, to the sameness of lockdown. Wave One was more of a painting and artwork thing. From a blank-canvas white, one wall got painted pink and another grey … and that resulted in a major rehang of our art collection. We started to grow things too. A bunch of new indoor plants provided a softer, greener accent and, out the back, lettuce and spinach grown in big clay pots have been both plentiful and delicious. And then things got serious. Cue a major chuck out. We owned way too many things. Clothes, bedding, and boxes of assorted “stuff ” got donated to charity. A big old white chalk-painted teak cupboard was sold on Facebook marketplace and replaced with a bright yellow Pederson + Lennard server below a newly installed skylight. Suggestions were even made (but politely declined) that I should sell one of my bicycles. The end result is a brighter, greener and less cluttered Cape Town City Bowl cottage that has not only been a fun and cost-effective project, but has made lockdown a bit more bearable. No doubt you have your version of that and I trust VISI once again provides some inspiration for what to do next.
PORTRAIT JAN RAS
STEVE SMITH, EDITOR info@visi.co.za
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Zanele is a regular contributor to VISI and has had writing and editorial roles at a number of top South African publications. She currently runs her own content studio, What Zan Did Next whatzandidnext.com. In this issue, she introduces us to artist Pebofatso Mokoena’s work (page 128).
MILA CREWE-BROWN, FREELANCE WRITER What’s your favourite memory of the house you lived in as a child? The teapot fairy. She would visit us once a week on a Sunday afternoon at home. My two older sisters and I would impatiently lift the lid on an old, elaborate pewter teapot we owned and at some point in the afternoon it would be stuffed with sweet treats. It was a cunning plan of my Mum’s to ensure she got some shut-eye, and we behaved in accordance with the teapot fairy’s expectations. I look forward to instituting the same practice with my own two girls soon. A Joburg-based freelance writer who specialises in design and has worked the circuit both within and outside of SA’s major shelter titles, Mila writes about a new block of architecturally innovative apartments in Pretoria (page 102) for this edition of VISI.
MICHAELA STEHR, CONTENT PRODUCER What’s your favourite memory of the house you lived in as a child? My favourite childhood house was a rented grand old Victorian in Mowbray, where I lived from the age of three to 13, which had a wraparound verandah and a majestic “jungle” garden. The old Welsh spinster we rented from used to breed Scottie dogs from that home before we moved in. It was her passion, so there were kitsch dog-themed tiles scattered around the kitchen and bathroom. I absolutely adored them – even though now I realise they were incredibly tacky. Michaela is VISI’s in-house content producer, and leaps between the digital and print elements of the brand with ease – as well as being the team joker. She chats to Trenery design competition winner Glorinah Khutso Mabaso (page 132) and writes about rising design star Khosi Leteba’s covetable bench (page 146) in this issue.
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EDITORIAL Editor-in-Chief Steve Smith Deputy Editor Robyn Alexander Editor-at-Large Annemarie Meintjes Creative Director Mark Serra Managing Editor Samantha Charles Online Editor Lindi Brownell Meiring Content Producer Michaela Stehr Copy Editor Aviva Singer Contributors Nafisa Akabor, Sven Alberding, Paris Brummer, Tracy Lynn Chemaly, Greg Cox, Mila Crewe-Brown, Tandazani Dhlakama. Dook, Kerryn Fischer, Celeste Jacobs, Rustum Kozain, Kholeka Kumalo, Zanele Kumalo, Jan Ras, Ingrid Rasmussen, Biddi Rorke, Jessica Ross, Luanne Toms, Irna van Zyl, Graham Wood, Elsa Young
ADVERTISING & MARKETING Key Account Manager Eva Cookson 076 662 0785 Key Account Manager Hannelie Stemmet 083 448 2074 Key Account Manager Elna Coetzer 082 971 9715
PUBLISHING Group Account Director Raiël le Roux Production Manager Shirley Quinlan
MANAGEMENT Managing Director Aileen Lamb Commercial Director Maria Tiganis Brand Strategy Director Andrew Nunneley Chief Financial Officer Venette Malone Head of HR Leoné Fouché CEO: Media24 Ishmet Davidson
DISTRIBUTION & SUBSCRIPTIONS Distribution and print subscriptions On the Dot Call 087 353 1300 WhatsApp “VISI” to 087 353 1333 Email subs@media24.com Digital subscriptions zinio.com / magzter.com Reproduction New Media, a division of Media24 (Pty) Ltd Printing CTP Printers Cape Town Published by New Media, a division of Media24 (Pty) Ltd, New Media House, 19 Bree Street, Cape Town 8001 PO Box 440, Green Point, Cape Town 8051 021 417 1111 / newmedia.co.za / visi@visi.co.za
All rights reserved. Whereas precautions have been taken to ensure the accuracy of information, neither the editor, publisher nor New Media can be held liable for any inaccuracies, injury or damages that may arise. The opinions expressed in the articles may not reflect those of the publisher.
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PHOTOS ELSA YOUNG (MILA CREWE-BROWN), SUPPLIED
ZANELE KUMALO, WRITER, EDITOR, ENTREPRENEUR What’s your favourite memory of the house you lived in as a child? Growing up in Tongaat, adventure never lay inside the house. We made imaginary jam from the soft red rock that contoured part of the property, dodged snakes that loved the guavadilla trees we swung from in the tropical garden or escaped beyond it into the neighbouring sugar-cane fields to suck on the sweet grass.
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Enjoying your new issue? Or did you buy something special from the VISI shop? We’d love you to take a pic and share it with us! Don’t forget to tag VISI on Instagram, Facebook or Twitter. This @visi_mag and skinnylaminx promenade throw collab arrived this morning and makes us really happy - @etienne_duplooy
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INSTANT INSPIRATION Follow @visi_mag on Instagram, where we share some of the best and most beautiful designs from around the globe.
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COLOUR IS OPTIONAL. Personalise your bathroom from a variety of colour options, because you are one of a kind.
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INTERNATIONAL DIRECTIONS AND LOCAL INSPIRATIONS
CLASSIC IN WHITE The iconic TOGO seating range was designed in 1973 by Michel Ducaroy and remains one of LIGNE ROSET’s best-sellers to this day. This timeless collection is now available in PEARL ALCANTARA fabric. ligne-roset.com
BRANDS BIG ON COLOUR ARE NOW STEPPING OUT IN WHITE.
s FADE TO WHITE
Designers and top brands are reintroducing selections of their classic designs in white – could it be that the world is finally ready for the purity, peacefulness and healing power of this shade that is not seen as a colour at all? C O M P I L E D B Y A N N E M A R I E M E I N TJ E S
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ICE WHITE 1. CASSINA takes its inspiration from the genius of Le Corbusier for a collection of three trays in pure, unglazed porcelain. These trays borrow some of the bas-relief symbols chosen for the walls of the buildings of Chandigarh, the city designed in the 1950s and now a UNESCO World Heritage site. Each tray – they are made by Richard Ginori – includes an original design sketched by Le Corbusier. There’s an open hand, symbolising peace, on a square tray with rounded corners, a fish on a round tray, and the movement of the sun on a rectangular tray. cassina.com
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2 BLANK CANVAS 1. The classic PORTOFINO dining table with stone top and folding deck chairs with removable covers designed by Vincent van Duysen for Paola Lenti. vincentvanduysen.com 2. CANVAS modular sofa designed by Francesco Rota for Paola Lenti. paolalenti.it
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PHOTOS SERGIO CHIMENTI, SUPPLIED
Brands big on colour, stepping out in white: 2. SMEG Retro Milk Frother from the 50s Style Collection in ice white smeg.com 3. GUZZINI G-Style Electric Citrus Juicer in white. fratelliguzzini.com
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1 WHITE IS THE NEW BLACK 1. SELETTI’s hyper-realistic reproduction of the San Pietro dome is designed by AMeBE. The CUPOLONE suspension light is available in white (as well as black). seletti.it 2. TSUMUGI soup bowls are designed by Ikumi Ishizaki of Umu Design Inc to reflect traditional Japanese food culture that has been preserved through generations. iishizaki@umu-design.jp
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WHITE AT PLAY 1. GIUNCO garden chair designed by Francesco Bettoni for Paola Lenti. paolalenti.it 2. Diabla’s LENA swing proves that white can be very sexy. diablaoutdoor.com 3. London-based architectural designers Chris Prosser and Ian Flood's SKYLINE CHESS takes iconic architecture from around the world and pits the greats against each other, bringing impeccable design and gamesmanship into a beautiful set. skylinechess.com 4.The HONORE 2-SEATER outdoor sofa is a SERAX creation designed by Annick Lestrohan. serax.com
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s Diabla, the young and groundbreaking brand that creates bold and colourful outdoor furniture designs, introduced white for enjoying outdoor living in all kinds of settings and at any time of year. diablaoutdoor.com
PAINT IT WHITE BLOMUS, the German family-run brand, developed Moonbeam as its ultimate white. “White is never just ‘white,’" proclaims the brand. “It has many subtleties and flavours and it is the departure of myriad soft and inviting nuances like ivory,soft cream, light sand and powdery beige. This also goes for Moonbeam – an ambiguous and intriguing, yet infinitely feminine and classic shade of white infused with subtle tones of rose, grey and sand. Difficult to truly capture, this colour is refined, understated, and lends a calm sense of solace to any room. It's the obvious choice when in need of something timeless and elegant.” blomus.com Find your perfect white: DURAM’s Habitat Collection of curated contemporary colours inspired by nature is an elegant lowsheen paint for interior and exterior walls, available in 90ml colour sample pods at R20 each. Select a few to take home and play with SNOW PROTEA, PANSY SHELL, OSTRICH PLUME, WILDERNESS SAND, HIGHVELD SKY, and LITTLE KAROO. duram.co.za A bathroom at The Stables at THE NEWT IN SOMERSET painted in Canvas, Karen Roos’s signature white. thenewtinsomerset.com
s Design Deconstruction
MINIMALISM
Besides being a way of life, Minimalism is an ethos of design and architecture that places value on the things that matter most, revealing an authenticity in what we really need in our homes. W O R D S T R A C Y LY N N C H E M A LY
ny discussion about Minimalism as a design movement would have to start in the East. Traditional Japanese design, with its concepts of ikebana (precise floral arrangement), wabisabi (authenticity in natural imperfection) and ma (spatial intervals), existed long before the rest of the world embraced Minimalism in the 1960s and '70s. This Western turn to simple, pared-back, contemplative forms was mostly in opposition to Abstract Expressionism, with its dramatic excess and perceived spontaneity. Minimalists – in art, music, literature, fashion and architecture – were more interested in pauses and reflection. They sought to include resolved form,
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calming space and considered materials rather than extra brushstrokes, layered harmonies, additional sentences, more accessories or unnecessary walls. For design, this meant clean, reductive lines, a simple colour palette and a deliberate focus on function that adds value. Minimalism, at its core, became about the strippeddown essentials, allowing buildings, products and interiors to reveal their true essence without superfluous distraction. A rejection of lavish over-decoration, its textbook roots lie in the first half of the 1900s, in the De Stijl 2 movement founded in The Netherlands, which employed only horizontal and vertical lines, and black, white and primary colours, and Bauhaus, in which the phrase “less is more” was coined
PHOTOS GETTY IMAGES
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5 OPPOSITE 1. Mondrian’s New York City (L) and Composition N°2 (R) at an exhibition at the Pompidou modern art centre in Paris. 2. Counter-Composition V by Theo Van Doesburg, the Dutch artist who was the founder and leader of De Stijl. ABOVE 3. and 4. Donald Judd's 1989 untitled aluminium sculpture at New York’s Museum of Modern Art. 5. Donald Judd’s so-called “Judd Cubes” at La Fundacion Chinati in Texas. 6. Another "Untitled" Judd, this one at the Tate Modern in London.
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by architect Ludwig Mies van der Rohe. The Apple brand, Helvetica typeface and Scandinavian design are examples of Minimalism’s continued relevance. Marie Kondo’s ruthless rules to decluttering your lifestyle, and Netflix’s Minimalism: A Documentary About the Important Things, 1 which depicts people rejecting fast fashion and living in the smallest homes possible, have further highlighted this contemporary trend. The word is now even associated with anti-consumerism, and a concern for sustainability and environmental impact. Celebrated British architectural designer John Pawson’s work is very clearly influenced by Zen principles learned from years spent working in Japan and his voluminous Minimalist spaces provide a sense of clarity, depth and aliveness. “Minimalism is not defined by what is not there, but by the rightness of what is, and the richness with which this is experienced,” is Pawson’s definition. “It’s just about making sure you don’t have more than you need.”
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Pawson lists late American artist Donald Judd and his 1965 essay, Minimalism in Specific Objects, as a key inspiration. There’s a clear link between the principles applied to Judd’s simple, modular, geometric sculptures of industrial material – metal, concrete, and plastic – and Pawson’s church, museum, residential and retail projects. Fittingly though, any discussion on Minimalism should also conclude in the East … and with Japanese architects and Pritzker Prize winners Tadao Ando and Kazuyo Sejima. These globally celebrated Minimalists are lauded for a building style that prioritises the emotional impact of bareness and foremost in their work is the manner in which their Japanese culture views the relationship between buildings and nature. Besides the remarkable buildings the two architects have designed in Japan, Ando’s Armani World headquarters in Milan and Sejima’s design for New York’s New Museum have become part of the Minimalist landscape in the West.
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"MINIMALISM IS NOT DEFINED BY WHAT IS NOT THERE, BUT BY THE RIGHTNESS OF WHAT IS." – JOHN PAWSON 4
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s TA K E F IV E
Among the many talented local artists working in this medium, we've rounded up five up-and-coming South African illustrators to keep your eye on. COMPILED BY MICHAELA STEHR
ANDREA LIANG Andrea Liang – based in Cape Town – creates stylised portraits and digital illustrations inspired by nature and diversity. She simplifies her subject matter to capture key features in a simple yet striking way, adding colour to make them pop. Instagram: @andrealiangart
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PHOTOS SUPPLIED
AFRICAN GINGER Johannesburg-based illustrator and multimedia artist Seth Pimentel (aka African Ginger) uses childhood, relationships, mental illness, personal experiences and current affairs to inspire his mixed-media works. Instagram: @african_ginger
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ISHAARAH ARNOLD Graphic designer and illustrator Ishaarah Arnold is using her illustrations to inspire calm amid the chaos of the global pandemic. She’s used the time during lockdown in Cape Town to hone her skills in a new body of work ishaarah.co.za
KIM BISCHOFBERGER Cape Town-based graphic designer and illustrator Kim Bischofberger makes striking digital artworks that highlight architectural angles and arches. She creates imaginary spaces that play with form and light, transporting the viewer to a dream-like realm. Instagram: @kimkimbolino
QEW DOODLES Illustrator and designer Qondile Dlamini, aka Qew Doodles, is Joburg-based and creates vibrant and fun digital artworks of bold and powerful females, often using typography and lettering to convey further messages in her pieces. Instagram: @qew_doodles
s Travel Diary
THE ART OF TRAVEL
For Tandazani Dhlakama, assistant curator at Zeitz MOCAA, to once again see art in person is the experience she's anticipating with the greatest pleasure when we can travel once more. P H O T O S G E T T Y I M A G E S , S U P P L I E D W O R D S TA N D A Z A N I D H L A K A M A
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1 nce travel restrictions are lifted, I am looking forward to the sensorial experience of seeing physical artwork. I want to have lengthy conversations with artists and smell wet oil paint, clay, resin or other materials in their studios again. I want to navigate through large-scale immersive installations and be moved by sonic experimentations. I want to go gallery-hopping in the CBD with friends until my feet hurt again. Though I really appreciate the accessibility of Zoom performances, PDF portfolios and virtual exhibitions, I'm looking forward to seeing art in person once more. DAK’ART, DAKAR, SENEGAL I've attended two iterations of the Dak’Art, Biennial of Contemporary African Art in Senegal and would love to be at the next one too. Conceived in 1989 and begun two years later, this is one of the continent’s longest standing and most consistent mega-exhibition platforms. Curated by El Hadji Malick Ndiaye, the theme for this year’s 14th edition would have been "Ĩ Ndaffa/Forger/ Out of The Fire".
