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WOMEN SHAPING DESIGN

CANDID CONVERSATIONS WITH THE POWER PLAYERS THE EXTRAORDINARY WOMEN CHANGING THE WAY WE LIVE

THE SPRING STYLE REPORT How to decorate with bold colours, Shop mid-century modern & Brilliant lighting ideas

L IVI NG BY DESIGN C o l l e c t i o n T w o | 2 0 21 We i nv i t e yo u i n t o t h e Wey l a n d t s wo r l d o f d e s i g n t o ex p l o re h ow o u r d e s i g n e t h os g u i d e s u s i n e ve r y t h i n g we d o.

Explore and shop the new collection here.

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FROM THE EDITOR Design’s

female leaders and changemakers set the agenda this issue, challenging the patriarchal power structures and inspiring a new generation of talent, writes Editor-in-Chief Piet Smedy INSIDER How mohair designer Frances van Hasselt left Cape Town for the Karoo to discover insight in isolation and power in collaboration SHOPPING From the camp and colour of ’80s Memphis Milano to Bazilian mid-century modern revivals HOUSE & GARDEN AUGUST/SEPTEMBER 2021

DE SIG N 23

DISPATCHES Can cities be

37

designed with women in mind?

Why do we still apply ‘feminine’ and ‘masculine’ to interior spaces?

Two industry leaders share their opinions

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collaboration with paint manufacturer Farrow & Ball, California-based designer Kelly Wearstler answers our burning colour questions and takes the mystery out of bold decorating

WOMEN SHAPING DESIGN

From furniture and interiors to motoring and business, meet the women who have smashed the glass ceiling SOCIAL The inaugural House & Garden SA Design Showcase celebrates the best of local craftsmanship in Joburg

DIRECTIONS Hot off her recent

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DESIGN SOLUTIONS

There is a brilliant way to light any space, from a small home office to a capacious kitchen (and even a mixed-used open-plan studio), we ask the experts how to balance mood and functionality no matter the room size

P H O T O G R A P H : D E PA S Q U A L E + M A F F I N I

INSIDER

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CON TEN TS august/september

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TH E E DIT 56

PLACE BEYOND THE PINES

Local architectural firm SAOTA complete their first project in Russia, a spacious, light-filled home that meets the elemental demands of the rugged country with panache

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HOUSE & GARDEN AUGUST/SEPTEMBER 2021

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DOWN THE GARDEN PATH

Legendary garden designer Franchesca Watson reflects on the journey so far and shares some of her most memorable projects NOMAD’S LAND In Cape Town, Weylandsstudio shakes up a cocktail of urban modernism and traditional African design to create a heady interior for a family’s coastal holiday home FINDING NEVERLAND For Studio Ashby founding designer Sophie Ashby, decorating the former home of Peter Pan author JM Barrie was a dream come true CLEAR THINKING

Polish interior designer Marta Chrapka of Colombe Design Studio restores a pre-war apartment in Warsaw with careful consideration and a keen eye for texture and shape

ON THE COVER: Place Beyond the Pines p56. Photographed by Sergey Ananiev.

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EDITOR-IN-CHIEF ART ART DIRECTOR THEA PHEIFFER GRAPHIC DESIGNER NOSIPHO NGQULA GRAPHIC DESIGNER ASANDA KUMBACA COPY SENIOR COPY EDITOR LISA ABDELLAH INTERIORS & GARDENS

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oes the world need another ‘Leading Women in a Man’s World’ list? In short – yes. For starters, because it is a man’s word. But you do not need a white cis male mansplaining gender politics to you in 2021. So, instead, let me introduce our Women Shaping Design issue, and the why and who behind it.

We went with ‘Women Shaping Design’ as an invitation to start a conversation. This is not your cheugy Girl Boss slogan tee brand of feminist agenda (though I support the sentiment if not the execution) but rather an opportunity to open discourse around design and gender in its many nuances.

Incidentally, you will not find any lists here, as Taylor Swift once put it, ‘comparing all the girls who are killing it’.

There is no pageant. No parade. And instead of telling the stories of the women we feature in this issue, we decided to hand over the proverbial – and editorial – mic and let them speak truth to power their way.

In the process, we have introduced a new section to House & Garden from this issue, Dispatches – a series of essays that address some of the more contentious topics within the creative

TA BL ET

INSTAG RAM

industry.

This month, designer and author Nthabi Thaukobong asks why we are still gendering interiors (‘masculine’ and ‘feminine’ have long been adjectival crutches even here at House & Garden – but what do these terms actually mean, if anything, and why do we use them?). Following that,poly-hyphenateacademic Geci Karuri-Sebina attempts to unpack the innately patriarchal concept of ‘cities’ (she makes a fascinating case for ego-ology versus eco-logy in the planning of urban spaces).

Speaking of opportunity and greatness, have you entered the Maxidor | House & Garden Design Innovator Award 2021 competition yet?

If you are a designer looking for that big break, this is it: you stand to win a year-long paid mentorship as well as a spread in this magazine to launch your design career.

You will find everything you need to know on page 33.

I hope that the voices in this issue will inspire you – you the plural, not just women in the design field – that change is not only necessary but that it is coming, that it is here, that it is happening right now.

EDI TOR-I N- CH IE F @pie tsm edy

NE WS LET TER

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P H O T O G R A P H : G R E G C OX

from the editor

F O R F U R T H E R I N F O R M AT I O N C A L L 0 1 1 6 6 9 0 5 0 0

Bhaca

by Andile Dyalvane indigenus.co.za

INSIDER

P H OTO G R A P H : ST E P H A N I E V E L DM A N

THE SCOOP ON SHOPPING, STYLE, DESIGN & CULTURE

MOHAIR BRAND FRANCES V.H FOUNDER AND DESIGNER FRANCES VAN HASSELT PHOTOGRAPHED AT SWARTBERG HOUSE

AUGUST/SEPTEMBER 2021 HOUSEANDGARDEN.CO.ZA

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HOME COMING

Four years after launching her eponymous label – and amidst a pandemic – mohair designer Frances van Hasselt has released two collections that tell a story of memory, heritage and, hopefully, peace

TEXT PIET SMEDY PHOTOGRAPHS STEPHANIE VELDMAN AND JACOBUS SNYMAN

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INSIDER

E

arlier this year, in April, Frances van Hasselt and I were exchanging WhatsApps when I sent her a screengrab of Home Journal, the Hong Kong-based interiors magazine, with her on the cover, and congratulations.

‘What? I have not seen this,’ she wrote back. ‘This is great! Dankie dankie.’ In so many ways, this brief exchange was a very revealing glimpse into the deceptively low-key designer’s ever-expanding sphere of influence, which apparently now includes Asia’s design cognoscenti. There is pleasantly surprised gratitude. But there is also power. Not the in-your-face, overexposed, overhyped type we have seen played out on our daily Instagram feeds, but the quiet, purposeful type of a designer who has come to own her space. Not many can claim to be accidentally unknowing cover stars. But, then again, you cannot blame her – Frances has been busy.

Time is a subjective concept out here in Prince Albert, the curiously creative Karoo hamlet that has established itself as the de facto Xanadu for South Africa’s rightbrained thinkers. Four-or-so hours and a whole world away from Cape Town, it is ground zero for Frances V.H’s operations, the eponymous mohair label that Frances started in August 2017 based in Cape Town (the collection debuted in House & Garden that same month, which is when I first met Frances). ‘I had been travelling a lot and trying to get to the Karoo as often as I could,’ she says. Her family’s mohair stud is out here. She may have been toying with the idea of making the Karoo her permanent home, but the pandemic certainly was not playing games – and she made the move. ‘Covid-19, the lockdowns, it has taken a toll on us all, but with this, there has also been an incredible shift in thinking – we have been given a chance to reconnect to the basics. I am so grateful to have moved home,’ she says.

With a to-do list that could have been written by Laura Ingalls Wilder, Frances spends her days with family, or in the veld, but mostly in her studio, interacting with artisans, experimenting with threads, listening to the exchange of stories and finding comfort in the zing of a spinning

wheel and the bird life cohabiting in the studio nest. ‘Being back in the Karoo brings a new meaning to time – the pace is slow and steady, but the desert and the characters that inhabit it are constantly unexpected and thrillingly real.’

Isolation has, of course, been very real – and very personal – to us all, but certainly for the young designer out here in the hinterlands, it manifest in a landscape that has seemingly escaped the Anthropocene, with only the surrounding San art as evidence that people did, in fact, walk here.