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INTERNATIONAL BIENNIAL, CASABLANCA, MOROCCO I'm also looking forward to seeing younger biennials that have been initiated in other countries, such as the International Biennial of Casablanca in Morocco. I am curious about the narratives produced by artists exhibiting from a place that's connected to two different continents and the Atlantic Ocean. Now in its fifth iteration, this biennial was launched in 2012. With Christine Eyene as its artistic director, it is slated to take place in May 2021 under the theme, "The Words Create Images". KAMPALA ART BIENNALE, KAMPALA, UGANDA The country has a burgeoning art scene, with new art centres continuing to flourish, building from the foundations of some of East Africa’s most important art schools. I respect the work of artist and curator Daudi Karungi and am interested to see some of the art platforms to which he's contributed over the years. Among his many initiatives is the Kampala Art Biennale, founded in 2014. Curated by Simon Njami, the curatorial concept for the next Kampala Art Biennale, "Get Up, Stand Up", is inspired by the title of the iconic song
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5 written by Peter Tosh and Bob Marley and released by the Wailers in 1973. As contested monuments continue to be toppled, cultural organisation policies revisited, the call for repatriation heightened, and police brutality and corruption exposed, both the theme and lyrics around this song are timely. And as the world continues to grapple with issues related to systemic prejudice and injustice, now more than ever, we need to stand together in solidarity for radical change to occur. ACASA TRIENNALE, CHICAGO, USA Artists have always found provocative ways of prompting important discourse. Through them, we are gifted with new ways of making meaning, memorialising, imagining and dreaming. Artists make work that helps us to engage with important histories, memories and stories. I look forward to gathering once
again for the purposes of art-related knowledge exchange and collaboration. I am hoping to attend the Arts Council of the African Studies Association (ACASA) Triennale in June 2021 at DePaul University and the Art Institute of Chicago. These conferences tend to attract movers and shakers from the art world who are passionate about material culture from Africa. Of course, as much as I have great anticipation for travelling elsewhere, I am also looking forward to seeing visitors engaging once again with art spaces here in Cape Town. Whether it’s a bus full of local high-school students, participants in our community exchange programmes, SADC academics in town for a conference, Cape Town couples on date night, or a spellbound international tourist, I'm looking forward to welcoming visitors to Zeitz MOCAA again. zeitzmocaa.museum
1. Tandazani is looking forward to welcoming visitors from around the world back to the Zeitz MOCAA in Cape Town once travel restrictions are lifted. 2. Zeitz MOCAA with Table Mountain in the background. 3. Installation by Moroccan artist Maria Karim at the first International Biennial of Contemporary Art at the Mohammed VI Museum for Modern and Contemporary Art, Rabat, Morocco, 2019. 4. Karim's installation on the facade of the museum for the 2019 Biennial. 5. A visitor to Dak'Art 2006 contemplates a piece by Togolese artist El Loko. 6. The main entrance of the Grand Theatre, Dakar, Senegal, venue for the Dak'Art Biennial.
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Home Farm
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I REMEMBER SUN-FILLED DAYS OF WALKING IN THE VELD, CLIMBING KOPPIES TO LOOK FOR ROCK ART
rriving on my grandparents’ farm for our annual three-week winter holiday was always an occasion.As was usual, my grandmother waited for us on the big red wraparound stoep. How long she had been hovering in the vicinity of the front door we never knew, but there she always was as my dad parked the car close to the five cypresses that stood guard on the front lawn. Big hugs were always followed by tea and soetkoekies already laid out on the table – setting the scene for so many treats in the weeks to come. In later years my mom told the story of how my great-grandfather used to tell off my grandmother for sitting on that very stoep in the mornings, reading.“’n Boervrou sit nooit dié tyd van die dag op die stoep met ’n boek nie.” (“A farmer’s wife never sits on the veranda reading at this time of day.”) It was a different era, when patriarchy ruled strongly, yet Ouma was very much in charge of her household and did not necessarily heed her father-in-law’s words, because she managed to pass on the wisdom to all her grandchildren that a reading person is a wise one. Our winter holidays were a time of learning and playing. Learning about the ways of a farm – how to throw a stone at just the right angle that it skimmed over the dam water not once, not twice but at least three times. How cuddly baby ostriches did not look like their parents and which plants grow best on the koppies in the Klein Karoo, where my aunt started a wild flower garden.Then there was the endless playing, but never in the ostrich camp or close to the red Afrikaner bull.And never, ever would I have dared wear red when passing the bull camp! The old study, our gathering place at night, was full of books evenly spread out across the ample shelves
next to the warm log fire.This is where I got my copy of Gone with the Wind, although I was probably much too young to understand anything about the American Civil War and Scarlett O’Hara’s love life.And it was here that I buried myself in the stories of CJ Langenhoven, as my grandparents owned the full Versamelde Werke (Collected Works) of the Oudtshoorn author. The farm, at the foothills of the Swartberg mountain range, close to Calitzdorp, was cold in winter, with snow low on the mountains and little clouds in front of my nose in the early mornings when I went out to watch the cows being milked, too scared to touch the teats with my city hands. I remember sun-filled days of walking in the veld, climbing the koppies to look for rock art, skirting around the edges of the two farm dams, the blou (blue) dam and the nuwe (new) dam, and nights at the log fire where Ouma also taught us how to play her beloved card game, Impatience. No bridge parties for her, no internet scrabble matches, not even a book club.And certainly no television or Netflix. We would easily have been able to lock down there. With my middle sister taking the initiative at organising house concerts, our evenings sped by. She was the piano player among us and the director of our little plays. Every night we came up with a new performance for the adults and every night we collected a couple of cents to be spent on loslekkers (loose sweets) at the farm café the following day. It was a time that I have always thought of with nostalgia as happy winter holidays. But now I realise that doing jigsaw puzzles on the dining room table, shutting the doors earlier as winter crept closer, making a fire in the wood-burning stove and inventing new games every night does not sound so unlike life in the time of COVID-19. One day, hopefully, we will be able to think fondly of the time when the world came to a standstill. But until then, we will have to travel back in our minds to other eras and other settings to remember that these things too shall pass.
IRNA VAN ZYL’S third crime novel, Blood Stone, was published in March 2020 by Penguin.
PORTRAIT JOANNE OLIVIER
Travel restrictions have led novelist IRNA VAN ZYL to recall simpler times and childhood pleasures
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"Is there that I born"
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henever I hear the word “home”, whether I’m uttering it or someone else is, what comes to me unbidden are images of my family’s life in the “servant’s quarters” where I was born (1966) and lived for the first few years of my life. My father, thirsty after a meal of salt snoek and bread, scooping a cup of cool water from a galvanised bucket on a kitchen counter. My mother, walking down the road to catch a bus to work. My brother, outside in the yard screaming “blue murder”, in my mother’s telling of the story, because his tricycle’s wheel was stuck behind a stone. This home was a converted garage on my uncle and aunt’s property in the newly declared group area of Charleston Hill, Paarl. It had three “rooms”, each divided from the other by a “wall” of polystyrene several centimetres thick.There were no internal doors.You entered through the kitchen door on the western side and on the other side of the kitchen was a doorway that lead to and through the narrow space called the “sitting room” and into the bedroom. There was no plumbing, thus the bucket of drinking water in the kitchen, and, in the bedroom, a chamber pot kept underneath my parents’ bed. Most of the time, though, us children, my brother and I, used the flushing toilet in my uncle and aunt’s house across the driveway from us, where they lived with their son, my cousin, and Pa, my bedridden maternal grandfather. But I know the liver-like smell of the chamber pot, having had to empty it regularly by the time I was five. (Why liver and not kidney?) Uncle (my father’s brother) had a growing backyard panelbeating business and Ma (my mother’s sister) was a primary school teacher. My father was probably odd-jobbing and longdistance truck driver for a family with a fruit and vegetable business. My mother, I think, went back to work as receptionist and/or nursing assistant in a doctor’s surgery by the time I was four. So Uncle and Ma were a second set of parents for me. When Ma was teaching “middag-skof ” (afternoon shift), starting only at 10 or 11 as schools used shift teaching to relieve overcrowding, she dragged me along. Most other times, I played in the back yard under Uncle’s supervision, watching workers hammer out dents, apply body-filler and sand down repaired areas on cars. Often, I was sent to the Duco cupboard to get the bottle-green or canary-yellow can of paint.Around the corner of my home, on its eastern side, was a small, neglected patch of grass, hip-high and growing densely up and through the chicken wire fence of the neighbouring property. Often on hot afternoons, when everybody else was napping or otherwise whiling away the time, this patch of high grass was my escape from the heat and the world.A quiet child could remain hidden in that grass for hours – hours spent in a small, deep fantasy world: upending rocks to pry at insects, reading, or thrilling at the feel of broken but sun-blunt glass trailing over skin. I stopped mooning around in the patch of deep grass when my uncle found a scorpion there, but is there that I born.
ON HOT AFTERNOONS, WHEN EVERYBODY ELSE WAS NAPPING OR OTHERWISE WHILING AWAY THE TIME, THIS PATCH OF HIGH GRASS WAS MY ESCAPE. A poet – his most recent collection, Groundwork, was published by Kwela Books – and freelance editor, RUSTUM KOZAIN lives in Cape Town.
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PORTRAIT CRAIG SWARTBOOI
The unique sensory minutiae of the sights, smells and sounds of one's childhood, writes RUSTUM KOZAIN, are the very essence of memory.
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Where the Heart is
They may have moved house often, but her parents' family rituals make KHOLEKA KUMALO think of home.
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SUNDAYS FILLED WITH THE THINGS I STILL HOLD DEAR ... READING, MUSIC AND FOOD.
So, where is home for you?” fills me with as much cause to pause as “… and, your mother tongue is?” The answers aren’t neat. “I’m from Durban,” I’ll say, hoping that quickly covers both. I mostly only consider Durban the city in which I was born and raised, though to me, home is something else. And it keeps changing. Growing up, we moved often. Until I was about 14 years old, we’d changed address six times as a nuclear family. My father is from Kimberley, my mother from East London. Visiting relatives meant at least a nine-hour road trip, four little girls squished in the backseat, trying not to nap on each other. During those visits to the Northern and Eastern Cape, watching my parents in their hometowns felt like seeing them exactly where they belonged – “home” home. So I used to think that home was wherever your roots were; wherever you felt most like yourself. My dad would chat and laugh so freely with the streams of family and friends welcoming him back to his childhood home that he seemed to burst with a fierce love and generations of familiarity. And watching my mom be a daughter to her parents – my grandparents – seemed to make her fuller and more at peace. After a few days, we’d leave to head home, me crying. I too wanted a home brimming with busybody aunts, uncles and cousins popping in just because, celebrating milestones or holding serious family meetings in the same house, decade after decade. Perhaps the frequent moves and faraway family made me cling to a sense of doing or being part of small, regular, everyday things instead. I remember waiting to hear the garage door open, signalling my dad’s return from work; shortly
followed by the thud of his heavy briefcase. Eating supper at 6.30pm every evening – rice gravy, meat and a minimum of two vegetables. Watching every version of the news on the hour, hoping it wouldn’t clash with something more entertaining (it always did). My parents asking for coffee or tea a little later, after my mom had her evening bath. Washing the dishes. Doing homework and always struggling with maths. Joining another reality in books. Confiding in my diary. Writing dramatically long letters to friends. All six of us in the same space, each in our own little worlds, my sisters far less accessible to laat lammetjie me. And then there were Sundays. My mother pruning the garden, my dad tending to the pool. An afternoon neighbourhood drive, looking at the houses for sale from the outside and daydreaming, or sometimes going in. Sundays filled with the things I still hold dear – reading, music and food. My dad poring over every Sunday paper that existed. My mom playing a tape of Randy Crawford, Anita Baker or Aretha Franklin that would warm up the house, four stove plates and the oven on the go with something delicious roasting. The rituals stayed more or less the same, even though we moved around a lot. Now I’ve settled on the idea that maybe that’s what I consider home. It’s wherever all the little unspoken things you keep sharing with people you have an unbreakable love for comfortably happen. So it’s not quite yet Cape Town. But, it’s been just over a year living here and I’m about to move into my third home. I can’t for the life of me imagine doing that with four tiny children in tow.
KHOLEKA is a writer and editor who cut her teeth at one of South Africa’s oldest newspapers, found a sweet spot with magazines, then traded publishing for e-commerce. Twitter: @kid_kumalo
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N I S T SWEN BACHRAN HAS BUILT A FANTASTICAL HOUSE
INSPIRED BY THE SOCIABLE WEAVER NESTS THAT DOT THE LANDSCAPE.
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The house's porthole windows echo the circular entrances of the communal nests. The outdoor Husk Chairs, based on the shape of a husk on a sheaf of corn, are by American designer Marc Thorpe for Moroso’s M’Afrique Collection.
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Cape Town.
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namibtsaris.com; ultimatesafaris.na
"THIS WAS A PASSION PROJECT BY A FEW CRAZY PEOPLE." – HOMEOWNER SWEN BACHRAN
n the vast ancient desert of Namibia, nature is the greatest architect. Millions of years have refined the shapes of the shelters that birds and animals create for themselves here. The gigantic nests built by sociable weaver birds in camelthorn trees – vast domed structures of twigs and grass often 3m wide – are one of the most striking examples. “They’re architectural masterpieces,” says Swen Bachran, the entrepreneur and conservationist who established the Namib Tsaris Conservancy with his neighbours in the desert, not far from the famous red dunes at Sossusvlei and the haunting 700-year-old skeletons of dead camelthorn trees at Deadvlei. Before he owned any land in the region, he and his designer and artist friend Porky Hefer visited a spot nearby the site of The Nest, as they dubbed this fantastical house modelled on these weavers’ nests, which they created over the next eight years. At that stage, Swen was still scouting around for a potential conservation project. “Porky came to the farm and we camped on this land together,” says Swen. They sat under the camelthorn trees and marvelled at the communal nests, their perfect efficiency suggesting countless lessons in biomimicry and possibilities for vernacular design. “He went back after that weekend with impressions and later presented me with doodles of what we called the Love Nest,” Swen recalls. “It was really a one-bedroom nest with a little lookout deck, a library and a shower.”At that stage, Swen had in mind an idiosyncratic “little retreat for family and friends with a token giraffe”. As the idea incubated, Swen ended up acquiring not just one, but three adjacent farms adjacent to an existing conservation area and as he gained neighbours, they banded together to drop fences and create a 100 000-hectare nature reserve with grander plans than just that “token giraffe”. The conservancy now has a constitution and a 100-year plan to sustain it in perpetuity. “Whatever there was 100 years ago, from a rodent to a rhino, we will reintroduce,” says Swen. Alongside the ballooning scale of Swen’s conservation efforts, the “love nest” morphed into a four-bedroom, double-storey villa. Porky’s conceptual drawings became more detailed and refined. Although they started taking in practicalities ranging from workable floor plans to an underground wine cellar, they began approaching architects to collaborate with. “They all thought we were nuts,” says Swen. So they forged on alone, gradually assembling a construction team and recruiting craftsmen and artisans. It was a mammoth task: it took a year alone to weld the rebar frame that forms the structure. In keeping with the ethos of the place, the idea was to use local materials and skills, including manufacturing bricks on site and using local artisans to thatch the structure outside and in, reversing the usual approach for the interiors. Using Zambezi river grass from northern Namibia, they also incorporated lessons from the design of the weavers’ nests. The gaps between the inside and outside layers of thatch served as insulation – they’re further apart where the sun is harshest, so a wider pocket of air is sandwiched between them and can act as insulation. The lessons in biomimicry extend to beautiful aesthetic touches sustained throughout the design. In a novel change from the usual horizontal stone stacking, for example, Porky stacked them vertically. “It directly mimics the trees,” he says, referring to the pattern of the bark on the camelthorns. Beautiful kiaat timber finishes on floors and wall panelling (all certified) introduce the sense that you are indeed in a treehouse. The furnishings and interiors were the work of Maybe Corpaci, who at one point spent a biblical 40 days alone at The Nest, seeing it through to completion. “Because of the nature of The Nest, there is not a single straight wall, so it was quite difficult to find furniture,” she says. On the one hand, she found herself bringing imported Italian furniture into the wilderness on the back of a cattle truck, and, on the other, OPPOSITE The workstation in the working on-site with artisans to design and manufacture bespoke pieces. main living area features an Like all true vernacular design, The Nest has grown from its context – Ambassadro table by Dokter and Misses, used as a desk. The wall from its inspiration, its materials, the skills that went into its creation. As unit was made on site from kiaat. a result, it belongs to the desert in a way no other dwelling could hope Leather ottomans are from Studio to. It also has the transformative power Porky wished to achieve – it 19 in Johannesburg. The Giant MOA envelops and immerses visitors in a way that allows them the chance to floor lamp with Nero Marquina truly alter their perspectives and relate to the desert in profound ways. marble base is from Bofred in
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CLOCKWISE FROM TOP LEFT Outdoor sculptures by South African artist Angus Taylor; The workstation in the main living area; The 4x4 desert track leading to The Nest; Distinctive porthole windows; The crest of the house's roof echoes the surrounding mountain formations; An Ambassadro table by Dokter and Misses doubles up as a desk; The double-volume thatched domes overlook the pool; A sociable weaver bird's nest – inspiration for the design of The Nest; Mid-century Danish modernist-inspired rocking chairs in the living room are from now defunct Port Elizabeth firm Frystark Furniture. OPPOSITE The dining room table is made from Namibian granite. Dining chairs are from Jo Carlin in Cape Town,and the walnut lobby server is by South African studio Tonic Design.
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LOCAL SKILLS WERE ADAPTED TO THATCH THE STRUCTURE OUTSIDE AND IN.
The sunken lounge reprises the circular motif that appears throughout The Nest. The Silo Nesting coffee table is from Cape Town furniture design studio Okha. The Atollo table lamp was designed for Italian firm Oluce.
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ABOVE CLOCKWISE FROM TOP LEFT The guest bathroom features a stone plinth for the taps and a Victoria + Albert bath. Visible on the deck outside is outdoor furniture from Moroso’s M’Afrique Collection; In the children’s bedroom, the bunk beds take the shape of individual sleeping pods moulded from the glazed plaster used for the walls, ceiling and lights; A Fantasia mirror by Dokter and Misses adorns the main bedroom upstairs; Accessed via oval portholes, the pods are immersive architectural furniture pieces. OPPOSITE The main bedroom features a circular king-sized bed custom made on site by local artisans with interior designer Maybe Corpaci.
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THE NEST BELONGS TO THE DESERT IN A WAY NO OTHER DWELLING COULD HOPE TO.
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THIS PAGE & OPPOSITE The guest bedroom features one of the only beds that could be brought in – an antique four-poster. The room also features an ottoman by Bofred and mid-century finds such as the side tables, the leather chair and the server.
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IT MIGHT LOOK A LITTLE LIKE A FOREIGN OBJECT AGAINST A SETTING OF OTHERWISE TRADITIONAL HOUSES, BUT THIS BAUHAUS-INSPIRED FAMILY HOME IN FRESNAYE IS ALL ABOUT EARTHLY PLEASURES.
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The home’s entrance is a study in contrasts from the soft curve of the facade to strong angles of the glass box, and the visually arresting artwork by Andrzej Urbanski. visi.co.za
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There’s something altogether contrary about designing a Fresnaye house that presides over the Atlantic Seaboard without giving a second thought to the views. But when it comes to this dazzling home, there’s no desire to follow the rules.You’ll find soft curves where you’d expect sharp right angles and, while you’re cleverly protected from onlookers, glass-walled neighbours find themselves exposed. “They didn’t care a damn for the views,” says architect Robert Silke of Robert Silke & Partners about the homeowners’ brief. “It had to be a functioning family home – that it has views is a bonus.” But take one glance at the bleached-white, three-storey structure that looks a little like an abstract jigsaw puzzle from the outside and you know there’s more to this house than just a family home. Robert insists that “it’s a pragmatic family home, not a showpiece house”, then a moment later gleefully proclaims, “It’s a bit like a spaceship arrived in Fresnaye.” Then again, this architect has quite the contrary reputation, shunning the dominant vernacular for edgy takes on Art Deco and early minimalism that feel at once retro and fresh. You may remember his striking apartment block – Tuynhuys – that adorned the cover of VISI 106. Students of architecture will recognise the structure’s modernist underpinnings, rooted in the homeowners’ deep connection to Tel Aviv Bauhaus. “We were heavily influenced by White City design”, says the owner, referring to the large group of buildings created in 1930s Tel Aviv. “It’s really beautiful in its simplicity.” Creating something both beautiful and simple, however, is no easy accomplishment. “There’s virtually not a brick in this building,” Robert says. “The entire thing is cast out of concrete. It’s more of a carving.” As a result, there are no V-joints or weep holes in its plaster. “It has no umbilical cord, no belly button. There’s something otherworldly about it in that there’s no evidence of its making.” The idea of the house as a piece of sculpture is also apt when inside it looks like a gallery, showcasing the owners’ collection of art by the likes of Michael Taylor, William Kentridge and Hugh Byrne. But despite the museum-like proportions, it still manages to exude warmth. “You feel sheltered, safe and cosy inside – as if you're being hugged by the walls,” says the owner. Much of that is down to the lighting, which Alex Geh, fellow architect at Robert Silke & Partners and co-designer on this project, took pleasure in tucking out of sight. “Alex was hiding lights all over,” Robert says with a laugh. “There’s this mysterious ethereal glow that comes out of these nooks, crannies and crevices.” The house is also engineered to maximise natural light as it moves during the day, he adds.“It’s exceptionally warm and intimate. There’s always a beam of light on the floor.” Alex says he also included “green windows” to frame living terrariums of the forest of established trees outside – a pivotal feature for the homeowners. “The owners chose the site for the trees, so the house steps back to accommodate them and leave them as they are,” he notes. Warmth is also a result of a carefully considered decor scheme, conceptualised by Andrea Graff, who sought to complement its large spaces through a restrained use of texture and pattern, with a few bold pops of colour. “The architecture of the home is so spectacular, simple and honest, I didn’t want to compete with that – it was about practicality,” says Andrea. One of the key details of the interior is the pre-distressed chevron floor, which unifies its spaces and is particularly well trodden by the kids who race barefoot across its length, chase up staircases, and fill its corners with puzzles and homework. Ultimately, this is a family home and it’s designed to bring members of the clan together, whether they’re all strewn around the pyjama lounge playing games, out on their shared balcony, or coming together for Shabbat at the custom-made dining table. Yes, it might look like a spaceship to an outsider, but inside, it’s all very down to earth. robertsilke.com, andreagraff.co.za
LEFT The school of Tel Aviv Bauhaus informed the design of this home. OPPOSITE Two Michael Taylor artworks hang above the custom-made server with curved edges and Nero Marquina surface. The bright orange USM cabinet brings a pop of vivid colour to this space.
"IT'S A BIT LIKE A SPACE SHIP ARRIVED IN FRESNAYE." - ARCHITECT ROBERT SILKE
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IT MIGHT LOOK LIKE A SPACESHIP . . . BUT INSIDE, IT'S ALL VERY DOWN TO EARTH.
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A pop art print by Cara Saven Wall Design makes a bold statement in the otherwise pristinely white kitchen.
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CLOCKWISE (FROM TOP LEFT) A Hugh Byrne artwork hangs above the stairs. Architect Alex Geh installed large windows to offer views of the garden; Interior designer Andrea Graff had most of the furnishing custom made, including the Berber rug and Florence Knoll-style sofa in the living room; The dining room table was custom made in oak and Formica, keeping with the theme of durable interiors fit for a family. Animal-print fabric was used to cover the dining chairs. OPPOSITE The living area is lofty yet warm thanks to the use of earthy hues and materials such as wood and leather. The mid-century bookcase creates a sense of separation between living and dining room.
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THE HOUSE IS ENGINEERED TO MAXIMISE LIGHT.
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OPPOSITE One of the owners’ favourite architectural details is the tubular steel handrail that wraps around the staircase and forms a sort of unending triangle. "It’s kind of like a Dali painting – this tubular thing that shouldn’t be happening," they say. BELOW A Tulip table sits in front of an artwork by Rosie Mudge. The chevron floor complements and contrasts with the white walls.
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PHOTO BOTTOM RIGHT ADAM LETCH
ABOVE (CLOCKWISE FROM LEFT) A black helix staircase leads up to the rooftop garden. Alex carefully planned the height of the balustrades and walls to ensure views and privacy were maximised at the same time; The wooden chevron transitions to marble in the main bathroom; The master bedroom is the only room with colour, inspired by a rug from Mae Rugs. OPPOSITE Taking its cues from Bauhaus, this home features a satisfying mix of voluminous proportions, curves and right angles, while the interiors still exude a sense of warmth and intimacy.
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| Joburg Home
VISION QUEST A GEM OF JOBURG MODERNIST DESIGN, ARCHITECT MICHAEL SUTTON'S OWN PARKTOWN NORTH HOME CREATED THE TEMPLATE FOR A NEW LOCAL VERNACULAR IN THE '70S, AND MIGHT JUST HAVE ENVISIONED A LIFESTYLE FOR THE POST-COVID 21ST CENTURY.
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A lofty studio flooded with natural light was added above the living quarters where renowned architect Michael Sutton lived, and was designed by Sutton himself for its current owner.
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ENQUIRIES ABOUT THIS PROPERTY CAN BE DIRECTED TO COLIN BERGER, ARCHITECT AND PROPERTY CONSULTANT: 083 408 9348; OR NICCI ROUSSOS, PROPERTY CONSULTANT: 082 824 4484
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inspire a rare devotion among Johannesburg design lovers. And so it was for Marilyn McDowell, who lives in a house that has a special place in Joburg design lore: the cluster or “compound”, as she jokingly calls it, in Parktown North where Sutton himself lived, and built a house for his sister, the landscaper Ann Sutton. “I have had a complete passion for Michael Sutton’s homes since I was in my 20s,” says Marilyn, a one-time interior designer. It wasn’t until her 40s, however, that she managed to bag one, and she’s lived in it for over 30 years.“He had such an amazing understanding of space,” she says.“He was a visionary.” Those who know their Joburg architectural history will be aware that Sutton was a key figure in the invention of the modern Joburg style that was forged in the second half of the 20th century. He helped lay the template for the city’s indoor-outdoor lifestyle,reconfiguring the relationship between house, patio and pool.Via his inventive combinations of Mediterranean, Zimbabwean and Cape regional influences, his homes created atmosphere using simple, natural materials – bagged brick, timber, quarry tile and brick paving. And as if that wasn’t enough, Sutton also pioneered sectional title living with his designs for Courtyards and Walkways in Craighall, both of which are models of urban densification as inspiring today as they were 40 years ago. In his wonderful tome, Johannesburg Transition, the great historian of Joburg architecture Clive Chipkin argues that the roots of many of Sutton’s grander designs, as well as those highly covetable townhouses, lie in this little cluster of buildings in Parktown North built in 1973. He ends his description of the complex with these words:“A new modern vernacular had arisen and the Suttons – brother and sister – were at the source of this creativity.” From the street, all you see of the complex is a typical early 20th century Parktown North semidetached house, now converted into a single home.At the very back of the property, however, is what was Ann Sutton's house, and between them what is now a studio, which was where Michael lived. Marilyn converted Michael’s dwelling - “It was a courtyard with a bathroom, bedroom and kitchen ... a minimal but soulful space,” she says - into a studio, raising a contemporary light-flooded volume above the original footprint. Remarkably, she managed to get Sutton to design it, despite the fact that he had been living on a Greek island. “I was lucky he was in South Africa, and he came to have a look,” she says.“I didn’t want to build something that was out of sync with what was here already.” Between Ann’s house and the studio is an internal courtyard and swimming pool.“But they’re completely separate and private from each other because of the way the trees have been planted and the gardens have been designed,” says Marilyn. Clever level changes in the landscaping add to the effect.“You’d never know it’s in the city,” she adds. The house and studio have all the classic Sutton touches: roughly plastered walls, warm quarry-tile floors, glass sliding doors and slatted timber screens to filter the light.The gardens, courtyards and interiors interlock and overlap brilliantly. In fact, the interiors are almost like landscapes themselves, with multiple levels and changes in volume.The architecture also transforms into a kind of furniture – there are ledges you can sit on, benches and counters that seem to rise out of the walls, floors and stairs, and display shelves built into the walls and beneath the counters. Light is choreographed with a sense of mystery and magic as The way in which Sutton unexpected washes and bursts flood in through skylights and other integrated the landscape hidden windows. “At night, if the full moon comes across, I don’t and architecture – need to put a light on,” says Marilyn. particularly his masterful Over decades of living here, she says she feels another aspect of the use of courtyards – make Suttons’ way of life might yet come to light, especially in the wake of his designs seem beautifully settled and at the COVID-19 pandemic. While many people’s working and home home in their settings. lives have been rudely thrown together, there are very few genuinely viable work-from-home solutions. Could the Suttons’ multifunctional sanctuary have laid the template for a productive future space that is peaceful, harmonious and sustaining? For Marilyn, it very much has.