And, it turns out, this is exactly what Frances needed. ‘Not interacting with many external influences has freed my creativity in that I create from a place that is built on a deeply personal relationship

with the Karoo, the veld, its people, the mud-walled architecture and the endless skylines,’ she says. It is easy to get into your head about this, that her work has transcended its physical form to become a study in place and time, but Frances is quick to disagree. In the end, it always comes back to the story of the material told through the narrative of craftsmanship with considered bravura. Tactility, reinvented and refined through the mixing of raw materials in old, familiar ways, is, what marketer’s call, Frances’s USP. As we pinball between phone screens and TV screens and computer screens, she offers up a moment of anti-technology, of artisanal analogue. ‘There is a certain comfort and soul that handmade objects have

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PREVIOUS SPREAD, LEFT TO RIGHT FRANCES VAN HASSELT AT HER KAROO STUDIO WITH A ‘SQUID INK’ MOHAIR RUG, PART OF THE ‘DEEP SEEING TIDE’ COLLABORATION WITH ARTIST AND NEW YORK LIFESTYLE BRAND TULSI FOUNDER TARA HOGAN; ‘DEEP SEEING TIDE’ COLLECTION ‘EVENTIDE’ RUG IN HAND-SPUN, DYED AND WOVEN MOHAIR WITH FRINGE DETAILING LEFT TO RIGHT FVH X LM ‘DESERT HOMAGE’ COLLECTION ‘DUNE DUST’ AND ‘VYGIE FIESTA’ SCARVES WOVEN IN VARIOUS MOHAIR YARNS; ‘DEEP SEEING TIDE’ COLLECTION ‘BATEAU’ RUG IN NATURAL IN COMBINED AND RAW MOHAIR WITH HAND-DYED BLACK COMBED MOHAIR

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INSIDER that we feel cannot be replicated in mechanised, mass-made objects,’ she says.

‘Fabrics do not start in factories. Our work is as much about the finished product as it is about the process, origin and makeup.’

There is, of course, a quid pro quo between Frances and the land, which she describes as the ‘defining element’ in her work, informing every aspect of the creation process – but perhaps in a less obvious way. ‘There is nothing uniform in nature’s precision and the shifting tones and texture the land takes on throughout the day,’ says Frances. ‘In the desert, there is nothing to distract you from noticing the light, the scorch of the midday sun, the slow relief of an evening breeze and the velvet, vast skylines.’ Fact check: South Africa is one of the largest producers of mohair (which is woven from the fibre of the angora goat) in the world, contributing around 50 per cent of the global supply.

This is something that does not escape

bard of the badlands, making supply chains sound sexy and adding mysticism to the mercantile. After all, hers has all the hallmarks of a Tolkienesque epic: a vast, unspoiled landscape, a noble quest, a magical item, an ancient craft, and a band of champions. ‘Storytelling is a way of sharing your experience with others and can take on any form you feel best expresses that which you wish to share,’ she says. ‘We choose to weave our tales into textiles.’

Which brings us to the latest chapter in the Frances V.H story: collaboration. In April 2020 and June 2021, Frances V.H launched two new projects with designers Tara Hogan and Leandi Mulder, respectively. The former, ‘Deep Seeing Tide’, translated the New England artist’s

paper works into rugs, while the latter fashion-bent project, focusing on oversized blanket scarves, was born after the two friends returned from a textile residency in Italy. ‘Both Tara and Leandi are aligned in their thoughts on making and nature. Both are exceptional creators and their work aligns effortlessly with what we do and why we do it.’ I ask Frances if she singles out women as collaborators (not just Tara and Leandi, but the many craftswomen of the Eastern Cape who have worked with her since day one), and if she believes that there is a ‘shared experience’ between female creatives. ‘We work with anyone who shares our passion and aptitude for creating artisanal, sustainably produced textiles and this certainly is not limited to women. It just so happens that we work with

‘Storytelling is a way of sharing your experience with others.

We choose to weave our tales into textiles’ Frances. If anything it fuels her motivation to showcase the land, the animal, the material and the hands that make each piece. ‘We feel strongly that a sustainable, circular textile economy starts with rain, the delicate ecosystem of the veld, the role of herdsmen, and the importance of healthy animals to produce quality mohair.

From raw fibre, we move into the process of washing, cleaning, dyeing and spinning until finally the yarn ends up on the loom.

In many ways, weaving and finishing are the last few steps on an intricate supply chain,’ she says. ‘The work we produce hopes to peel back the fibres that weave together this place of contradictions, this forgotten, thriving, living, dying, fossilised, futuristic landscape we call home.’

By this stage, it becomes clear who, or what, Frances really is: a storyteller, AUGUST/SEPTEMBER 2021 HOUSEANDGARDEN.CO.ZA

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‘ D E E P S E E I N G T I D E ’ C O L L E C T I O N P H O T O G R A P H E D AT S WA R T B E R G H O U S E B Y O P E N S T U D I O A R C H I T E C T S ; ‘ D E S E R T H O M AG E ’ C O L L E C T I O N H A I R A N D M A K E U P : I N G A H E W E T T; M O D E L S : AV I E S N E W T O N , L E H L O H O N O L O M O K E L E

FVH X LM ‘DESERT HOMAGE COLLECTION’ ‘VYGIE FIESTA’ SCARF WOVEN IN VARIOUS MOHAIR YARNS

artisans in rural areas of the country and it is predominantly women who have been taught traditional textile skills,’ she says.

‘There is a special bond between women creating together that has a positive impact on our communities as women often invest back into their families, the ripple effect of which is invaluable.’

And align with the narrative they certainly do. Before producing ‘Deep Seeing Tide’, Frances and Tara connected through Instagram in 2018 and, when a vis-à-vis meeting two years later became impossible, continued to work together online. The exchange was straightforward, with Tara sending through her art and Frances reinterpreting them into mohair.

‘Tara focussed on subtle monochrome moments – playing purely with textures and keeping colours natural,’ says Frances.

‘This simple vision created some of the most beautiful moments.’ The collection developed to incorporate Tara’s bold, amorphous forms, both a homage to Matisse and a reference to the abstractlike creatures that live on the ocean floor (fitting, considering the Karoo itself was a Pangaean ocean bed millennia ago). ‘This feeling of underwater isolation bridges well into our solemn present. ‘We wanted to create pieces that were original, striking in simplicity, timeless but suited the modern home,’ says Frances. ‘Structureless yet spiritual in that they convey a sense of calm and raw tactility and bring the natural world in, providing a sense of connectivity, comfort and soul that we all so badly need right now.’

I cannot help thinking back to the charming, naive, young designer I met four years ago in Cape Town and how different she is today. Still (if not more) a captivating personality, she has developed an otherworldly insight into the psyche of home and translated this into something tangible, pieces that impart a kind of transcendental Zen into our spaces.

‘I believe the concept of luxury may evolve into a more abstract world view; clean air, open land, health, an appreciation for nature, lengthy, unrushed meals around a table with friends and family, and building homes that make you feel safe, calm, functional and a reflection of your world,’ she says. ‘We hope that the work we put out embodies this shift.’

Frances V.H francesvh.com

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female gaze What role does gender play in design? Can we build cities that are safe for women?

Two leading voices in design hope to find the answers ILLUSTRATIONS ORLI SETTON

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T E X T C O M P I L E D B Y C AY L E I G H B R I G H T

THABI TAUKOBONG Creatives and artists alike are beyond gender. Our world does not operate within these limitations because we can cross over and tap into whatever energy we need during our creative process, and that is where authentic freedom of design originates. I think a true creative knows how to straddle both sides of the equation regardless of their gender. You cannot categorise people and designers into these boxes only, understanding that we are more concerned with achieving the best creative outcome for our projects.

As in life, we find in design aYin and Yang, dark and light, negative and positive, to the look and feel of what we are creating.

What would be easier to relate to in terms of word choice is a masculine or feminine style of design – which, in all essence, is not a bad outlook: when we think of typical masculine energy and style of design, we often tap into its hard elements and qualities. And when we think of a feminine style, we tap into the softer, more nurturing qualities of a goddess.

As a creative, I need to enter into a genderless role, allowing the authentic creative process to work through me.

I know that, at any given time, I can tap into the creative parts I need to produce a holistic interior that best suits my client.

Male and female design styles can help you to a point, but often you need to delve deeper than that, transcending beyond human limitations. I have found true design harmony can be best achieved when both spheres of energy are balanced.

I understand the power of tapping into my goddess energy because it connects me to Nature and all the elements available to me within that design sphere. My skill as an

NTHABI TAUKOBONG

interior designer comes from knowing how to tune into the higher order of design using Nature as my inspiration and knowing what elements to use and when to create a balanced, peaceful, tranquil interior. The secret is intuitively knowing how much

‘I am all about breaking stereotypes and am in the process of empowering those who feel unfavoured. It is not just a man’s world’ of each element is required in any given space. Earth translates into the finishes I bring into the interior space I am designing, such as natural materials in their raw state: woods and breathable, natural, eco-friendly fabrics. Air is my ability to give an interior a sense of spaciousness. Fire links me back to my tones and textures,

tapping into the amount of heat my design needs – and by selecting just the right amount of fiery tones and textures I need to bring into my creation – and colours such as terracotta, burgundy or whatever rich warmth my space requires. Water is the liquidity and flow of the space I am creating and the tones and textures, again, that I choose to bring in, and making sure the interior is not stagnant or overly decorated.