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OUSES DESIGNED BY THE MID-CENTURY ARCHITECT MICHAEL SUTTON
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THIS PAGE: Owner Marilyn McDowell has furnished her home with contrasting mid-century modernist classics, such as Harry Bertoia's Diamond chair for Knoll, Le Corbusier's LC4 chaise longue (opposite page), Eileen Gray's famous adjustable side table (opposite page), and local handcrafted pieces. The hand-carved bench is by Guy du Toit. OPPOSITE: The warm quarry tile floors that run throughout the house, white walls and masterful use of natural light seen here in the main living room are classic Sutton features.
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SUTTON WAS A KEY FIGURE
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CLOCKWISE (FROM TOP LEFT) Clever level changes in the landscaping, trees, shrubs and screens ensure privacy; Very little furniture is necessary thanks to the built-in counters, display shelves and benches, themselves a kind of architectural furniture; Everywhere, even in the bathroom, the interiors connect with courtyards and outside spaces. In the window is an Ardmore "Josephine" tiger. The footprint of Michael Sutton's own living quarters is perfectly intact below the studio, and is as it was when he lived here. OPPOSITE In the studio, a long horizontal window frames the trees outside. The steel sculpture is by David Rossouw.
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COULD THE SUTTONS’ MULTIFUNCTIONAL SANCTUARYhave laid the
template for a productive
FUTURE SPACE THAT IS PEACEFUL,
harmonious and sustaining?
THIS PAGE: Sutton designed the studio above his original 1968 living quarters for the home's present owner, and its clean lines and airy volumes have a distinctly contemporary feel. OPPOSITE: In the bedroom, skylights with lathe ceilings allow in soft natural light. "Even though he [Sutton] had a Mediterranean feel, this house is very African," says owner Marilyn McDowell.
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The main circular lawn, surrounded by rills of water, sits on the location of the property’s previous home and forms the central point of the garden. Landscape designer Giselle Stoloff was enlisted to determine the plantings and other details, such as the cloud hedging that was inspired by Dylan Lewis’s sculpture garden outside Cape Town.
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WHEN A NEW YORK COUPLE OPTED TO BUILD A HOME IN CAPE TOWN THEY HONOURED ITS LOCATION BY FURNISHING IT WITH PIECES BY SOUTH AFRICA'S MOST RENOWNED ARTISTS.
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in 2007, that New Yorkers Jim Brett and Ed Gray were first enchanted by Cape Town. At the time, Jim was Head of Home at leading US retailer Anthropologie and was on a buying trip to South Africa with local design promoter and exporter Trevyn McGowan of The Guild Group. The three of them embarked on a trip cross-country, visiting the studios of artisans and designers, and formed an immediate bond. “I had never met anyone who could match my passion for handicraft and design,” Jim says of Trevyn. “As we travelled to South Africa more often, we fell in love with the country, specifically Cape Town and its environs,” Ed says. So, it came as no surprise to family and friends when he and Jim decided to build a home for themselves in Hout Bay, just 30 minutes from Cape Town’s city centre, in which they hope to eventually spend six months of the year. Enlisting the help of Trevyn and her husband and business partner Julian, it was only natural that they would continue their trajectory of working with local designers, furnishing the home with pieces by some of the country’s most prominent names. For the new build, the couple briefed architect Francois Swart of PADIA, requesting barn-like structures that suited the expansive property, on which they also have a guesthouse. Pitched roofs, a silo structure, and a variety of window shapes brought this vision to the fore. “As a reference to the informal way sheds grow into existence, there is a certain charm in the creative use and placing of windows,” says Francois, explaining the forms that are stackable and hidden in places, lowered for framed views in other instances, or inserted flush against walls in corners in order to allow light to flood in unobstructed. “The ‘journey’, surrounded by nature, can be experienced open or closed, and doubles as a pause area that can be used as a sunroom or gateway to the pool garden,” says Francois of the thoroughfare that offers glimpses of the furnishings beyond. “It’s really enjoyable creating a world for people you care about,” says Trevyn of the project that has dressed the home in pieces by the likes of Gregor Jenkin, Charles Haupt and Laurie Wiid van Heerden, designers represented by the McGowans’ collectible design gallery, Southern Guild. “It’s a beautiful homage for the work we all continue to do for South African design,” she says of the result. The newness of the home and its interiors paint a fresh African story for the US couple. “It’s important to us that our home feels warm and welcoming, with a degree of humility,” says Jim. Their modus operandi in eliciting the desired warmth was a crafted use of colour. An abstract artwork by John Murray mounted above the dining room cabinet – where striking tones mix with neutral hues – informed the colour choices for sofas, walls and decorative objects. As with the varying patterns in John Murray’s painting, a myriad forms exist in the home – from tapered pot plants and circular nesting tables to curvaceous dining chairs and elliptical sideboards. “There are very few hard corners on the furniture items,” Jim explains of their brief. “Ovals, circles, or rectangles with rounded corners… it’s very subtle details that add a softness to the experience.” Equally considered is the OPPOSITE Architect Francois collection of ceramic vessels. “I’m a bit of a ceramics junkie – I Swart of PADIA was inspired just can’t seem to stop buying them,” says Jim. It’s a passion he and by barn structures from the USA and South Africa. The Trevyn have shared since the start of their friendship, which made design allows personal living, it easy for her to suggest new pieces by Andile Dyalvane, Zizipho guest and office spaces to be Poswa, Anthony Shapiro, John Bauer, Madoda Fani and Chuma tight-knit yet informally Maweni for the home. separated; Guest suites are What began as a professional exploration between Jim and Trevyn linked to the main centre of the home with a glass-walled over a decade ago has resulted in a very personal celebration of passageway, where a Terra South African design. “We still manage to inspire each other,” Jim planter by Laurie Wiid van smiles, gesturing around the home that proves his point. maisonnoir.co.za; southernguild.co.za
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Heerden for Indigenus forms a focal point.
THE NEWNESS OF THE HOME AND ITS INTERIORS PAINT A FRESH AFRICAN STORY FOR THE US COUPLE.
IT WAS 13 YEARS AGO,
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ABOVE FROM TOP LEFT Inspired by the architecture of barns, the home’s design includes a silo into which the master bedroom and upstairs office fit. OPPOSITE The swimming-pool blue stands out amid the greenery of cloud-form hedging and the verdant mountain landscape beyond.
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CLOCKWISE FROM TOP LEFT The pitched roof allows the articulated chandelier – ‘Constellation’ by Julian McGowan and Bronze Age Studio – to make a hanging statement over the custom Gregor Jenkin table. Leather and kiaat chairs complete the scene; The openplan living area is filled with local design gems and artworks; A bold fireplace by Julian McGowan finds its balance in the sofas’ soft velvet textures. Ceramic pieces add pops of colour to the living room; The passageway leading from the living area to the master bedroom is awash with natural light from all angles. Its glass front offers verdant garden views. OPPOSITE The pitched roof of the living area adds to a sense of abundant space. The large windows invite natural light to amplify the jewel tones that pop here and there.
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The kitchen cabinetry is painted in Hale Navy by Benjamin Moore, a colour that perfectly sets off the combination of other materials, brass and marble. At the kitchen sink, a ceramic by Chuma Maweni stands under a lithograph of a bird by Japanese artist Jun Goto. Clockwatcher by Gregor Jenkin presides over the entrance.
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"IT'S IMPORTANT TO US THAT OUR HOME FEELS WARM AND WELCOMING."– HOMEOWNER JIM BRETT
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A MYRIAD FORMS EXCIST IN THE HOME.
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CLOCKWISE FROM TOP LEFT The master bedroom fits into the silo of the home – an architectural element complementing the barn-like design. It has its own cosy lounge area, furnished with a Casamento sofa and GUILD coffee table; Aquamarine ceramics by Anthony Shapiro add warm colour to the otherwise neutral room, while ‘Ruminants’, an artwork of reclaimed bricks by Paul Edmunds, creates visual interest on the wall; Bathroom fittings are all brushed bronze; Jim’s office is a den for creativity, its mustard-coloured wall stimulating the senses, while the circular window offers a unique frame of the verdant garden. OPPOSITE The floating spiral staircase leading up from the master bedroom to Ed’s office was conceived and built by Hout Bay woodworker Sam Pellissier.
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WORDS KERRYN FISCHER
THIS INNER-CITY SPACE IS PRODUCT ION LUANNE TOMS
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THIS PAGE Inspired by the staircase, the skylight illuminates its curved shape in a nod to Vredehoek’s Art Deco heritage. OPPOSITE Simplicity reigns in Robyn andClinton Campbell’s kitchen, with Carrara marble from Cannata and oak cabinets, designed by ML-A and built by Holz Cabinetry. The AAS 38 HAY stools are from Créma.
THE MOST OUT OF A SMALL PROPERTY.
CLEVER, FUNCTIONAL AND HIGHLY ORIGINAL, AND DESIGNED TO GET
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HEN ROBYN AND CLINTON CAMPBELL TOOK THE PLUNGE AND BOUGHT THEIR FIRST stand-alone property in Cape Town’s Vredehoek four years ago, they settled on 235m2 with an existing house on it. Their initial plan was to keep some of the original house and go up by way of a major renovation, but that was thwarted when the foundations were found to be wanting. Having to get their heads around a full demolition, the couple fortunately had a friend in architect Michael Lumby of ML-A, whose bold and honest use of materials was an aesthetic they both loved. “Our brief was pretty open,” says Clinton, “but budget was a major consideration, and we knew that the challenge would be to find simple and cost-effective solutions that wouldn’t compromise the creative vision.” Known for his contextual cleverness and innovative approach to well-planned, efficient spaces, Michael came up with a design of unexpectedly generous spaces for such a small home. “My idea was to step the house down in sync with the slope, thus allowing the spaces to open up as you move through it,” he explains. Laid out over three floors, the building has spatial tricks aplenty to keep you on your toes. You enter from the parking space, which delivers you into an open-plan entrance hall and dining area that leads down to a split-level lounge/kitchen a metre below it. Here, the north-facing orientation of the house, together with skylights in the stairwell and the use of custom-made, skinny, floor-to-ceiling vertical windows, creates a sense of volume that belies the limitations of the floor area. “MY IDEA WAS The living areas open out to the main garden, TO STEP making for dual-purpose spaces. “I love the THE HOUSE flexibility of the living spaces for entertaining – DOWN IN the sliding door retreats entirely into the cavity SYNC WITH wall, allowing the lounge/dining and garden THE SLOPE, THUS ALLOWING areas to merge,” says Robyn. “The same space THE SPACES can serve as an intimate retreat in which Clinton TO OPEN UP and I can relax, cook and spend time together.” AS YOU MOVE A sculptural staircase leads upstairs to the THROUGH IT.” – MICHAEL LUMBY, bedroom floor, where Michael has managed ARCHITECT to fit two sizeable guest rooms (with a shared bathroom), and a master with a cathedral-esque en suite bathroom that is fast becoming a signature of his work. “To have such a large volume of space above you in the shower makes the bathroom feel more generous than the floor meterage allows,” says Clint. “And naturally, it’s a joy to shower with the sky above you.” OPPOSITE Owner Robyn Thanks to the use of concrete, brick, stipple walls and polished concrete floors, the materiality Campbell in the spacious of the house keeps things interesting and is the perfect foil for Clinton and Robyn’s eye for detail living area, where and beauty. While Michael is drawn to the roughness and intrinsic honesty of exposed brick and custom-made windows concrete soffits and floors – for their ability to deliver another layer of texture and tactility – Robyn create a feeling of height. and Clinton also love their interplay with more luxurious materials, such as marble and oak. The floors are a standard Grano screed that has And when pushed to give their favourite aspect of the house, in addition to the roof terrace and been polished down to the lofty shower, they cite the tap in the guest toilet downstairs that pours onto an angled steel plate, reveal the aggregate. which goes through a gap in the glass and onto the green courtyard outside. For Michael, there’s nothing gimmicky about it. “It was born out of a need to be clever with space – and as the house was designed during the city’s water crisis, it seemed like a nice idea to let waste water drain directly into the water-starved garden rather than run through kilometres of pipes to a treatment plant.” And therein lies but one of the many delights inherent in Michael’s particular design process. ml-a.co.za
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THIS PAGE In the elevated dining area, a banquette designed by ML-A and built by Holz Cabinetry creates space-saving seating. The Hee dining chairs by HAY are from CrĂŠma, the vintage sideboard is from Space for Life, and the Perspex dome pendant light is from Arc Lighting. The Rocal fireplace, which marks out the living room, was supplied by MacD. OPPOSITE Seating in the living room is by Sofacompany, with the coffee table sourced from Lim. The shelving was designed by ML-A and built by Holz Cabinetry.
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THANKS TO THE USE OF CONCRETE, BRICK, STIPPLE WALLS AND POLISHED CONCRETE FLOORS, THE MATERIALITY OF THE HOUSE KEEPS THINGS INTERESTING.
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THIS PAGE The exterior bricks have been laid specifically to create patterns and break up the mass of the façade. Standard stock bricks were used throughout because of their colour variations. “I also liked that they were full-bodied with no holes, so they could be used vertically on corners,” explains architect Michael Lumby. To soften the yellow tint, the bricks were whitewashed. “It was an experiment inspired by Christiaan van Aswegen, an architect friend of mine, who had done a similar thing on a house he designed,” adds Michael. OPPOSITE Opening up the sliding doors makes the courtyard part of the living area.
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THIS PAGE The elegant curved staircase leads to the bedrooms and the roof terrace. OPPOSITE As the dining and lounge banquette seating are essentially backto-back, Michael designed the area on a split level – a clever, spacesaving trick.
LAID OUT OVER THREE FLOORS, THE BUILDING HAS SPATIAL TRICKS APLENTY TO KEEP YOU ON YOUR TOES.
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| Vredehoek Home THIS PAGE The statuesque ceiling height transforms the shower area, which was custom-made by Still Bathrooms, into an extraordinary space.Standard 200x200 white tiles were cut into quarters here, creating textural variation. OPPOSITE In the main bedroom, light from the skinny window plays on the stipple walls, oak cabinets and polished-concrete floors. The exposed flue allows for radiant heating from the fireplace in the living area below.
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THE CATHEDRAL-ESQUE EN-SUITE BATHROOM IS FAST BECOMING A SIGNATURE OF MICHAEL’S WORK.
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PRIORITISING PROPORTIONS, CONTEXT AND LONGEVITY, THIS NEW LUXURY DEVELOPMENT IN PRETORIA MAKES THE CASE FOR LOCATION-SENSITIVE ARCHITECTURE.
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There’s an oversupply of architecture in South Africa that’s more concerned with what is on the surface than how well the space functions and how it relates to its surroundings. Overly worked and too often themed, it presents the “dream” of living in a certain typecast style by way of gratuitous, decorative frills. This is especially prevalent in large-scale developments, where quality of life ends up coming second to feature walls and on-trend design elements that lack connection to their context. When Johan Wentzel and Grete van As of W Design Architecture Studio had the initial discussions for Roundabout Brooklyn with developers KEE Properties, they envisaged an apartment block that would exist in harmony with its surroundings, with a focus on honesty, longevity and above all, liveability. They were also cognizant of inheriting staggering views of many of Pretoria’s most notable sites and planned the layout to make the most of this.“We want to get back to creating buildings that will still be relevant in 40 years’ time.We’ve lost that; buildings today have short life spans,” says Johan. By distilling the suburban dream (a secure home that lives out towards a garden) and downscaling it, the two have combined the benefits of apartment living with a high-end offering to those seeking a home, rather than a transitional space.
Each apartment faces north and has its own terrace, either generously planted in off-shutter concrete containers or with views into the dense canopy that the designers have created. And all the units are liberally proportioned, ranging from 60m2 one-bedrooms, to a 175m2 three-bedroom penthouse with its own swimming pool. Containing just 21 apartments and with a stepped structure, the building is sensitively scaled in response to its neighbours. The street-facing units, where single-storey residential homes exist, are only two storeys high while those behind them – where the building backs onto a shopping centre – rise up to four.“It’s like a multiple adaptor; whatever is happening next to it determines how we develop it,” says Johan of what they've unofficially dubbed “the mediator”. Material honesty is central to the development’s quest for simplicity. Opting for the bare minimum of single-trade and unfinished materials, this is a structure that reveals its parts openly. A quick glance at Roundabout Brooklyn reveals impeccably laid face brick in two shades, combined with unfinished concrete and steel – all of it in arresting precision, like a neat frame whose parts have been seamlessly slotted in. The lack of finishing such as plastering, tiling and painting does away with demanding maintenance, ensuring a shelf life that surpasses current norms.
The building’s clean-lined, contemporary form echoes this notion with a no-fuss aesthetic that emphasises the experience of living in each space: the surplus of natural light, the quality of the finishes and ready access to green spaces are all part of that experience. From the ground level, a row of Harpephyllum caffrum (indigenous wild plum) trees already rises to meet the first floor and will soon offer its apartment dwellers a view into the canopy. Planter boxes of varying sizes are landscaped with succulents and the walls play canvas to tickey creepers that have already started their upward journey. Up on the communal rooftop terrace, the views are spectacular and celebrate all that Pretoria has to offer: dense greenery that follows an undulating landscape. Rather than overlaying an isolated living concept, the designers’ approach here is both responsive and sensitive, in the hopes of achieving architectural longevity. “As architects, we have the opportunity to do something responsible in our lifetime, instead of putting the onus on future generations,” concludes Johan. wdas.co.za
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THIS PAGE A typical north-facing view spanning from the Telkom Towers (left) to Pretoria CBD (right); the chairs are from Chair Crazy. OPPOSITE (FROM LEFT) CG Construction, who were the main contractors, were responsible for the outstanding brickwork using Corobrik onyx satin and terracotta travertine bricks.
THE CLEAN-LINED, NO FUSS AESTHETIC EMPHASISES THE EXPERIENCE OF LIVING IN EACH SPACE. visi.co.za
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THIS PAGE A three-bedroom unit with the kitchen in the centre of the lounge and dining area. The bar stools are from Incanda and the black track lights from Spazio. OPPOSITE The penthouse kitchen with its leafy outlook, Miele appliances and porcelain tiles, custom-made by NWT. The simple repetition of the mild steel balustrade creates beautiful shadows.
CONTAINING JUST 21 APARTMENTS AND WITH A STEPPED STRUCTURE, THE BUILDING IS SENSITIVELY SCALED IN RESPONSE TO ITS NEIGHBOURS.
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OPPOSITE The dining room in one of the three-bedroom units features a table, bench and mirror from Incanda. Floor to ceiling narrow windows not only make the most of the light into the flat but also work to divide the different brick types on the exterior. THIS PAGE (CLOCKWISE FROM TOP LEFT) The 11m2 third bedroom acts as an office or study; the desk is from Trestle South Africa; One of the living rooms looking out onto the central courtyard. Indoor plants are from Garden Bleu and the rug from Weylandts; A typical main bedroom, which opens onto a patio; The brise-soleil with air bricks from Old World Concretes subtly shields residents from neighbouring developments.
THIS PAGE Stunning views from the swimming pool above the fifth floor of the penthouse conceal Pretoria’s suburbs beneath a canopy of dense foliage, which stretches out toward the CBD. OPPOSITE The terrace on the north of the building features a communal braai area with a container garden of indigenous and water-wise landscaping by Earth Art.
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"WE WANTED TO GET BACK TO CREATING BUILDINGS THAT WILL STILL BE RELEVANT IN 40 YEARS' TIME." – JOHAN WENTZEL, ARCHITECT
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SOUTH AFRICAN INTERIOR DESIGNER HUBERT ZANDBERG'S ECLECTIC HOME IN ONE OF LONDON'S CULTURAL AND ARCHITECTURAL LANDMARKS IS ALL ABOUT HIS COLLECTOR'S AESTHETIC.
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A vintage Museum model of Nefertiti (circa 1920) sits atop a custom-designed HZI cabinet in the living room, with a vintage floor lamp by Pierre Guariche. The paintings on the wall are by Victor Vasarely, while the stool in the foreground is by the Jimma Tribe of Ethiopia.
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With homes in London, Paris, Berlin and Cape Town, celebrated South African interior designer Hubert Zandberg has a fail-safe formula for decorating his homes. “Wherever I go in the world, I turn my immediate environment into a small town,” says Hubert, who grew up in the Karoo, a vast semi-desert region in South Africa. “For that reason, I’d always loved London’s Notting Hill as it emulates the small-town community of my childhood where it’s possible to be known by name at your local café, grocer and bookshop.” Having lived and worked in London for the past 25 years, Hubert’s eponymously-named interior design business is located in Notting Hill too. “It’s safe to say I have a healthy obsession with the area,” he says with a grin. “I’d been looking to buy a property in the area for years but had never found anything that felt right, until earlier late last year when I viewed a two-bedroom apartment in the city’s iconic Television Centre in White City.” Cultural icon aside, the grade-2 listed building is also an architectural landmark, considered by many to be a Mid-century Modern masterpiece. “I remember walking into the lobby with its incredible mosaics and generosity of space,” says Hubert, “and feeling overcome by the sense of history here. It was pretty much a done deal before I’d even seen the apartment.” Of course, his 100m2 apartment more than lives up to expectation with its open-plan living, dining and kitchen areas that look out through massive windows onto a leafy park. As a voracious and international collector of modernist furniture, art and objet, Hubert’s belief that a considered collection of disparate styles, eras and decorative traditions automatically make a home feel more authentic and soulful is perfectly articulated here. “A collector’s aesthetic is a lot less prescriptive and much more personal. Most of these things have travelled with me from my first home and yet are still as relevant and appropriate for me, now as then. And I expect to use them later in a beach house or country bolthole environment too.” It’s a look that not only values longevity over trend, but that Hubert uses regularly to transform a space without the need for a single, structural change. Serendipitously, it was this insight that prompted his decision to live in his apartment before making any structural changes. “I moved in with a collection of my personal things and a selection of prototype furniture from the HZI collection, with the idea to test each piece by living with them and experiencing them in situ,” he says. Then COVID-19 happened and Hubert, who usually travels incessantly, found himself at home for months on end giving his prototypes their most rigorous testing yet. “What struck me most profoundly was the realisation that creating a visually inspiring home has little to do with money and everything to do with understanding how you live and seeing your home as a creative space.” While living with a tightly edited collection of only those things that he absolutely loves is a personal mantra for Hubert, he predicts this will become increasingly essential in our homes, with throwaway “stuff ” making way for the demands of juggling work, family, exercise, entertainment, cooking, gardening and access to nature. “We’re going to have to totally reimagine how we live and work, so that when – not if – the next pandemic comes, we can slip into bunker mentality with ease, confidence and comfort. There’ll be a lot of paring down and decluttering in the wake of this pandemic.” All the while, Hubert’s enjoying the “small town vibe” that Television Centre offers, complete with a sunset that could give the Karoo a run for its money. “The apartment is west facing so I get the most intense sunsets – of course, in the Karoo it’s the dust that gives it that spectacular glow while here it’s the pollution, but be that as it may, the similarities are nevertheless a comfort. I also like the fact that the closest road to me is called South Africa Road – yet another sign that, with age – I’m reverting to type.”
“A COLLECTOR’S AESTHETIC IS A LOT LESS PRESCRIPTIVE AND MUCH MORE PERSONAL.” HZINTERIORS.COM
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A collection of some of Hubert’s favourite things are gathered on a Cubist-inspired cabinet. The large painting is by Tanya Ling. The white ceramic vessel is by Johannes Nagel and desk lamp by HZI. Left of the cabinet is a painting by Wim Botha and above it a terracotta-coloured artwork by Edith Dekyndt.
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In the living room, a curvaceous customdesigned sofa by HZI takes centre stage. Hubert’s trademark introduction of texture by way of the seagrass lampshade and vintage bamboo screen grounds the space, as does a kilim rug from Tim Page. This is layered with designer pieces such as the chessboard table from Moooi and mid-century chair by Norman Cherner.
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OPPOSITE (CLOCKWISE FROM TOP LEFT) The dice side table is a 60s Brazilian piece sourced from the Gili Factory; In the kitchen, an artist's studio model keeps company with a Zulu milk pot and a Guido Gambone ceramic vessel on the kitchen counter; A vintage '70s trestle table is matched with George Nelson dining chairs. THIS PAGE On the HZI cabinet in the living room is a display of vintage art studio pottery and a collection of Alvar Aalto forms. The floor lamp is a vintage Pierre Guariche piece, and the paintings on the wall are by Victor Vasarely.
"I’D ALWAYS LOVED LONDON’S NOTTING HILL AS IT EMULATES THE SMALL-TOWN COMMUNITY OF MY CHILDHOOD."
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CLOCKWISE (FROM TOP LEFT) A fauxbamboo shelving system by HZI is filled with an assortment of things that Hubert holds dear. On the top right shelf is a ceramic vessel by Johannes Nagel, while a David Hockney photograph takes prides of place on the middle shelf; Hubert’s bedroom reflects his love of fabric and colour. The four-poster bed is an HZI design, and the throw is from Coral Stephens in Eswatini; The vintage plaster table lamps were found in a Paris flea market. OPPOSITE The metal wall sculpture above the bed is by Curtis Jeré, while the colourful silk Ikat cushions are from Istanbul.
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LEFT Dixon's "Press" series of industrially pressed glass lights.
"DESIGN … is about
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IMPROVEMENT. If you've improved something a little bit, you've probably DESIGNED."
– Tom Dixon, director of UK design brand, Tom Dixon (see page 124)
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Press Gang
He's one of the planet's preeminent designers with good reason: Tom Dixon does it yet again with Press, his latest range of decor items and lighting. om Dixon has already produced several designs that genuinely merit the adjective “iconic” – quite an impressive achievement for someone with no formal design training who started out welding one-off furniture pieces to make ends meet while playing in a band. His highly original eye has always also been resolutely bold and industrially inspired, and one of the brand’s latest collections, Press, has all these qualities in spades. It might be more useful to say “in iron presses” because that’s how these gorgeous new pieces are made. Press is a series of heavyweight grooved vases, bowls and candleholders made of fat, chunky coils of pure and clear transparent glass. Graphic in silhouette and simple in function, they are manufactured by heating glass to 1 200˚C and dropping big globs of the molten results into two- or three-part iron moulds, where they're pressed. Designed and engineered to catch and reflect light – and to last forever – the Press range is available locally at Créma Design. Look out, too, for the equally covetable Press series of lights, made from the thickest and most transparent glass with the same satisfyingly rounded linear surface detail. Aptly named Sphere, Cone and Lozenge, the pendant shapes are reminiscent of shipping buoys, children’s toys and throat lozenges. Manufactured in the same way as the decor items, these will be available in 2021. tomdixon.ne
Tom Dixon's Press series includes vases, bowls and candleholders made from chunky coils of pure, transparent glass. The Press series of pendant lights – Sphere, Cone and Lozenge – will be available next year.
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PHOTOS SUPPLIED WORDS ROBYN ALEXANDER
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Style, Safety & Sustainability NEOLITH® STRATA ARGENTUM Space I NEOLITH® Urban Boutique Milan (Italy) I Designed by Héctor Ruiz I Photography: Damaso Perez Fototec
Neolith® is a safe, sustainable architectural surface with style and substance. It enhances any space in which it’s applied, from floors, walls and ceilings to worktops, furniture and even façades.
Low maintenance, hard-wearing, waterproof and scratch resistant, Neolith® slabs can withstand the strongest chemicals and cleaning products, as well as extreme temperatures.
A material produced in a carbon neutral environment, with a 100% natural, ultra-compact composition, it delivers superior levels of hygiene and sustainability. It’s easy to specify and safe to use in commercial, professional and residential settings.
With a range of over 50 high-definition colours designed to resemble everything from marble and granite to timber and metal, and available in a variety of formats and thicknesses, Neolith® provides the perfect balance between form and functionality.
Discover more on www.neolith.co.za | Follow us
@neolithsouthafricaofficial
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Design Journey
It's been 10 years since Andrea Kleinloog and Megan Hesse joined forces at Anatomy Design in Johannesburg. These timeless furniture pieces are ingrained in their decade-long success story.
N The SG Chair was designed for Southern Guild, who included it in a Christie’s London exhibition and auction in 2017. It’s simple and comfortable, but big enough for two people – almost like a love seat. We used traditional materials: solid walnut, brass detailing and a fabric specially designed by Nicole Levenberg. Although this piece is a statement, we never try to be avant-garde, which has allowed all our pieces to date so beautifully.
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PHOTOS SARAH DE PINA WORDS TRACY LYNN CHEMALY
N Although Megan joined Andrea at Anatomy Design in 2010, Andrea had already designed their first piece, the Lab Light, in 2009. This design was chosen by Design Indaba as the Most Beautiful Object in South Africa in 2010, which gave us wonderful recognition. In 2010 we also opened our first store at 44 Stanley. The Lab Light is now sold through Danish company Karakter, who launched it internationally at Maison&Objet and the Milan Furniture Fair in 2014 and 2015.