I am all about breaking stereotypes and am in the process of empowering those who feel unfavoured. It is not just a man’s world.

Once we focus on creating a vocabulary that also works to the feminine strength, then we will win at life. Queens do not have to aspire to live in a Kingdom because Queendoms are there for the taking.

Nthabi Taukobong is the founder and managing director of Ditau Interiors, an interior design consultancy based in Joburg

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DISPATCHES

GECI KARURI-SEBINA

human factors, and contexts: the labour and dreams of that woman, the safety and nurturing of that child, the creative pursuits of those young people, the enterprise of the immigrant, the earth, the water, the mountain... noticing all of these, seeing them as the city, working with them to weave and let weaved the delicate fabric of the city.

We sometimes focus too much on the agency of government or big capital. We

‘A feminist approach to urbanism would have to un-vision the conventional idea of what a smart city is’

G

ECI KARURI-SEBINA I always remember a stunning fact that a UN-Habitat executive offered at a workshop about a decade ago: that the unplanned footprint of African cities has exceeded that of the planned. That is, that informal settlements are more prevalent than formal, planned settlements in our cities. This is frankly mind-boggling. My urban design and planning texts didn’t teach me about this! I learned about creating colour-coded plans, orthogonal order, rational strategies and idyllic designs.

I learned that someone paid for this, and a functional organisation regulated it. That there were legal processes for everything and business models to make it all work.

Over the past few years, I have used my platform to develop and argue the idea that we need to “un-vision” our cities: we need a major reframing in how we imagine what our cities are – and what they are trying to be. Is all we have to look forward to bigger, shinier buildings that exclude the majority population and entrench power hierarchies – then layering technology on top of that and calling it “smart”?

Dominant ideas of “city” that we hold are the product of a male gaze, powerful capital, technocrats, and historical choices

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made by the sum total of these. I say this needs to be undone. Cities everywhere are complex and nuanced. They are the tired back of a woman, the colourful laughter of children, the disruptive aspirations of youth, the hopeful sparkle in the eye of the immigrant – but they are also the car, the greed, the grind, the toxic, the brutal.

They are constantly being unravelled by both human and non-human factors: a tiny, tiny virus, climate events, economic turns.

Yet cities find ways to accommodate these, sometimes in gruesome or explosive ways.

Cities are not fully containable in any grid or hierarchy; they constantly find ways to undermine these.

The un-visioned city is about “others” who have not been centred in citymaking, but who exercise their agency to make other ways. They hustle.

Was their exclusion intentional? How can it not be? But perhaps it was not necessarily conscious.

So, what does a feminist approach to urbanism look like? It would have to un-vision the static, conventional idea of what the good, or smart, city is. It would dismantle the hierarchy (ego) and welcome new forms that are non-hierarchical and transversal (the eco). It would pay attention to the wide range of human and non-

think they are responsible for city and place-making. But in fact there are choices that the average person makes – or could make – every day that shape or enable, change or unravel the city and how it functions. The neighbourhood you choose to live in, what and where you buy or invest, what you create and what you destroy; these all shape urbanism.

There is room for all of us as urban actors to be more intentional, or at least reflexive, about this.

For now, “we” – the formal systems – struggle to critically self-assess, adapt and cooperate. We neither try nor succeed to find reciprocity between ourselves and the ecosystems that exist around and in spite of us. We manifest ego-logy instead of ecology.

In speaking of making our cities safer – we know that there is a lot that we can improve through physical interventions – improve street lighting, calm traffic, clear bushy areas and fence off abandoned spaces.

We can also police, put up gates and mount more CCTV cameras. But the evidence is that this is not enough to keep women or anything else safe. We need an ecology of care. Urban design can curate beautifully within that.

Q

Geci Karuri-Sebina is a scholar-practitioner working on urban planning and innovation systems governance issues. She is currently an associate of the South African Cities Network, visiting faculty with the Wits School of Governance and UCT African Centre for Cities, and national organiser of the Civic Tech Innovation Network based in South Africa

THE BUSINESS OF DESIGN Meet the industry leaders behind the innovative, sustainable brands taking Africa to the world – and empowering others to follow in their footsteps TEXT SHANNON MANUEL, THOBEKA PHANYEKO AND PIET SMEDY PHOTOGRAPHS SIMPHIWE MKHWANAZI

CINDY MALAZA INTERIOR DESIGNER AND FOUNDER TIMELESS OPULENCE ,

Your career trajectory has been unusual.

After qualifying as a chemical engineer and working for a few years, I realised I no longer found it fulfilling, so I decided to resign to pursue my passion for flying. But aviation training is expensive, so I needed to find ways to make money to complete the programme. Starting a business seemed the next logical step.

At the time, I was busy with a DIY project, teaching myself to upholster a chair by watching YouTube videos. I figured I could combine my natural flair for design and beautiful spaces with online learning to set up a furniture company that could help me pay for my pilot’s licence. Once my

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business took off, I realised I had found

a second passion, and I have not looked back since.

What inspired you to start Timeless Opulence?

I started the business back in 2015 to fund my aviation career, but, to be honest, it has grown far beyond my expectations.

We started manufacturing in a garage for a small client base and, before we knew it, word had spread about the pieces we were producing, and we had to move to bigger premises to keep up with the demand. The name Timeless Opulence sums up what we set out to achieve with our products: to

provide bespoke furniture that is timeless and beyond trends.

The business has evolved to include three divisions: furniture manufacturing, interior design and events management. Today, we employ 12 people and, in addition to our private clients, we work with architects, developers, hotels and corporations.

How are you, as a woman, shaping design?

I think I am part of a new generation of designers unapologetic about who we are and eager to take Africa to the world. I have an extreme sense of pride

WOMEN SHAPING DESIGN in showcasing who we are through, for example, the bold use of colours. Locally manufactured products could compete on a global stage, but to do that, the craftsmanship needs to be topnotch, which we focus on at Timeless Opulence.

Which women inspire you?

I draw inspiration from women in general, from my helper to my mother and women flourishing in their careers.

It is astounding what we can do when we unite as women.

What does design mean to you?

It represents unlimited possibilities.

I have always had a passion for design, mainly shapes. I remember wanting a round bed, could not get one and thought, there is no way it cannot be done. So, I got to work and made one myself. Through design, I can turn my ideas into tangible pieces, and that, for me, is a privilege many other industries do not offer. I am a reflective person who enjoys spending time in silence, which is when I am at my most creative.

CHEMICAL ENGINEER AND PILOT TURNED INTERIOR DESIGNER CINDY MALAZA FOUNDED TIMELESS OPULENCE OUT OF A PASSION FOR CUSTOM PIECES

Describe how you engage and empower others.

I am a firm believer in mentorship.

Some of my team joined as general workers, and through getting to know each of their strengths, I have been able to teach them lifelong skills.

Youth empowerment is a cause close to my heart, and I am always keen to take mentees under my wing through leadership programmes to inspire and empower those who have the potential to do amazing things.

What do you believe is the essence of good leadership?

I am a lifelong learner. I think a good leader will admit they do not know it all and be open to gaining new knowledge.

What’s the secret to your success?

Besides having a great attitude and a positive outlook, excellent customer service and exceeding our clients’ expectations are why Timeless Opulence has done so well.

Timeless Opulence timelessopulence.co.za

‘FROM MY MOTHER TO WOMEN FLOURISHING IN THEIR CAREERS, IT IS ASTOUNDING WHAT WE CAN DO WHEN WE UNITE AS WOMEN’ AUGUST/SEPTEMBER 2021 HOUSEANDGARDEN.CO.ZA

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JAPAN’S FIRST FEMALE CHIEF ENGINEER, CHIKA KAKO OF LEXUS

WOMEN SHAPING DESIGN parts that matters most. We used the principles of a Japanese architectural concept called engawa, whereby the boundaries between inside and outside are seamlessly connected, and Kansei engineering, which aims to create an emotional bond between the customer and product.

CHIKA KAKO

CHIEF ENGINEER, LEXUS Alongside chief engineer, you are also executive vice president of Lexus’ brand division. What will the new Lexus UX’s role be in growing the brand’s marque?

In 2017, we launched the LC sports coupé to firmly position Lexus as a forwardthinking and exciting luxury lifestyle brand.

The LS flagship sedan and ES executive sedan consolidated this brand positioning.

Now, it is the turn of the UX to create outstanding experiences and welcome a new kind of customer to the Lexus brand.

How will the UX deliver these ‘outstanding experiences’?

Through emotions. I believe it is a car that connects with emotions. When potential customers see the UX on the street for the first time, we hope they will say, ‘Wow, what a cool car!’ Once attracted by its design, we want them to experience its innovative technology, Japanese craftsmanship and agile performance.

How did market research influence the UX exterior design?