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N Andrea’s dad, Robert, would secretly have loved to be a designer, so we named the Robert Wingback after him. He’s six-foot-four so it’s big enough for him. We wanted to design a wingback that was less “boys’ club” but still has the luxury of a big presence despite its skinny frame. The glossy black lacquer was a new technique for us. We also launched the Janis Dresser that year, named after Megan’s mum, who is passionate about furniture and is also an antiques collector. It’s an Art Deco-inspired, feminine version of our David Desk, with a focus on the brass accents seen on the delicately turned oak legs. We wanted to create a practical piece that was classically beautiful.
N Last year we took a hiatus from releasing new product as we wanted to pay attention to what we had already made over the years. We moved our shop to Kramerville and focused on our production chain, refining every detail in every piece. Megan also relocated to Cape Town, so we hope to open an Anatomy Design showroom there post-COVID-19, and will be launching an exciting new range soon. We’ve definitely evolved as a brand over the past 10 years, but our core values of the simple use of honest materials as well as designing timeless products with function have stayed the same.
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Situation Scapes
Joburg-based painter-printmaker Pebofatso Mokoena's work is both multifaceted and multimedia, presenting multifarious reflections on South Africa and the world.
ebofatso Mokoena's practice isn’t one that's based in a moment, he says. “It's more like in situation-scapes that merge, mingle, collide, slice, become miniaturised and expand at different moments of making work.” And that making includes sometimes working in painting, drawing, collage, print, and even video, which reflects this Johannesburgbased painter-printmaker's notion that “there are inherently so many things happening even before the work is made, that influence what the work may represent”. Pebofatso, who was raised in the East Rand, says, “I was born into an extraordinarily violent socio-political moment. Nothing about that situation was serene, but that paradigm had such a profound influence on how I saw the world in general.” Growing up, he adds, his family had a television
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and that was a sort of escape for him for a while. However, “there was always this chasm I wanted to reconcile between what I was seeing on the television – Formula 1 racing, Dynamite Diepkloof Dudes, etc – versus what was happening out on the streets – armed violence – but I never knew where to start”. As a child, he experienced the racist substructures of separate development as undercurrents. At David Krut Projects, Pebofatso’s exhibition, "Internal Probes", had been open for just a month before closing prematurely as South Africa went into lockdown on 27 March this year. Of the work in this exhibit, he says, “Initially I was thinking about the way cities, suburbs, townships, townhouses, countries, federations are organised and their relation to how people move in and around these precincts, with obvious roots in the 1781 Zong
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PHOTOS SUPPLIED WORDS ZANELE KUMALO
BEHIND THE SCENES Get access to a series of virtual workshops by Pebofatso and other artists, including Maja Maljević, Stephen Hobbs, William Kentridge and others, with the purchase of any of Pebofatso’s prints. Contact Jill Ross at David Krut Projects on jill@davidkrut.com for more info.
massacre, through to the Gold Rush in Joburg in the 1880s, to self-defence units against apartheid police in the 1990s, the Ellis Park stampede in 2001, and the sheer number of car crashes on our roads, among other human catastrophes.” His multifaceted, multimedia work explores how these oppressive structures often also mirror thoughts about massive data-accumulation practices, perceptions that we have about ourselves as a nation, and how people are able to deal with huge global issues. Poignantly, Pebofatso says he feels his work is still “unravelling itself” to him.
Right now, you'll likely find him listening to musicians like Taiwa Molelekwa, Madlib, Amy Winehouse, James Brown, Jimmy Dludlu and Kid Cudi – as he marks and places any mix of acrylic, charcoal, hard-ground etching and hand painting, ink washes, mono prints, oil pastels, pen, pencil, silkscreened collage pieces and wax crayon on canvas. Each mark has been a way for him to make sense of the world he inhabits. Artworks available from David Krut Projects, Johannesburg. For more info contact info-jhb@davidkrut.com. pebofatsomokoena.co.za; davidkrutprojects.com
OPPOSITE (CLOCKWISE FROM TOP LEFT) Zonal Marking, 2020; Pebofatso at David Krut Workshop (DKW), Joburg; at a children's workshop this year; working with printers Sbongiseni Khulu, Roxy Kaczmarek and master printer Jillian Ross. ABOVE (CLOCKWISE FROM TOP LEFT) Statistical Weaknesses, 2018; Bad Ideas, 2020; Out of The Blues Disco, 2020; 3/4 Progress on the Edge of Play, 2019.
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Heritage of Luxe Founded by designer Harmonie Mbunga, Valoyi is a luxury accessories brand that pays homage to traditional African craftsmanship.
aloyi’s locally handmade handbags showcase a curated range of traditional textiles that celebrate West Africa, South Africa, Mali and the Democratic Republic of Congo. “I want to do my part in the redefining of the African narrative, my part in raising our heritage crafts and culture to a place of esteem, and further cementing its relevancy on this world,” says designer Harmonie Mbunga. “Why? Because its history matters. Our history matters.” For Harmonie, celebrating African history and culture is paramount. “Within every culture and tribe found in all the countries of this vast continent there is beauty, there is art and there is craftsmanship. But most of these creations are becoming lost and dying art forms. Our mission at Valoyi is to do our part in keeping the centuries-old heritage skills of the African artisan alive, creating a new path for skills to be passed
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on for generations to come, and for us to enjoy them as new modern heirlooms through refined contemporary design.” From backpacks to handy pouches, Valoyi’s collection features a range of versatile bags – from the Kedi, which showcases handmade Bògòlanfini cloth from Mali, to the Moja – a drawstring backpack made with African wax prints. The Khaya waistbags are a limited-edition capsule range featuring two graphic shape designs inspired by Kuba cloth – created in collaboration with artist Brian Tompkins – and a third design created by Harmonie featuring a print inspired by traditional Xhosa ceremonial attire. Harmonie is currently working on a new collection that will also see her launching and introducing her first style of handcrafted sustainable unisex shoes, something she’s been working on for a while. valoyi.com
PHOTO SASKIA WEGNER WORDS LINDI BROWNELL MEIRING
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TERRA by Laurie Wiid van Heerden
HOME IS SANCTUARY Home has returned to the centre of our lives. We believe beauty and nature nourish the soul. indigenus.co.za
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Fit for Queens
Pretoria-based designer Glorinah Khutso Mabaso's geometric patterns– inspired by the Rain Queen and the female dynasty of the Balobedu people – saw her winning the Trenery Print Competition 2020.
Design is an expressive medium that I believe can... capture an image that only exists in my mind,” says Glorinah Mabaso. The newly announced winner of the Trenery Print Competition – launched at the Investec Cape Town Art Fair in 2019 – adds, “[Design] has the power to freeze time, it is a visual language that can speak louder than words, and most importantly, it is my sacred space.”
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From more than 400 entries to the competition, Glorinah’s was singled out for its raindrop-inspired design. The pattern pays homage to the Modjadji dynasty, and specifically, to the first Rain Queen, Maselekwane Modjadji (1800-1854) from Limpopo. Drawing inspiration from the history of the rain dance that Maselekwane headed, Glorinah interpreted the idea of rain smashing and running over glass into her final design, combining
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IMAGES SUPPLIED WORDS MICHAELA STEHR
BELOW Glorinah's work is based on an Afro-modernist aesthetic. OPPOSITE “[Glorinah's prints] form a central part of Trenery’s main range in February 2021 as the month’s key print in both South Africa and Australia. The colour will change to suit the palette of the main range and ensure it remains fresh for the Autumn/Winter timing. The dress and top are made from sustainable Eco Vero fabric – a viscose blend chosen for its crepe weave that adds textural interest to the print. It’s a lightweight fabric that drapes beautifully and our customers absolutely love it,” says Maria Kozub, Trenery's head of design.
straight lines and circles in a repetitive pattern. “This pattern also signifies and emphasises that the power of women in society is just as powerful as the rain in the cycle of life,” she says. Glorinah explains that Maselekwane “was called the Rain Queen because she could make it rain through a rain ritual dance, "a gift handed down through seven generations of queens with no interruption”. The colour palette for Glorinah’s design was directly influenced by Trenery’s sophisticated textile collection. “The rich colour combination definitely balances the cinnamon, dark green, light peach and is tied together by extreme neutrals,” she says. “This allowed me to complement the brand’s signature look while introducing that modern tribal luxurious element. VISI editor-in-chief and Trenery judge Steve Smith says,“I think the colour palette grabbed me first – it had a retro '70s feel to it, something I’m always going to love – and there was this abstract element too that reminded me of a Ben Nicholson painting. Plus, there’s a great narrative woven in of Modjadji… it’s a wonderful example of an Afro-modernist aesthetic that I see working as a big, bold motif on a dress, or as a smaller accessory like a scarf.” As for the future, Glorinah is excited about expanding her repertoire. “I definitely plan on shifting my design focus to pattern, textile and surface design,” she says. “I never thought my design journey would lead me to storytelling through visual interpretation, [and] I’m excited to embark on a new journey and finally get my toes into the fashion design industry.”
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Table Talk
Jeweller Kirsten Goss talks to VISI about why the covetable Kirsten Goss ABODE collection was a natural extension of her brands.
Having been making sensuous, shapely jewellery for almost 20 years, Kirsten Goss sees her recently launched ABODE collection as “a collection of modern-day heirlooms”. Her signature curvaceous jewellery designs translate beautifully into considered implements and objects for living, with a core collection consisting of sterling silver cutlery, and stainless steel and solid brass serving ware. We chatted to Kirsten about the inspiration behind the ABODE range, and the plans she has for the collection in the future.
Why did you decide to create ABODE in addition to your jewellery ranges? Having grown up in a partly Norwegian family, we always had beautifully considered cutlery and homeware around. I guess that had a big influence on my penchant for great details in the living department. If you're going to scoop that chilli, or spread that butter, you might as well do it with something that delights. Where did you get your inspiration for the ABODE collection? I felt with
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our really iconic shapes in jewellery, it was time to scale them up into covetable objects for living too. We've been going 18 years now, so we know well what is classic in our brand. What’s your favourite item in the collection? I’m a huge fan of the Skjell servers. They're based on our barnacle earrings: I drew the shape about 15 years ago in my little studio, it’s been with us ever since, and I've always loved it. Sometimes shapes just hit the right note.
Do you have any future plans for this sub-brand that we could share with VISI readers? Ooooh yes, too many! The sky’s the limit with this collection really – flatware, crockery, objets d’art and maybe even furniture – which I would adore to design. There’s a new collection coming for the ABODE brand soon too, inspired by the lockdown I experienced on a deserted island for three months – so watch this space for more about that. kirstengoss.com
IMAGES STEPHANIE TREVETHAN TEXT ROBYN ALEXANDER
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MIEKE DROOMER
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Screen Test
Created by Sandalene Dale-Roberts and her team at Naturalis bespoke furniture, these new restaurant screens make dining out during COVID-19 safer without compromising on style. lim-line, lowimpact and eco-friendly, these minimal screens are designed to shield both restaurant staff and patrons during the current COVID-19 pandemic. Designed by Sandalene Dale-Roberts, founder of Naturalis bespoke furniture, the dividers were born out of necessity – and, of course, her ability to innovate and find a goodlooking solution to a brandnew design problem. Sandalene’s husband, restauranteur extraordinaire Luke Dale-Roberts, has already employed them at The Pot Luck Club, one of his iconic venues in Cape Town. “Although dividers aren’t a government prerequisite, we wanted to make every effort to ensure the safety of our staff and guests,” Sandalene says. Made from metal and gloss-sealed Supawood or frosted glass, the attractive screens can be tailormade for any space, including offices, schools and shops. “Hopefully after COVID-19 we will be able to use them throughout homes and studios as privacy screens,” Sandalene says of the moveable dividers. “In the meantime, they offer a sense of security without being intrusive.”naturalis.co.za
CLOCKWISE FROM TOP LEFT: Sandalene Dale-Roberts at the iconic Pot Luck Club, for which she originally crafted the decor; the lightweight and customisable screens, in gloss-sealed Supawood or frosted glass, form an unobtrusive barrier between tables.
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Mohair Masters
From its humble beginnings as a home decor project, Coral Stephens Handweaving has gone on to carve out a unique and special niche in the world of bespoke, handmade textiles.
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oral Stephens never intended to start a weaving business. But after moving to Eswatini in the late 1940s and needing curtains for her newly built farmhouse, she decided to try to recreate a fabric that she had once purchased in the Eastern Cape. It was made from woven mohair, at a missionary school – so between Coral and Sylvia Mantanga, an employee of Coral’s who was a skilled weaver and had travelled with her to Eswatini, they began training some Swazi women to spin and weave. Once the curtains were made and installed, they were so much admired by visitors that people began asking if they could place orders for them, and so Coral Stephens Handweaving was born. Coral sourced looms, had spinning wheels made by the excellent carpenters who were employed at a nearby timber mill, and formed spinning groups for women in outlying areas. Soon she also began dyeing the mohair, as well as using different textures of spinning, and combining pattern and texture in a unique style. She originally chose mohair as a textile to work with because it spins readily, it’s made locally in South Africa and Lesotho, dyes well and behaves like silk – mohair curtaining has a gorgeous lustre and glow, and drapes beautifully too. The very evident “handmade” quality of the woven textile also somehow has a highly sophisticated feel. Coral’s daughter, Jane Slabbert, later worked closely with her mother, and at this time the business diversified, introducing new ranges made from cotton and silk, and various types of woven raffia that were especially widely used in the then-nascent area of game lodge decor. Handwoven, tactile, organic fabrics were a perfect fit for these new spaces. Today, a third generation of the Stephens family runs the business, and the products it makes include carpets and rugs as well as curtaining and other textile products. Says Murrae Stephens, “[Our] mohair curtains stand the test of time, even the classic undyed white ones that Coral first wove – we still make them. We’ve just completed a set with a fine strand of gold that randomly appears, for a home in London.” Because their output is small and bespoke, the brand has regular international design clients who keep coming back for more – right now, they’re working on orders for US celebrity decorator Nate Berkus, and for Soho House in London. And of course they’ve also collaborated with a number of South Africa’s top interior designers and architects, from Michelle Throssell to Lesley Carstens. London-based, South African-born designer Hubert Zandberg (whose apartment is featured on page 90 of this issue) is a regular client too. “We work slowly, as the process cannot be rushed,” says Murrae. “We are very old-fashioned in that sense. We’re not interested in trends, we want to produce a sustainable, quality product that will last and be loved, enjoyed and appreciated.” coralstephens.com
PHOTOS RENSKE VERWEY WORDS ROBYN ALEXANDER
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A selection of handwoven Coral Stephens mohair blankets, made in Swaziland using traditional, hand-intensive techniques.
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Smart Weave
The new FibreGuard Pro fabric collections from Home Fabrics make interiors of all kinds safer thanks to their sophisticated technology – and they look great too. ith better hygiene on everyone’s minds these days, the new FibreGuard Pro fabrics from Home Fabrics, which includes three separate fabric collections – the Spartacus, Michelin and Combo ranges – is the perfect way to update interiors beautifully without compromising on health and safety. All the fabrics in these luxurious ranges are soft to the touch as well as being moisture-, odour- and mildewresistant. A breathable membrane has been applied to the back of the fabric that prevents any penetration of liquids, while still allowing air to circulate. This makes FibreGuard Pro fabrics washable and easy to clean, in addition to being stain-resistant and having antimicrobial properties. The Spartacus, Michelin and Combo collections are also durable, offering long-lasting value for money, and they're eco-friendly to boot. Like all of the other FibreGuard fabrics available, the FibreGuard Pro range is certified under Standard 100 by Oeko-Tex® – guaranteeing that the fabrics won’t release any harmful chemicals into the environment. Apart from the increased peace of mind that these new collections offer, they also come in a great variety of textures and even more colours. In short, FibreGuard Pro fabrics offer all the latest benefits of hardwearing functionality, while also looking stylish in any space. Check out all the options you can choose from at one of Home Fabrics’ showrooms countrywide, or via their website. fibreguard.com; homefabrics.co.za
The Spartacus range of FibreGuard Pro fabrics boasts no fewer than 85 hues to consider using in your space. Plus, all of the fabrics can be used for both upholstery and drapery.
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Family Flair
The creative duo behind Cape Town's Pezula Interiors excels in blending laid-back homeware pieces and intriguing collectables from around the world.
nterior retail gurus and married couple Camilla and Steven Whiteman credit their respective mothers with their natural flair for sourcing and curating homewares. Steven’s mom, Gail Behr, is the incomparable force behind the Dorp hotel in the Bo-Kaap while Camilla’s mother, Ineke Henderson, is the founder of the Pezula Interiors brand. “It feels as if we grew up in a movie set,” Steven says of his mother’s and mother-in-law’s ability to throw together contrasting pieces of furniture, cushions, fabrics and rugs in an artful and utterly effortless way. “And we seem to have inherited this skill.” The Pezula brand originated from Ineke’s family-run rattan weaving business on their farm in Zimbabwe. The shop first opened in Plettenberg Bay, and
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when Camilla and Steven took the reins in 2007, it moved to the epicentre of the Mother City. Today, Cape Town’s style setters know Pezula Interiors for its breezy, whimsical collection of pieces sourced from all over the globe. “Both Camilla and I are inveterate travellers and now that travel is on hold, we constantly dip into books, magazines and explore Instagram for inspiration and ideas,” Steven says. And if something unique and beautiful catches their eye, chances are it will be sourced and stocked. “We have prints from Denmark, rugs from Swaziland, scented candles from Los Angeles, vintage bamboo furniture from France, beachwear from the Gold Coast of Sydney and fabrics from Ghana,” he adds.
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The true genius of the brand is in the cool, eclectic way the mix comes together. From slip-covered armchairs to vintage prints, rattan screens and hurricane lamps, there’s nothing staged or rigid in the ensembles. It’s about creating a lived-in home bursting with soul, history and romance. “We’re no longer just a decor store, we’ve evolved into a lifestyle brand,” Steven says, explaining that Pezula now stocks the largest selection of interior and design coffee table books in South Africa. “We welcome a range of customers
– from those looking for an unusual children’s puzzle for a gift to those seeking a bespoke leather sofa.” Two years ago, Pezula Interiors reopened its retail outlet in Plettenberg Bay, which focuses equally on home decor and lifestyle items, such as holiday-style clothing, coffee table books, stationery, gifts, bath and beauty products – and even a pastel-pink surfboard. With a name derived from a Shona expression meaning “high up with the gods”, the brand remains a favourite with aesthetes everywhere. pezulainteriors.co.za
PHOTOS STUDIO MIRU STYLING ANNEMARIE MEINTJES WORDS BIDDI RORKE
BELOW (CLOCKWISE FROM TOP LEFT) A sunny corner in the Cape Town showroom; Upholstery is a large focus of the Pezula Interiors brand. Featured here is the California corner unit; Rattan Monet rocking chair with life-size woven ostrich. OPPOSITE Steven perched amid the eclectic mix of items to be found in the brand's central Cape Town store.
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Back to the Future
Nando's brings its renowned global focus on South African art and design full circle with the revamp of the brand's very first store in Rosettenville, Joburg.
ando’s opened its very first store in Rosettenville in 1987. Yes, although it seems like the beloved fast-food brand has been around forever, it’s really just over 30 – a smack-in-the-middle millennial, if you like. These days it’s hard to imagine South Africa without Nando’s, and VISI’s favourite element of the company’s global identity is undoubtedly its ongoing commitment to local design and art. Which is why, as designer and curator of the space Tracy Lynch puts it, it’s so exciting to see the original Nando’s space revamped to be “an extraordinary showcase of South African design”. The brand’s celebration of local design takes
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place on both a national and global level, informed by what she calls “the concept of using exceptional South Africandesigned furniture and an interior-design ZAesthetic”. As an interior designer, Tracy says she loves “the idea of visioning interiors for Nando’s as South African design theatre”, and the revamped Rosettenville space includes work by some of VISI’s favourites. There are hanging lights by Mash.T, cool cork pendants by Wiid Design and fabulous terracotta tiles by Wolkberg, for example. And the artworks supplied by the Spier Arts Trust are wonderful too – we wholeheartedly agree with Tracy that the Half Square tiled piece by Jenny Parsons, installed on the
PHOTOS ELSA YOUNG/COURTESY OF NANDO'S CLOUT WORDS ROBYN ALEXANDER
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facade of the building, is a particular highlight. “The local design scene is rich and diverse,” says Tracy, “and currently we’re only working with a fraction of the designer-makers out there, but what’s important about them is that they’re world class in relation to innovation, craft, and a unique approach to design and quality. This is a creative community fuelled by
passion and commitment.” The Rosettenville store revamp is the perfect salute to how far both Nando’s and South African design have come in the past 30 years, and we can’t wait to check it out for ourselves – and munch on our favourite hot quarter-chicken and chips in-store while admiring its exuberant interiors. clout-sadesign.co.za, leelynch.co.za
ABOVE (CLOCKWISE FROM LEFT) Black and white beaded lights by Mash.T combine with Wiid Design's cork pendants. The Naturalis chairs sport a pattern by Nando's Hot Young Designer Talent Search finalist Sapamandla Mdunyelwa; Wall tiles by Wolkberg; The exterior is now adorned with a Half Square tiled art piece by Jenny Parsons supplied by Spier Arts Trust; Hanging lights by Candice Lawrence of Modern Gesture and red server by Sifiso Shange. Interior artworks are by Spier Arts Trust artists. OPPOSITE (FROM LEFT) The host unit is by Saks Corner and the Skyline pendants were designed by Mash.T and handpainted by Sakhile Cebekhulu; The red benches are from Houtlander and the tables feature a pattern by Nando's Hot Young Designer Talent Search finalist Primrose Chimhanda.
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Botanical Beauties
Chris van Niekerk's Ecoskeletons – "specimens" created by the artist using leaves, bark, grass and other plant matter – call attention to the beauty and importance of the insect world. orn and raised in the rural northwestern Free State, artist and horticulturalist Chris van Niekerk has long had a deep connection with the natural world. "I was forever fascinated by the unfathomable beauty and perfection of flowers," he says. "I would spend entire school holidays collecting flowers, seeds and leaves, dissecting and rearranging them into different shapes, forms and patterns." That childhood passion translated into university studies in horticulture at Tshwane University of Technology, following which Chris spent six years working at a horticulturalist – including being involved in the design and development of what is now the Centurion Lake complex in Gauteng. His increasing interest in design led to part-time lecturing in the field of landscape design and, following a move to Cape Town, 22 years as a conceptual artist making site-specific installations for major events and celebrations. Now this multitalented creative has focused his attention on insects – and is creating the remarkable works shown here under the overall heading of Ecoskeletons. This series title is "a play on the word 'exoskeleton', which in biology refers to the rigid external covering of the body of some invertebrate animals, such as grasshoppers and beetles," explains Chris. He is concerned by the growing evidence worldwide of plummeting insect numbers (mostly due to habitat destruction) over the past 30 years, and Chris's work is in part an attempt to focus attention on this issue. These delicate "specimens" – made entirely from carefully collected plant matter – are a timely reminder about the crucial importance of insects to the survival of many other forms of life on the planet, including our own. They are also very beautiful: to make each individual "insect", Chris meticulously combines leaves, bark, roots and sticks, grass and seeds to form a unique and brand new "species" of his invention. They're then carefully sprayed with biodegradable lacquer to preserve them, and mounted in wooden display cases very like those you'd see in a museum of natural history. Combined in a series, they make a exquisitely lovely decorative feature that is bound to start just the sort of conversation about the conservation of the natural world that we should all be having more regularly.Chris van Niekerk's Ecoskeletons are available to purchase at the Babylonstoren Fine Living Store, and directly from the artist via his Instagram page @chrisvanniekerkbotanicals.
Each of Chris van Niekerk's Ecoskeletons artworks is painstakingly crafted entirely using his careful selection of plant matter, including leaves, seed pods and grasses. The creations are then preserved with a biodegradable lacquer spray before being mounted.
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Taken for Planted
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Find a fresh alternative to wallpaper or vertical planting with these fully customisable preserved moss walls, which add a touch of colour and whimsy to any space.
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orticulture major Kevin Brown founded Earthlings, an indoor plant company, in 2001 and has since gone on to establish a division called Moss Works SA. Moss Works creates moss installations, made from preserved moss imported from Europe, which are fully customisable in shape and colour. They can be installed anywhere indoors and are ideal for both homes and corporate spaces. Plus, you’re able to place one of these installations virtually anywhere from ceilings to pillars to walls – the options are as wide as your imagination.
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PHOTOS SUPPLIED WORDS CELESTE JACOBS
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WHY CONSIDER A MOSS INSTALLATION? Aesthetic greening • No watering or special lighting required • Fire resistant • Fully customisable • No maintenance required • Amazing acoustic properties
Boasting both tactile and visual appeal, Moss Works installations offer an alternative to planted “living walls” or wallpaper, enhancing spaces and adding to their ambience without the need for major maintenance efforts. With offices in Johannesburg and Stellenbosch, Kevin and his team are able to install their preserved moss walls across South Africa. Contact him at kevin@earthlings.co.za.
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On the Curve
After being chosen as one of four winners at the Clout Industry Days Fired Up by Nando’s competition in 2019, Khosi Leteba is now launching his Bodulo Bench in collaboration with Wiid Design.
n revealing the inspiration for his striking Bodulo Bench, young designer Khosi Leteba says, “I was born and raised in Durban, KwaZuluNatal. But I'm of Sotho origin – that is where my grandparents are from. I often visit my family in Lesotho and when I started designing the collection, I was inspired by Basotho culture.” Leteba drew on his cultural heritage to create the curved lines and repetitive patterns on the body of the bench, which impressed the judges during the 2019 Clout Industry
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Days Fired Up competition. The bench was a part of his larger Bodulo Collection, and it's now been brought to life together with Laurie Wiid van Heerden of Wiid Design. Tracy Lynch of Nando’s Clout and Nando’s Portal to Africa introduced the two designers and proposed and supported the initiative. The bench will be sold on the Portal to Africa through the Clout design programme. “For design concepts to become three-dimensional objects that function in a restaurant space takes a different kind of commitment,” says Tracy of the decision for the three-way collaboration.
PHOTOS JUSTIN PATRICK WORDS MICHAELA STEHR
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"THIS WAS A REALLY GOOD COLLABORATION FOR ME BECAUSE IT ALLOWED ME TO EXPLORE DIFFERENT MATERIALS. I'VE LEARNT A LOT IN TERMS OF THE DESIGN PROCESS AS WELL."
“Laurie was one of my role models back in varsity,” Khosi says. “And this was a really good collaboration for me, especially because it allowed me to explore different materials. I’ve learnt a lot in terms of the design process as well; things you have to consider about the manufacturing process when designing. That was something I really didn’t pay attention to. In South Africa, we also have limitations when it comes
to manufacturing, so this process also taught me a lot about coming up with different alternatives in terms of making furniture pieces.” The finished product puts a modern twist on the traditional, and we think it'll work beautifully as a statement furniture item in both public and private settings. clout-sadesign.co.za
Khosi Leteba's (opposite) Bodulo Bench is a striking interpretation of Basotho culture, with the influence evident in the patterned illustrations and curvature of the design. Laurie Wiid van Heerden of Wiid Design collaborated on the project, bringing in his distinctive cork furniture style to complement Khosi’s design.
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Open Season
We've never felt the pull of wide-open spaces and bone-dry landscapes more strongly than right now. Recreate that sense of endless possibility with a minimal, earthy interior style inspired by the desert.
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4 1. Made from kooboo cane and leather, and large enough to take an afternoon snooze in, this new sleeping pod/cosy nest by Cape Town-based designer Porky Hefer is the perfect addition to any hideaway. Mud Dauber Sleeping Pod I by Porky Hefer (edition of two), POA, Southern Guild (southernguild.co.za). 2. These mid-century classic chairs were conceived by Danish designer Børge Mogensen, and combine all-natural materials with thoughtful detailing. They're still in production today at Danish manufacturers Fredericia Furniture (fredericia.com). Find designs with a similar feel in SA at Weylandts (weylandts. co.za) and Homewood (homewood.co.za). 3. Casa Pask is theatre designer Scott Pask’s getaway home in Tucson, Arizona. Renovated by architect Graydon Yearick in the early 2010s, the
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house combines features of the area’s adobe-style buildings with a pared-back sensibility that makes it a perfect desert retreat. To recreate its interior look, combine textured, bag-plastered white walls with natural finishes and accents in black and brick red – to see more of the house, check out Living in the Desert (Phaidon, R885), in which it is featured. 4. Rugs are essential in a desert-inspired space, creating a luxurious feel underfoot while adding subtle elements of colour and texture. Typhoon rug in Thunder, R12 000, HAUS (hertexhaus.co.za). 5. Combine scatters with graphic patterns to create accents. Rough-textured, printed deep orange Turk cushion cover by Sixth Floor, R359, Superbalist (superbalist.com) and white-on-black twill appliqué scatter, R895 , Weylandts (weylandts.co.za).
PHOTOS ©STEFAN RUIZ (CASA PASK), ADRIAAN LOUW FOR SOUTHERN GUILD, RICARDO SIMAL FOR SOUTHERN GUILD, SUPPLIED COMPILED BY ROBYN ALEXANDER
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6. Every desert retreat needs an artwork to inspire contemplation and a connection with the natural world, and this exquisite terracotta clay piece by acclaimed ceramicist Andile Dyalvane does just that. Intshatshoba (Maize Stalk Flower) (one-off), POA, Southern Guild (southernguild.co.za). 7. Packed with inspiration and featuring the sort of breathtaking visuals we all expect from design and art publishers Phaidon, Living in the Desert (R885) is the ideal coffee-table book to pore over while hunkered down in your very own desert hideaway. 8. Add a few baskets for simple
storage of firewood, throws, blankets or swimming towels.Open Weave baskets, from R595 each, Weylandts (weylandts.co.za). 9. Blending sleek lines with a textured woven seat and back, this laidback lounge chair will add an element of casual chic to any space. Edison lounge chair, R7Â 995, Weylandts (weylandts. co.za). 10. Texture and colour combine to evocative effect in this asymmetrical pure new wool rug by Charlotte Lancelot for Spanish manufacturers GAN. Canevas Geo rug by Charlotte Lancelot for GAN, R39 500, Limeline ( limeline.co.za).