We began research in the US in 2013 by conducting an extensive series of focus groups and home visits with owners of competing vehicles who said they were underwhelmed by how a conventional SUV looks. They also told us they wanted a crossover that drives like a hatchback.

Interestingly, the findings from Europe, Japan and China were similar to those in the US. What inspired your team when designing the UX interior?

One of my missions was to enhance the emotional appeal of a car’s interior.

A vehicle’s cabin comprises elements such as the instrument panel, seats and trim, but it is the intelligent orchestration of these

How much ‘Europe’ is there in the new UX? During my time working in Europe, I developed an appreciation of luxury, not just material but also experiences. In the past, we tended to picture luxury in terms of expense and extravagance, but art de vivre [the art of living] is about enjoying values other than material wealth. This was an idea we developed when designing the new UX. Why is the UX not ‘just another crossover’?

From the beginning, we set out to give the UX a unique character: a car that embodies solid crossover appeal while inheriting the precise and responsive feel of a Lexus. The result is a truly innovative vehicle that handles like a hatchback while delivering elegant performance combined with peace of mind.

‘WHEN CUSTOMERS SEE THE UX FOR THE FIRST TIME, WE HOPE THEY WILL SAY, “WOW, WHAT A COOL CAR!”’ How did you motivate your team over the last five years?

With a plant, would you believe it! We faced many changing demands and challenges working on the new UX. I wanted a motif to express this, so I named our team email list after a Japanese plant called the Lantana, which, despite its fragile appearance, is hardy and not easily affected by changes in the environment. Inspired by this plant, I knew my team would grow stronger as the project progressed.

Lexus lexus.co.za

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CREATIVITY AND BUSINESS GO HAND-IN-HAND FOR MAVROMAC AND GATEHOUSE OWNER HANNEKE SWART

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WOMEN SHAPING DESIGN

HANNEKE SWART

OWNER, MAVROMAC AND GATEHOUSE Describe your journey from starting Mavromac to expanding to Gatehouse?

I joined a fledgling Mavromac Cape Town showroom as branch manager in 1995, started managing the business nationally in 2002 and took over as owner, sort of like a mini MBO, 10 years ago. Marguerite started Mavromac in 1985. It focused primarily on representing prestigious international brands in South Africa, but we later added our fabric ranges. We developed Gatehouse to complement the core fabric business through the provision of furniture and accessories.

I believe in South African design and craftsmanship, so I have enjoyed growing the Gatehouse side of the business.

We employ skilled local ironmongers, carpenters, French polishers and upholsterers. This small contribution to job creation and growing our economy has given me immense pleasure.

How do you balance creativity and business?

The simple formula is to take care of the creative side and customer experience first, and running a business will follow.

Of course, there are times when this falls out of sync, and you are required to put your head down and attend to the ‘business aspects’ when, for example, your attention shifts to getting production schedules or logistics back on track. Ultimately, the two go hand in hand. But without the creative side, I am not sure we could sustain our energy.

What have you learned from working with leading international decor brands?

Great decor brands are never faddish, strive to be timeless, and draw inspiration from all walks of life – from artisans as much as from royalty – but always stay true to fundamental design philosophy. They experience the same ups and downs as other businesses but continue to trade through challenging patches, driven by passion and love, and, in many cases, what their family has done for generations. We have to have that sort of passion for what we do.

What is your advice for future women business leaders?

We do not struggle for gender equality in our industry, so my advice is more general.

You must keep your finger on the pulse and take care of the finer details, even if you have a fantastic team as I have. That is even truer for a business focusing on peoples’ creative senses. It requires you to be passionate about what you do, or else it will be a long, hard slog. No task is beneath anyone, including you – a great customer experience demands this. It is not easy out there, and the last year and a half has amplified that. But the ups always beat the downs. The act of selling one metre of fabric or a small accessory to an appreciative customer can erase a horrible day.

How is Mavromac adapting to the rapidly shifting economic, business and lifestyle climate?

We have noticed more couples, even families, passing through our showrooms than before Covid-19, which has given me great joy. It appears the theory that people are looking inward while travel restrictions are in place is, at least in part, true.

Mavromac and Gatehouse mavromacandthegatehouse.co.za

CHERYL SJOBERG

ADVOCATE AND OWNER, MAXIDOR

Talk us through your transition from lawyer to a design industry leader?

I decided to become a lawyer in 1985 (aged 15) after being inspired by my English teacher Mr Ruiters. His message was simple: not all of us should join uMkhonto we Sizwe [meaning ‘Spear of the Nation’, this was the armed wing of the ANC]. He made me promise to transform our nation only once I had turned professional, and I kept that promise.

I have always been a businesswoman.

I started my career in Germany, where I studied a Masters in Maritime Law. I was successful and worked for multinationals in the freight forwarding industry.

Initially, I was responsible for legal and insurance matters and later became the regional sales and marketing manager for Lufthansa Cargo. When airlines restructured after 9/11, I took a voluntary package and opened my first business called Immigration Compass, which offered legal and immigration services. My business was doing well, but, remembering my promise to Mr Ruiters, I presented myself to the Office of the Family Advocate, who employed me on the spot. I still had my business, which was going from strength to strength, and I am in the process of relaunching the brand as I still receive many referrals. The Cape Town Magistrates’ Court offered me a position as a magistrate, in which I served until I decided to start a family.

Do you still practice?

The High Court of South Africa admitted me as an advocate in 2002.

I currently assist with pro bono cases in family and immigration law.

What inspired you to start your other businesses?

Maxidor presented itself as a challenge and yet one with endless possibilities.

I am inspired by it and the people I work with. My vision is to transform my company into a lifestyle brand as opposed to a security one. Our lives have changed due to Covid-19 and so too have our needs. That is why me and my close friend Gavin Rajah, whom I met at UCT Law School in 1998, developed a new by line for Maxidor: ‘The Art of Security’.

I am passionate about providing security products that look and feel

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WOMEN SHAPING DESIGN

ADVOCATE, MAXIDOR OWNER AND AGENT FOR CHANGE, CHERYL SJOBERG

I value new ideas and having an open dialogue.

I was born in my parents’ bed in a twobedroom council house in Manenberg. If I can do it, so can you.

What does it mean to you to be a woman shaping design?

I believe change is the only constant, and as a woman, mother, nurturer and friend, I think we need that now more than ever. Is there any reason our gates should remain static and make our homes look like prisons? As a woman, I know my loved ones need protection. So, our security solutions must offer that.

I would also prefer to protect myself in a beautiful space. I do not see myself shaping designs but motivating others to explore their creativity and giving them the arena to do so. At Maxidor, we custommake our products and happily get our hands dirty to create something beautiful and secure.

How has your approach to business and leadership evolved?

I engage with professionals from fields such as SEO and social media. There are exciting ways in which businesses can change, develop and progress exponentially.

I love to hear new ideas and how I can apply them to my companies. But union members can resist change, even in management styles. So, when I believe in change, I roll up my sleeves and engage with my team on the factory floor.

‘I WAS BORN IN MY PARENTS’ BED IN A TWO-BEDROOM COUNCIL HOUSE IN MANENBERG. IF I CAN DO IT, SO CAN YOU’ good. The steel manufacturing industry is in a crisis, which is why sustainability is a hot topic. Additionally, we work on a franchise model to train and help people to open businesses, particularly in rural areas.

Describe your journey.

All my life’s journeys are born out of necessity, vision, doubt and fear. Timing, vision and faith are essential.

What is your approach to leadership?

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Collaboration. I have limited time available as I recently opened the Gender Equality Foundation, an NPO focussed on the inclusion of all genders.

Its primary focus is on basic needs, but the bigger picture is to enable everyone to have access to and awareness of their rights. I am neither a dictator nor do I work on a majority rule principle.

I set the direction or vision and engage with my team, who each have talents, skills and knowledge, to help us reach our goals.

What challenges have you encountered, and how have you overcome them?

Mistakes happen, and they have for me, in abundance. My biggest challenge has been to stay positive and carry on. I am still in business nineteen years later, willing to take on new challenges with absolute faith I can overcome them.What matters is how you deal with them. I have managed to do so with the support of those close to me, persistence and faith.

What is your advice to women who are venturing into business in 2021?

Work in a field you are passionate about without fear or doubt. Listening to advice from people you respect and trust will help you avoid pitfalls. Believe in yourself, and learn from your mistakes.

Maxidor maxidor.co.za Q

ENTER NOW

DESIGN

INNOVATOR

AWARD 2021

Answering the call for opportunity and growth in the creative industry, Maxidor and House & Garden have come together with a single vision: to launch the career of South Africa’s most enterprising new designer. The winner of the Maxidor | House & Garden Design Innovator Award will receive a year-long paid mentorship from Maxidor and a spread in the November issue of House & Garden.

‘Innovation and design are at the core of our work at Maxidor, bringing security solutions that are both functional and stylish into the homes of our clients. South Africa’s creative sector is brimming with talent, and I could not be more excited to partner with House & Garden on this journey to find and nurture the next big names in the business,’ says Maxidor CEO Cheryl Sjoberg. Editor-in-Chief Piet Smedy joins Cheryl on this, ‘Working with Maxidor to engage our industry’s creatives and offer such an incredible opportunity to an emerging designer is something we are very proud of at House & Garden.’

THE BRIEF: SUSTAINABLE SECURITY Security solutions are an essential part of home design but are often strictly utilitarian. Using the standard dimensions

of a Maxidor door, designers are invited to conceptualise a design-forward, functioning security solution under the theme ‘Sustainable Security’. Designs should align with Maxidor’s core product purpose and speak to the brand’s values while showing clear and original thinking in terms of aesthetics, materiality and execution. Entries will be judged on four criteria: Originality, Functionality, Commercial Viability and Sustainability.

HOW TO ENTER Entrants will be required to submit the following through houseandgarden.co.za to be eligible to win: μ A design rationale addressing each of the criteria and how the design meets the brief (maximum 250 words per criteria). μ No more than five CAD drawings of all design elements.

Conditions of Entry 1. The competition is open to South African citizens aged 18 years or older. 2. Entries open on 1 June 2021 and must be submitted through houseandgarden.co.za, to arrive no later than the closing date of 31 August 2021. 3. Copyright on entities belongs to Maxidor SA (PTY) Ltd. 4. Winners will be contacted directly by House & Garden Editor-in-Chief Piet Smedy and will be published in the November 2021 issue of House & Garden and on houseandgarden.co.za. 5. The judges’ decision is final. 6. Prizes not transferable or redeemable for cash or other payment. 7. Maxidor mentorship programme dates and terms are at the discretion of Maxidor SA (PTY) Ltd. 8. For full terms and conditions, visit houseandgarden.co.za

SOCIAL 1

1 LESEGO KGOSIMOLAO & LUNGILE THABETHE (GLAZE); 2 KIA FOURWAYS; 3 CINDY MALAZA (TIMELESS OPULENCE); 4 PHILLIP HOLLANDER (HOUTLANDER); 5 BOMBAY SAPPHIRE; 6 MPHO VACKIER & JASON FRANCISCO (THE URBANATIVE);

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STYLE COMES HOME

Joburg’s design elite toasted to the inaugural House & Garden SA Design Showcase at Mall of Africa in June, celebrating the leaders in local craftsmanship and homegrown talent 7 ZIYANDA MDIMA & MONGEZI CHIRWA (TIMELESS OPULENCE); 8 HOUTLANDER; 9 LONNIE MBONISWA & MPHO TSILA; 10 EDITOR-IN-CHEIF PIET SMEDY, TREVOR STUURMAN & DONALD NXUMALO; 11 MAXHOSA AFRICA; 12 MICHAEL CLAMPETT (MALL OF AFRICA)

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DIRECTIONS

DESIGN KNOW-HOW AND DECOR DETAILS THAT MAKE THE LOOK

P H OTO G R A P H S : S U P P L I E D

DESIGNER KELLY WEARSTLER COLLABORATED WITH FARROW & BALL ON THE CALIFORNIA COLLECTION RANGE OF PAINT COLOURS

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DIRECTIONS

Stuck with a lack of colour inspo? Boring beige walls not doing it for you anymore? Designer Kelly Wearstler is here to help. Not only the top designer on every list out there, Kelly recently collaborated with Farrow & Ball on a range of paint colours – there’s no one better to solve your colour conundrums Everyone keeps telling me to avoid dark colours, they will make your space feel tiny. My apartment is already quite small, should I just avoid moody tones?

Not at all! Just because a room may be small, does not mean it needs to be white or light. Darker tones can work beautifully to make it seem larger and full of mood.

In many ways, it truly embraces the architecture of the space you have. One thing I would recommend is to not ignore the ceiling – a strong tone with a hint of brilliant sheen is an artful opportunity to add contrast and depth to an otherwise boxy or ordinary room. Mouldings also offer the chance to experiment with colour.

I just moved into a new home and, although I know I do not want white walls, I do not know what colour to go for?

It feels like a huge commitment. Where do I start?

Colour is the spirit of a room, its heart and soul. It defines its shape and justifies everything. Any colour you see is a combination of hue, brightness and saturation. Because I am fascinated with the whole rainbow, I focus less on hue and more on noticing how saturation levels dial up intensity and drama. Before selecting a colour palette, I take a look around me: what is outside the window? Is there a towering brown oak tree or a street art tableau? What are the surrounding colours outside? How does natural or artificial light fill the room? If you are nervous about totally covering a space in a certain colour, sampling paints before applying them to the whole room is helpful. Make sure to let the paint dry all the way, as the finish will

OPPOSITE PAGE, CLOCKWISE FROM LEFT KELLY WEARSTLER X FARROW & BALL THE CALIFORNIA COLLECTION INCLUDES ‘FADED TERRACOTTA’, A WARMING SHADE THAT EVOKES THE POTS AND TILES BAKED TO A PALE HUE BY THE SUN; ‘CITRONA’, A SOFTENED CITRUS TAKE ON A TRUE CHARTREUSE INSPIRED BY THE LEMON TREES; ‘SALT’, A BRIGHT, CRISP WHITE, REMINISCENT OF SALTY AIR

transform the texture, and revisit the room at various times of day to see how the colour reacts to changes in natural light. Even keep it up on the walls for a few days and live with it, and decide if it makes you feel good.

Are feature walls still a thing? Are there right and wrong ways to do them?

Yes, definitely, but I like to think of it as making the walls the feature, rather than one feature wall. You can create this in a variety of ways. Go bright and bold and cover everything, including millwork and ceilings or you can use paint to make an amazing mural. Another trick is to bring in texture.

When it comes to painting a wall in two colours, is it always best to go for opposite tones on the colour wheel or will it just end up looking like a carnival?

I do not really like to have rules when it comes to picking colours as my design process is mainly instinctive but, while I love working with bolder hues, people forget that black and white are colours too! There are plenty of ways to add depth and drama to a space when using neutrals correctly. You can create a strong contrast by juxtaposing opposite neutrals within a room and teaming colours that have similar tones within works really well too.

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What is your starting point when you are putting together a colour palette and, from there, how do you ‘discipline’ the colour selection throughout the decorating process?

I recommend taking a hue that already exists in your home that you love – it can be anything from a vintage chair to a piece of artwork, anything that makes you feel good – and use that to create a colour scheme.

Another way to start introducing colour in your home is to select a bolder tone for the wall trim or ceiling. That way, the colour still makes a statement but does not completely overwhelm the room. In the end, do not be afraid of experimenting! Take risks with colour. Sometimes by playing around with different or unexpected hues, you end up finding a palette that is unique, one that you did not even think about before.

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about stealing them – er, ‘taking inspiration’ – for my own home, but suspect that most of the ideas I see would end up looking like, well, I was living in a coffee shop. What are some of the different ways in which colour works in hospitality and residential decor – and are there ways to adapt one to the other?

So much has changed in the art of designing hospitality spaces since I worked on my first hotel, the Avalon Hotel in Beverly Hills. These spaces are much more than a place to sleep or to buy coffee. In your case, it is all about the experience. It is a place to be inspired, feel connected to the local surroundings and people, where you can step out of your everyday and live a little bit better. We are seeing an evolution of the hotel and hospitality experience and the blurring of traditional residential and commercial spaces. Hyper-locality is something that I always consider as travellers are all about the true experience of where they are. To bring a little of this

hospitality flair to your interiors, I would recommend incorporating design pieces and elements from your travels and surroundings to create a deeply personalised atmosphere.

How do you best bring colourful pattern to your walls when a solid colour just is not as satisfying anymore? Is there a paint technique you would recommend?

To incorporate pattern on a wall, my favourite method is to use wallpaper. I love designing these as it gives me full freedom of expression. From hand-painted organic shapes to geometric, structured layouts, these can be both modern and classic with patterns and colours for any style.

What are the rules for using black?

No rules! But choose paint with reflective tones and use a dry brush for the final layer to create extra dimensions.

Kelly Wearstler kellywearstler.com Q

DIRECTIONS THE COLLECTION’S EIGHT COLOURS ARE INSPIRED BY THE MISTY SHORES, PALM-LINED STREETS AND DESERT HIGHWAYS OF KELLY WEARSTLER’S NATIVE CALIFORNIA OPPOSITE PAGE, LEFT TO RIGHT ‘HAZY’, A MUTED BLUE-GREY MARINE TONE, CAPTURES THE FRESH FEELING OF EARLY MORNINGS ON THE COAST; ‘PALM’, A DESATURATED GREEN, IS A LOVE LETTER TO THE PALMS THAT DOT THE LA SKYLINE

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DESIGN SOLUTIONS

THE DESIGN OF THE ‘TALISMAN 8’ PENDANT LIGHT BY APPARATUS STUDIO WAS INSPIRED BY ANCIENT PERSIA

P H O T O G R A P H : DA N I E L L E V I N

THE LIGHT FANTASTIC

Good lighting is not a one-size-fits-all solution.