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One lucky VISI reader will win a copy of Living in the Desert, worth R885: simply go to visi.co.za/win to enter this giveaway online.
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A Thread Spread
African Jacquard designs, weaves and manufactures unique combinations of 100% French linen and African cotton in the heart of Cape Town. he African Jacquard story began when Frenchborn Christine Daron first came to Africa 35 years ago. After 11 years in Gabon and travels through the Congo, Angola and Burkina Faso, Christine decided to make South Africa her home in 1997. While she had managed interior design projects in Angola, Tanzania and Congo in the early 2000s, weaving her own fabric in Cape Town felt like a natural step to satisfy the needs of her clients. Using mainly cotton and linen, Christine decided to adopt the Jacquard style of weaving, in which the intricate woven patterns created are fully reversible and displayed on both sides of the fabric. And so African Jacquard began in 2014, at first making only tea towels and tablecloths. Projects for Babylonstoren and Angama Mara lodge in Kenya happened during this time – African Jacquard still supplies the former with textiles today. In mid-2018, Christine decided to expand African Jacquard’s ranges to include throws and towels combining Jacquard design and waffle pattern. Design professionals started paying attention right away: “Suddenly, everyone was stopping at my tiny little SARCDA 2018 stand,” says Christine. “Interior designers were becoming more and more interested in what we could offer: beautiful and unique throws mixing linen, bamboo, cotton, in all possible ways.” African Jacquard soon began working with architect Lesley Carstens on textiles for Jao Camp in Botswana, and has since made custom pieces for lodge design specialists Fox Browne, the &Beyond group, the Zeitz MOCAA store and many more. Two years later, the company is recognised as one of the key suppliers when one needs a special touch for a bedroom, lounge, or an outdoor space. Inspired by the colours and natural landscapes of Africa, the company’s in-house collections include the Bogolan range – based on a West African cotton fabric traditionally dyed with mud – and the Kuba cloth collection, African Jacquard’s take on the classic fabric made from raffia in the Congo. Along with these original ranges, which are in constant evolution, African Jacquard continues to create customised designs for a range of clients. An especially exciting current project involves creating unique fabrics with Trevyn McGowan of GUILD, for use in the interiors of the much-anticipated new Xigera Safari Lodge in the Okavango. africanjacquard.com
TOP Christine Daron, founder of African Jacquard, which weaves exquisite throws and home linen, all locally made. ABOVE The Julie Juu tea towel at top right, depicting the Ghanaian actress on a bicycle, was designed by Heidi Chisholm for Cape Town brand Shine Shine.
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PHOTOS STUDIO MIRU STYLING ANNEMARIE MEINTJES WORDS ROBYN ALEXANDER
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Seamless flooring leads the way. Bank City Precinct - Johannesburg CBD (3000m2)
In keeping abreast with International inner-city revitalisation projects worldwide, Seamless Flooring Systems was chosen to supply the colourful EPDM pedestrian and vehicular flooring in the JHB CBD.This is a world first for a project of this scale. The benefits of our 15mm EPDM rubber system are: • • • • • •
Used for multi-sport, playground, landscaping and recreational areas Ultra-durable, flexible and impact resistant surfacing Flame retardant and eco-friendly UV stable, colour fast and weatherproof Low maintenance & sustainable Available in an array of colour blends PlaySafe is a brand of
086 178 2789 - info@playsafe.africa www.seamlessflooring.co.za
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Park Life
At the West Coast Fossil Park outside Cape Town, architect Jo Noero has used the past to design a future we can share with the natural world.
s an architectural photographer, I always appreciate a project that encourages a symbiotic relationship between a built structure and its surrounding environment. This oscillation between permanence and impermanence reaffirms my belief that we can sustain a world shared with nature. And the West Coast Fossil Park is just such a project. About an hour and a half from Cape Town lies a rich fossil site, world renowned for its exceptionally well-preserved fossil faunal remains, which date back 5.2 million years. The park was created after phosphate mining in the area unearthed fossil deposits including the likes of sabertoothed cats, short-necked giraffes and African bears – all of which roamed the then lush, subtropical West Coast. Tasked with creating a structure that encompassed the
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temporality of the natural environment and celebrated the discoveries of a changing world, renowned South African architect Jo Noero and his practice used this duality to form the basis for their design. Complementing the sloping geological landscape, the buildings have been dug into the earth while extending out beyond the line of the slope and facing outwards onto the dig sites to the west. Through their layered design, the buildings echo the action of “cutting” into the site analogous with mining operations. The vision is that over time, the buildings will form a part of the physical site so that its placement will blur the sharp distinction between building and landscape. The architecture also celebrates the use of natural light, free-flowing forms and natural earthy tones. The additions made to the park include an interactive educational centre,
PHOTOS & WORDS PARIS BRUMMER PHOTOS COURTESY OF NOERO ARCHITECTS
exhibition amphitheatre, restaurant and courtyard. A notable feature includes the large, thick wall – which also acts as seating – that outlines the full length of the walkway. The wall gives a nod to the estuarial history of the site, as the fossil bed area would have once been filled with water. Noero notes: “This presence of absence is very important in sites such as this one, as the past is so palpably present that one needs to make markers that try to remember it.” Also worth taking note of is the park’s winding entranceway, which memorialises an important stretch of stratigraphy damaged during past mining operations. The “bend” in its
design both acknowledges this and implies a preferred route when entering the courtyard. The space offers a “pause” to visitors, who can rest here before continuing on to their journey through the park. The architecture gently guides you from the top of the site down through the exhibition amphitheatre – its atrium bathed in ambient light – and ending at the fossil dig sites. Recently nominated as one of the V&A Waterfront’s 100 Beautiful Things, the Fossil Park’s mix of built and natural environments makes it a wonderful educational, architectural and tourist destination for both children and adults alike. fossilpark.org.za, noeroarchitects.com
ABOVE (CLOCKWISE FROM TOP LEFT) The exhibition amphitheatre exterior, dug into the earth to complement the sloping landscape; The courtyard exterior and interior. OPPOSITE PAGE (CLOCKWISE FROM TOP LEFT) The winding entrance to the park memorialises an important stretch of stratigraphy damaged during past mining operations; The central walkway linking amphitheatre and courtyard; The exhibition amphitheatre and atrium with current exhibition designed and curated by Jo-Anne Duggan.
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Shop Style
At Klein the Grocer, innovative South african restauranteur, retailer and cookbook author Neil Roake is livening up one of Amsterdam's trendiest streets with plant-based food and fresh design.
Modern Provisions For Modern Hippies” proclaims the glass frontage across this diminutive grocery store in Amsterdam’s trendy Haarlemmerdijk. Klein the Grocer sells only p sed food, and there are few mainstream brands o helves. Instead, shoppers can expect products in b l packaging that also don’t contain any artificial a s, are mostly organic and are mainly from smalls kers. Think Dutch seaweed “bacon”, Portuguese a butter, fermented soft drinks and a large selection o plant-based cheeses – oh, and don’t forget the Swedish-style cinnamon rolls, or the organic olive oil. If the aesthetic at Klein the Grocer rings a few bells – the bold and bright colours, the fearless use of typography, the smart puns – don’t be surprised. This supercute new store is the latest brainchild of one of South Africa’s most innovative brand builders, Neil Roake. In his home town of Durbs-by-the-sea, Neil has run
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restaurants and coffee bars; a small (and perfect) hotel; and a retail store, The Space, which now has outlets countrywide and helped change the way South Africans shop. Neil’s also a bestselling cookbook author (his Life’s a Beach Cottage series is into its third volume) and a branding expert who has been part of the team at marketing and advertising studio Modern Museum for 20 years. No surprise then, that when Neil does something new, it’s worth noting. Now based in Amsterdam and taking on a fresh challenge in a brand-new environment, he’s come up with a wonderful store in which to find a special culinary gift while also supplementing your own pantry with guilt-free goodies. The next time we’re in town, we’ll definitely be stopping by... Klein the Grocer, Haarlemmerdijk 26, Amsterdam, The Netherlands, kleinthegrocer.co; Insta: @kleinthegrocer
CLOCKWISE FROM TOP LEFT: The Klein the Grocer shop front on Haarlemmerdijk; The store's interiors have a cool, retro feel; Fresh-baked sourdough (26-hour fermentation) is delivered daily.
PHOTOS BWEFAR & DE BOER WORDS ROBYN ALEXANDER
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Cape Town: 021 510 2846 | Paarden Eiland Johannesburg: 011 262 3117 | Sandton Durban: 031 000 1000 | Umhlanga nick@oggie.co.za www.oggieflooring.com
Oggie Outdoor- Nordic Ash, Herringbone.
...Oggie goes outdoor with thermo-treated decking.
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Simply Electric
Porsche has just launched its first ever EV in South Africa . . . and with it a new strand of the brand's design DNA.
hen it comes to design, electric vehicles (EVs) present something of a dilemma for established car brands. Should they look suitably futuristic to match all that clever tech under the bonnet – like the BMW i3 – or should you rather play it safe and add an electric-engined model to your existing range, like the VW e-Golf? The former will grab more headlines and a thumbs-up from the early adopter crowd, but the latter could result in more sales by clothing unfamiliar tech in familiar garb. Or, perhaps, it’s something in between. It’s the approach Porsche has taken with its new four-door sports saloon, the Taycan – the legendary marque’s first ever EV – though its design is anything but the middle-of-the road position it may suggest.
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OUTSIDE Recently launched here in South Africa, the Taycan clearly carries established Porsche design DNA – most notably the topography of the bonnet and the front wings, the falling roof line and, at the rear, a strong shoulder line and the brand’s distinctive rear light bar. But there are also some new elements that very clearly set this model apart from its internal-combustioned siblings. Most apparent is how wide and low it is and, while it may have Porsche’s signature fourpoint daytime running lights that in the Taycan appear to float within large air inlets, they are flatter and wider in the Taycan, further emphasising its low-to-the-ground stance. Carrying
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over much from 2015’s Porsche Mission E concept car, there’s a pared-down look to the whole design – a clean, pure approach that reflects its energy source and clearly signals a new era has begun. This is perfectly illustrated by flush-fitted door handles that pop out electrically when required. INSIDE The interior reflects that too. Inspired, says Porsche, by 1963’s original 911, the minimalist and ultra-modern dashboard has little in the way of protruding buttons, switches and dials. Instead, it’s all about the screens. There’s a large, curved one behind the wheel conveying all the key driver info, a 10.9-inch infotainment screen in the middle of the dash, 8.4-inch touch
THERE’S A PARED DOWN LOOK TO THE WHOLE DESIGN – A CLEAN, PURE APPROACH THAT REFLECTS ITS ENERGY SOURCE.
PHOTOS SUPPLIED WORDS STEVE SMITH
THIS PAGE Interior upholstery options include leather-free Race-Tex made of recycled polyester. It has charge ports in the two front side sections of the body. Porsche reckon 80% of Taycan owners will charge their batteries at home overnight. OPPOSITE Its silhouette is defined by the sporty roofline sloping downward to the rear – called a “flyline” by the Porsche designers.
panel in the centre console for aircon controls and a notepad for the satnav, and yet another above the glovebox for the passenger to access infotainment and set the navigation. ON THE ROAD If you’ve driven an EV before, you’ll know acceleration is always pretty impressive … and with the Taycan’s powerful twin motors – one on each axle – it is genuinely breathtaking. Those motors effectively give it four-wheel drive traction and, in this Turbo S version, generate 500 kW (up to 560 kW using the Launch Control system) and a massive 1 050 Nm of torque, catapulting the Taycan from 0-100 km/h in an astonishing 2.8 seconds. That's faster than a current Formula
One race car. There are four driving modes (Range, Normal, Sport and Sport+) and power is transmitted to the asphalt via a two-speed gearbox. All that power may be impressive, but straight-line speed has never been what Porsche is after. Dynamic handling is a hallmark of the brand and it’s been interesting to see how its engineers have used their existing tech to fettle this fundamentally heavy car. All managed by Porsche’s 4D Chassis Control system, there’s constant chatter between the all-wheel drive, torque vectoring, adaptive dampers, rear-wheel steering and electromechanical roll stabilisation systems to produce a sports car of uncanny agility.
KEY STATS Price: from R4 077 000 • Power: 500 kW • 0-100 km/h: 2.8 seconds • 0-200 km/h: 9.8 seconds • Top speed: 260 km/h • Range: up to 412 kilometres • Charging: 9h via domestic electrical socket, 80% charge in 23 min via charging station
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Flip It
For the past decade, phones have all looked more or less the same – but that's about to change. It's been a while since a smartphone has caught our attention like the Galaxy Z Flip.
amsung may have gotten it wrong by rushing to market with the Galaxy Fold, but the company’s second attempt at a folding device has proved that feedback is important. The new phone is the dinky foldable Galaxy Z Flip, reminiscent of the iconic Motorola Razr. This 6.7-inch (17cm) smartphone comes in a purple mirror finish – and we recently managed to get our hands on one to test. It’s an absolutely stunning device; one you simply cannot keep hidden – or ruin with a cover! This modern flip phone has been built to withstand over 200 000 folds without breaking, according to Samsung. Snapping it shut is curiously satisfying; particularly so when ending a phone call. There’s also 8GB of RAM, 256GB of
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storage, a 3300mAh battery, 12MP dual-rear cameras and a 10MP selfie-cam. But none of the specs actually matter. Because the Z Flip is a phone you want to be seen snapping selfies with – or simply leaving it out on the table at a coffee shop for passersby to admire. Flex Mode lets you use the phone as a tiny laptop that supports different controls on each 4-inch (10cm) screen, or you can use two apps simultaneously in splitscreen mode. It also has a tiny 1.1-inch (just under 3cm) notification panel you can use for selfies. Galaxy Z Flip is a statement piece produced in limited quantities, making it both exclusive and highly covetable. And at R29 999, it appeals to a very niche market. samsung.com
PHOTOS SUPPLIED WORDS NAFISA AKABOR
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dea CONTAINER COOLER
Simply empty, de-brand and (thoroughly!) clean ordinary plastic bottles that originally contained home cleaning products, then reuse as you choose. The newly revealed curves and lines of the containers give them instant designer status as well as a fresh new function.
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PHOTO STUDIO MIRU WORDS & PRODUCTION ANNEMARIE MEINTJES
COVID-19 has made us look at everything around us differently – including the packaging of everyday household cleaning products.