Whether it is a small home office, a spacious kitchen or a mixed-use open-plan space, we call in the experts for the lighting lowdown TEXT PIET SMEDY

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DESIGN SOLUTIONS

1 2

THE SMALL SPACE With limited square meterage, smaller rooms – home offices, guest rooms and bathrooms, passages (do not forget to consider those) – are easier to illuminate (a single bulb could do the trick) but challenging to light well. ‘If lighting sources are limited, the light needs to be carefully chosen. It would need to be functional as well as set the tone,’ says Créma Design founder Craig Raeside-Tabor, who recommends multi-directional lighting, such as a glass sphere. ‘Otherwise, lamps (given their generally small size) are ideal, especially ones that reflect light against a wall or ceiling to light up a room, giving the feeling of space. Wall lights and up lights should be used and avoid floor and table lamps that shine downwards,’ he says. In a passage, upward shining sconces will have a similar widening effect without taking up valuable floor space.

So, does that mean a statement light is out of the question? ‘It is always okay to make a statement, as long as it is functional and uses your space wisely,’ he says.

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3

1. WALL LIGHT IN COFFEE, R999, ELEVENPAST; 2. TABLE LAMP, R1 500, ZARA HOME, 3. STUDIO W ‘OSLO’ DESK LAMP, R1 300, WOOLWORTHS; 4. ‘LAPA’ TABLE LAMP, R3 500, STUDIO 19; 5. ANA KRAŠ FOR HAY ‘BON BON’ SHADE, FROM R14 655, CRÉMA DESIGN

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P H OTO G R A P H S : S U P P L I E D

DESK LAMP IN BRASS AND BRONZE WITH MARBLE BASE, R2 910, CÉCILE & BOYD

‘Also, make sure it ties into the rest of the scheme in terms of its design and material. Bear in mind the colours and fabrics used and choose the light accordingly. Cold white instead of warm white lighting is also a common mistake that homemakers make; 3 000k is a cold white bulb, and 2 700k is warm white, so be sure to take note of the difference.’

What is lighting up Craig’s trend radar? ‘Light clusters of a similar design but with various shapes, mouth-blown glass pendants and pieces made with patinated metal and coloured glass,’ he says. ‘LED technology is an emerging decorative look. Bulbs no longer need to be visible and LED lights have a longer lifespan. In the past, attention was drawn to the bulb whereas now the focus is based on the light itself.’

You heard it here first: the lightbulb is dead; long live the light.

Créma Design cremadesign.co.za

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FERM LIVING ‘ARUM’ TABLE LAMP, R9 170, CRÉMA DESIGN

DESIGN SOLUTIONS

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2 OMAYRA MAYMÓ FOR FERM LIVING ‘VUELTA’ LAMP, R4 470, CRÉMA DESIGN

1. ‘JAVA’ TABLE LAMP, R400, MR PRICE HOME; 2. TOM DIXON ‘MELT’ SURFACE LIGHT, R12 830, CRÉMA DESIGN

3 P H OTO G R A P H S : M A R I K E M EY E R , S U P P L I E D

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3. ‘GOLDSMITH’ LAMP, R9 000, STUDIO 19; 4. ‘SCOOP’ TABLE LAMP, R2 995, WEYLANDTS; 5. GRETA M. GROSSMAN FOR GUBI ‘COBRA’ WALL LAMP, R10 370, CRÉMA DESIGN; 6. ‘LORRAINE’ DESK LIGHT IN STEEL BASE WITH COPPER SHADE, R7 500, ANATOMY DESIGN; 7. LAMP IN BRUSHED BRASS AND BLACK, R2 930, CÉCILE & BOYD

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THE MEDIUM SPACE ‘In principle, the lighting in a room is part of the furniture and decor, so the size of the light fitting needs to be in proportion to the furniture and decor around it,’ says K. Light founder Eli Kalmi. Look at the setup of your room – be it a bedroom or bathroom – and decide what type of light would complement the overall space’s visual footprint. Should the room have the clean lines of a Scandinavian theme, you would need to utilise a modern pendant. Similarly, if the room has heavy, dark furniture, a crystal chandelier would elevate the environment.

‘TO BE ONE’ STANDING LAMP, POR, OKHA

2 1. ‘NEGRESCO’ FLOOR LAMP, POR, ROCHE BOBOIS; 2. ‘ALFRED’ PENDANT LIGHT, R9 350, MASH. T DESIGN STUDIO; 3. ‘FLYING UFO’ FLOOR LAMP IN BLACK, R3 700, KNUS

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4. ‘MELTED GLASS’ LIGHT IN EGG GREEN, FROM R1 956, WEYLANDTS; 5. ‘PANDA’ BAMBOO PENDANT LIGHT, R800, MR PRICE HOME

P H OTO G R A P H S : SA R A H D E P I N A ( M A S H . T D E S I G N ST U D I O) , S U P P L I E D

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RCH112

JP0024

Metal chandelier 730mm(w) x 1550mm(h)

www.radiant.co.za

YO U R H O M E YO U R WAY

RCH105

JP0017

Metal and crystal chandelier 740mm(w) x 1470mm(h)

RCH64

RCH84

JP307-CH/CL

Metal and crystal chandelier 500mm(w) x 1700mm(h)

Metal and crystal chandelier 1000mm(w) x 1230mm(h)

Radiant Lighting offers the latest lighting trends with superior qualit y and timeless sophistication. Our versatile range ensures that even the most inventive home design is catered for, covering functionalit y, efficiency and st yle. Whether you need ambient , task of accent l i gh ti n g, we can h elp t o create a l i vi n g s p a ce t ha t you c a n en j oy.

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The golden rule is simple, says Eli: ‘The focus when lighting a room should always be to ensure that the lighting suits your needs. Take task lighting, for example. Make sure there is a sufficient amount on your kitchen island as it is a work area that needs sufficient light.’

Looking ahead, Eli recommends opting for a tech-meets-tradition approach to lighting solutions.

‘A lot of crystal chandeliers are now incorporating LED bulbs, which maintain the beauty of a chandelier without compromising on its design,’ he says. Apart from being costeffective and eco-friendly, they have dimmable options and let you choose between cool white or warm white light settings.’

K. Light klight.co.za

FERM LIVING ‘HEBE’ FLOOR LAMP, R11 770, CRÉMA DESIGN

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DESIGN SOLUTIONS

THE LARGE SPACE

3 OMER ARBEL FOR BOCCI ‘28 RANDOM’ SUSPENSION LAMP, R17 089, CRÉMA DESIGN

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LOUIS WEISDORF FOR GUBI ‘MULTI-LITE’ PENDANT, R15 970, CRÉMA DESIGN

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POLISHED CHROME CHANDELIER WITH METAL AND SMOKE COLOUR GLASS, R2 399, ELEVENPAST

ART DECO PENDANT IN MATT GUN METAL WITH OPAL WHITE GLASS, R11 299, ELEVENPAST

‘COCO BEAD’ CHANDELIER IN BLACK, R17 995, WEYLANDTS

The thing about lighting a large room is finding a balance between what looks good and what works. After all, most of these spaces tend towards being the functional spaces within the home – kitchen, living room, dining room or entrance hall. ‘Large rooms call for larger fixtures as small fixtures can appear out of place in a room of this size. Take advantage of the size by installing an oversized chandelier or pendant light as a decorative yet functional focal point.’ says Eurolux marketing manager Kelly Klopper. ‘However, if you decide to use small fixtures in a large space, group them in multiples so that they are both effective and create visual impact.’

‘As with all rooms, layer your lighting so that you have a combination of ambient, accent, and task lighting rather than a flat, single lighting setup,’ says Kelly. ‘Do not forget to illuminate those awkward corners that sometimes get forgotten in

P H OTO G R A P H S : M A R I K E M EY E R , S U P P L I E D

‘OCTOPUS’ 12 LIGHT PENDANT IN BLACK, R5 260, K. LIGHT

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DESIGN SOLUTIONS

a large space. Floor lamps and wall sconces work well here, whereas it is easier to create cosy nooks by pairing lamps with sofas.’

Another great lighting hack is to use accent lighting to showcase personal objects, such as family pictures and artwork on a wall.

As for what is next, Kelly breaks it down: ‘Smart and environmentally friendly lighting (think LED and solar) have become more versatile thanks to advancements in technology. In terms of finishes, look out for brass, velvet, opaque or coloured glass, while soft curves are the shape of the moment.’

Eurolux eurolux.co.za

P H OTO G R A P H : S U P P L I E D

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P H OTO G R A P H : S E R G EY A N A N I EV

THE EDIT

THIS SAOTA-DESIGNED HOME IN MOSCOW EXPLORES A NEW KIND OF ARCHITECTURE THAT INVITES AS MUCH NATURAL LIGHT AS POSSIBLE

Full story overleaf

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PLACE BEYOND THE PI NE S South African architecture studio SAOTA’s monolithic masterpiece in Moscow celebrates the capital’s character, climate and pinewood forests TEXT GRAHAM WOOD PHOTOGRAPHS SERGEY ANANIEV

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In HOUSE & GARDEN AUGUST/SEPTEMBER 2021

Russia’s capital city, Moscow, this contemporary home, set among pinewoods on an island in the Moskva River, introduces a revolutionary outward-looking approach to the city’s architectural tradition.

Designed by SAOTA, a South African architecture studio known for advancing the possibilities of 20th-century modernism, this home represents the tradition of the terrace, with its emphasis on an outdoor orientation, but in a context and climatic condition vastly different from the origin of the type.

The pinewoods the site overlooks are a significant motivation for the design’s open, outward-facing orientation and open fragmented glass walls that blur the distinction between what is outside and what is inside. SAOTA’s architectural premise is one of contrasts: the street frontage’s heavy protective presence speaks to the capital’s monolithic architectural character, built to resist the extremes of heat and cold, which can vary 70 degrees between seasons.

The public character of the house provides a contemporary interpretation of the city’s architectural character. Surrounding the main entrance is a sculptural buckle. This backlit bronze-clad feature not only acts as a visual prompt towards the entrance opening on the otherwise relatively featureless facade but also communicates the promise of luxury interiors in the private spaces beyond the threshold.

It heightens the experience of crossing from the public realm to the private domain with its predominant treed landscape.

The outdoor terraces and the faceted, angular façade create courtyards and external rooms that facilitate an interaction between landscape and architecture that is a departure from local tradition.

During the summer months, it is possible to live outside as you might in South Africa. In winter, the interiors, which are nevertheless warm and cosy, can celebrate the beauty of the snowy landscape and pines in an altogether new approach to the harsh conditions. Even in winter, the focus remains on the terrace rather than the hearth.

The heavy, protective quality of the facade, particularly that of the street, gives way to a warm, lively interior in the way the outer shell of a geode might reveal a warm agate or shimmering crystal interior. It imparts an exquisite, jewel-like quality to the interiors, which have a somewhat whimsical, playful quality in contrast to the exterior.

Inside, natural materials predominate, from exotic marbles, some backlit, to metal and timber surfaces that bring softness and warmth.

A swirling sculptural staircase contrasts playfully with the angular architectural elements where they converge, resolving them in an organic flourish and signalling a subtle change of character between the sociable living space and the bedrooms.

This project between SAOTA, Okha and ARRCC, both interior design studios, and Max Kasymov, a Moscow-based interior design studio, is the first completed SAOTA project in Russia. ARRCC proposed the concept idea for the interiors, and Max Kasymov developed the project further and oversaw its realisation. Supervising and coordinating the contractors and suppliers on the building were carried out by the Moscow studio, and selecting materials, furniture and lighting.

The villa’s overall experience suggests SAOTA has mediated a new relationship between Russian domestic architecture and its landscape and climate. The modern villa’s life-enhancing potential, realised in more temperate climates, is made possible in this more extreme setting. SAOTA saota.com Q

BY DESIGNING AND PRODUCING BESPOKE PIECES IN ITS OWN WORKSHOP, MAX KASYMOV STUDIO WAS ABLE TO REALISE ALL THE IDEAS AND SOLUTIONS PROPOSED BY SAOTA AND ARRCC

PREVIOUS SPREAD THE ‘NICCI’ SWIVEL ARMCHAIR AND ‘MESH’ SIDE TABLE FOUND IN THE LIVING AREA ARE BY OKHA, WHO IS ALSO RESPONSIBLE FOR THE CUSTOM BRASS TELEVISION FRAME

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EVEN IN WINTER, THE FOCUS REMAINS ON THE TERRACE RATHER THAN THE HEARTH

SAOTA USED A SILVER-GREY METAL CLADDING ON THE EXTERIOR THAT COMPLEMENTS THE SURROUNDING FOREST, PROVIDING AN IMMERSIVE LANDSCAPE EXPERIENCE

OPPOSITE PAGE THE FACADE HIGHLIGHTS A BESPOKE, CRAFTED QUALITY IN ITS DETAILING THAT SPEAKS TO THE TAILOR-MADE APPROACH OF THE HOUSE’S DESIGN

SOFTER, WARMER MATERIALS PREDOMINATE UPSTAIRS, WHERE THE OPEN, FLOWING, AND INTERCONNECTED SPATIAL APPROACH GIVES WAY TO PRIVATE SPACES WITH A MORE RELAXED, CASUAL ATMOSPHERE

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A GRACEFUL ‘PLATNER’ DINING TABLE MADE OF STEEL RODS AND A CIRCULAR FRAME FROM KNOLL WITH ‘SYSTEM 123’ CHAIRS FROM VERPAN IS THE FOCAL POINT OF THE DINING ROOM. ABOVE IT HANGS THE PAOLO CASTELLI ‘ALLURE’ CHANDELIER, AND THE SCULPTURE IN THE FOREGROUND IS VEGETABLES

BY PATRICK LAROUCHE

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DESIGN NOTES

‘STUDIO’ STANDING LAMP, FROM R15 300, OKHA

T E X T: S H A N N O N M A N U E L ; P H O T O G R A P H S : S U P P L I E D

TWEEDLE WEAVE CUSHION IN NAVY, R100, MR PRICE HOME

‘JADA’ SOFA, FROM R125 900, OKHA

CHOOSE SOFT, WARM MATERIALS FOR A WHIMSICAL AND PLAYFUL INTERIOR MESH SIDETABLE WITH MIRROR POLISHED STAINLESS STEEL FRAME, R19 500, OKHA

‘NICCI NOUVEAU’ ARMCHAIR, R58 400, OKHA

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Her distinctive style has made her a sought after landscape designer amongst the A-list, for whom she creates garden schemes from intimate garden sanctuaries to scaled-up formal estates. Heidi Bertish chats to Franchesca Watson about how it all began and the journey that followed PHOTOGRAPHS HEIDI BERTISH & ELSA YOUNG

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LEFT TO RIGHT ORNAMENTAL GRAPES AND SWATHES OF PENNISETUM GRASSES ADD AUTUMNAL COLOUR; INDIGENOUS COASTAL PLANTING IS THE PERFECT FOIL FOR A ZAHA HADIDINSPIRED HOLIDAY HOME

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PREVIOUS SPREAD INCORPORATING NATURAL, SITE-UNIQUE MATERIALS IS AN IMPORTANT COMPONENT OF FRANCHESCA’S DESIGN PRACTICE; CHILL PODS AND SUSPENDED PLAY AREAS OFFER A UNIQUE SOLUTION TO THIS FAMILY GARDEN

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ecoming a garden designer… how did it all begin?

I was trained in the performing arts, but early on decided that the stage lifestyle did not suit me. My family have always been designconscious, and I had many architect friends but knew I did not want to design with bricks and mortar or interiors. Landscape design seemed more meaningful and, when I encountered Patrick Watson working at Sun City, it all seemed to fall into place. At the time, there was no formal training for garden design but the Cape Peninsula University of Technology ran a highly regarded three-year Diploma in Horticulture. I was one of three women out of about 30 students on the course. My father was horrified that I was learning a trade and that there were very few women on the course. At the time, the course had been open to female applicants for only a year or two. I worked hard and, in my second year, won a training bursary from what is today the eThekwini Municipality.

As a result, I think I had one of the most comprehensive trainings in the world – everything from golf courses to natural area management, landscape design, propagation and tree care.

You are a celebrated garden designer at the top of your game. How has the trajectory been?

After I completed my training, I took a year off to travel up Africa with two colleagues who were interested in taxonomy, which was an important experience for me. I learned so much from them, how to identify plants, ecology and nature generally. That period gave me time to look at how nature is the most wonderful designer. I was continually analysing why and what makes it beautiful. For example, I would look at a swampy area and work out the components and visual balance between the trees, the water, the plants growing in the water, such as water lilies, and then the reeds and grasses fringing the edges. I learned how to imprint a picture on my memory so that I could remember the textures and colours. I still have those images in my head, and although I add to my visual library daily, I still use those early images when I design today.

The other pivotal moment was when I moved to Cape Town. I landed a job as a garden designer for a small landscape contracting company. I was well-trained but completely unproven and I had never worked commercially – I was thrown into the deep end.

The most important skill I honed from my brief theatrical training was to use my

descriptive language to paint a visual picture for clients to augment a landscape plan on paper. Gardens are not finished when they are finished, they still have years to grow, and most people need help to visualise their unfolding over time. Garden design is something that people have a better understanding of now but, even so, every garden is different, it is just not a cookie-cutter thing and an understanding of how it will grow over time is crucial.

Can you give a glimpse into gardens then and how perceptions and thinking have evolved?

The biggest evolution is the level of design that people are expecting now. When I started, most people did not fully understand what garden design was all about. Those were the days that one laid a hosepipe in a wavy-like edging to demarcate a planting bed in front of which one planted grass with trees and shrubs behind it. Then we went through desperately desiring styles and plants that were not local – Tuscan, English or Japanese. Now, more often than not, clients are looking for a garden that interacts with their lifestyle in a very considered way, one that integrates with their architecture and interiors.

I believe all people who work in the green industries are doing the most important work on the planet at the moment. Everyone is seeking a connection to nature, be it a couple of indoor plants, window boxes or a garden. The sense I get from people now, particularly young people, is a yearning to understand and be part AUGUST/SEPTEMBER 2021 HOUSEANDGARDEN.CO.ZA

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TOP DOWN SYMMETRY AND SIMPLICITY CREATE HIGH DRAMA IN A LARGE-SCALE FRUIT AND VEGETABLE GARDEN; CREATING THE GARDEN FOR A STUDIO

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OPPOSTITE PAGE, TOP DOWN THE ‘SUN GARDEN’ AT LEEU ESTATES; CLIPPED HEDGING AND SPHERES ESTABLISH PERMANENT STRUCTURE IN A GLAMOROUS DOMESTIC GARDEN

of nature through gardens and plants. So many people have lost this connection and are trying to find it again.

Biggest lesson?

Relatively early in my career, I was working for a very demanding client. She was an older, more experienced woman, knew what she wanted and was giving us all a runaround – the architect, interior designer and myself. I was trying everything to give her what she asked for – not what I knew was right – yet she was not happy. Eventually, in frustration, I sat down with her and told her what I really thought should be done, which was quite contrary to what she was asking for in some ways. I was prepared to lose the work over it. I began by saying, ‘If this was my garden and I wanted the look that you are after, I would do this...’ By speaking my truth, I won her trust, and everything fell into place. I learned that A-list clients are employing you for your expertise and style, and they do not necessarily want yes people.

How would you define your style?

My preferences change all the time. I am presently designing a new garden for myself that is entirely different from anything I have done before. I think constants in my work are simplicity, proportion, decent materials and finishes, and plant-rich gardens. I do love plants immensely and find gardens devoid of plant life sterile and faintly disquieting. I am tending to more naturalistic plantings, although I still love a good hedge and some structure. I cannot bear gimmicks but love quirkiness. I focus on creating harmonious gardens that are individually unique to my clients.

Where do you think the green industry is headed?

The industry is on the up worldwide. We have all realised that it is imperative for humankind to reconnect with plants and grow their own food. As an industry, we should be reaching out to people of all income levels. To achieve this, we need many more teachers of gardening skills and these trainees should be encouraged and valued. I am working in other countries on the African continent and have seen a green industry there that is in its infancy but with great potential.

What are you loving about designing right now?

The irreverence, humour and lightness. And the individualism that is creeping in everywhere. No more rules.

Franchesca Watson 082 808 1287 franchescawatson.com Q

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WATER SEDGES, PINK FLOWERING CONFETTI BUSH AND WATSONIAS FRINGE SCULPTOR DYLAN LEWIS’S MALE TRANSFIGURE III IN HIS SCULPTURE GARDEN IN THE WESTERN CAPE

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TEXT MARNUS NIEUWOUDT PHOTOGRAPHS MICKY HOYLE

Overlooking Cape Town’s most prominent landmarks, Weylandtstudio design team Anna Weylandt and Stacey Oxley have created a contemporary, coastal holiday home that combines global influences with a distinctly African identity

nomad’s

LAND

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CLOCKWISE, FROM TOP LEFT THE ‘CONE’ SHELF FEATURES A SELECTION OF VASES, CANDLEHOLDERS AND OBJETS; A TIBETAN SHEEPSKIN POUFFE AND MATTE-BLACK SIDETABLE; THE ‘TUAREG’ DINING TABLE ADDS TO THE SPACE’S NATURE-INSPIRED DESIGN CONCEPT; THE ‘RELIC’ MARBLE COFFEE TABLE ACTS AS A CENTRAL FUNCTIONAL FEATURE IN THE LOUNGE. ALL PIECES BY WEYLANDTS PREVIOUS SPREAD, RIGHT THE DINING AREA WALL IS ADORNED WITH ANGOLA SANDALS AND ANKLET WALL ART BY WEYLANDTS

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‘ They didn’t want a typical black, grey and white modern interior’ ANNA WEYLANDT

What were the homeowners looking for?

Anna Weylandt: Our Hamburg-based clients approached Weylandtstudio looking for a design team that could assist in realising a completely refurbished and refreshed interior – from structural changes to new finishes and a fully furnished home.

Stacey Oxley: They wanted something special – not an ordinary spatial solution but a unique interior concept that incorporated bold use of colour and a broad mix of materials for visual interest.

AW: The wow factor was crucial to them, their request for something out of the ordinary evident in their brief, and they specifically did not want a typical black, grey and white modern interior.

Take us through the layout.

AW: Entering the property, you are welcomed into an open-plan lounge and dining space, leading seamlessly out onto the outdoor patio, which incorporates a custom-designed, built-in daybed for lounging, and a dining space. The kitchen sits alongside the indoor living space, separated by a kitchen island where the previous dividing used to be.

SO: The passage leads down past a guest restroom towards the two guest bedrooms, each with an en-suite bathroom. The spiral staircase, near the kitchen and dining room, leads upstairs to the master bedroom, which also boasts an open-plan layout with a dressing room and bathroom. You can enjoy the best views from a small balcony space leading off the master bedroom, covered by a timber pergola and looking onto Green Point Stadium, Signal Hill and Lion’s Head.

How long did the project take?

AW: From concept to completion, it took just under a year. We were appointed during the lockdown in April 2020, and executed the full design process – which included meetings and material sign off – over Zoom.

SO: We finally got to meet our clients in person in March this year when they could travel to South Africa for the official handover of the home and to holiday in their newly transformed space.

What was the thinking behind the interior colour palette?

SO: We drew inspiration from the property’s natural surroundings, specifically the natural landscape of Lion’s Head, which has elements of sandstone and granite. As the Green Point lighthouse was designed by a German stonemason, it felt natural to introduce elements of stone within the space.

AW: We also combined this palette with muted greens, greys, and tones of terracotta as a nod to the fynbos-covered slopes and soil of Signal Hill. Overall, we strived to create a refreshed look that still encapsulates all the characteristics of this coastal setting.

Tell us about the furniture choices you made.

AW: Our signature aesthetic, with its firmly rooted African identity and global sensibility, appealed to our clients. The furniture selection is balanced and suits the property’s function.

SO: It further boasts bold forms and features that become conversation starters within the space.

Weylandtstudio weylandts.co.za/weylandtstudio Q

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THE KITCHEN COUNTER IS FLANKED BY INDUSTRIAL STOOLS IN CUSTOM TANKWA TAN LEATHER UNDER AN ‘ACROBATIC’ PENDANT LIGHT WITH EXPOSED FILAMENT LIGHT BULBS FROM WEYLANDTS

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THE CUSTOM-DESIGNED KITCHEN FEATURES RUSTENBURG GRANITE COUNTERTOPS AND BLACK-AND-WALNUT CABINETRY. THE COUNTERTOPS ALSO BOAST A ‘MAGMA DARK’ WINE COOLER AND TEAK BOARDS FROM WEYLANDTS

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ONE OF THE BEDROOMS FEATURES THE QUILT-STITCHED, ‘HAIKU’ HEADBOARD FROM WEYLANDTS, CUSTOMISED IN ITS BESPOKE TANKWA TAN LEATHER. ALONG WITH A ‘ROD’ STEEL PEDESTAL AND OTTOMAN WITH AN UPHOLSTERED SEAT, THIS BEDROOM COMBINES URBAN- AND EARTH-BASED SOPHISTICATION

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DESIGN NOTES

GEOMETRIC VESSEL IN ASH, R1 995, WEYLANDTS

‘BERGEN’ TABLE LAMP, R2 995, WEYLANDTS

TANGLE ALUMINIUM SCULPTURE IN BRONZE, R1 295, WEYLANDTS

‘ROD’ OTTOMAN WITH UPHOLSTERED SEAT IN WAKATI MATOPE AND SADDLEWOOD GREY, R10 995, WEYLANDTS

P H OTO G R A P H S : M A R I K E M EY E R , S U P P L I E D

ANGOLA SANDALS ARTWORK, R10 995, WEYLANDTS

STOOL IN TEXTURED NATURAL TERRACOTTA R2 495, WEYLANDTS

‘BROOKLYN’ MODULAR SOFA, R6 995, WEYLANDTS

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The historic home of novelist and playwright JM Barrie is reimagined by Studio Ashby and Giles Quarme Architects as an Edwardian Arts and Crafts-style house that captures the magic of the Peter Pan story with a modern twist TEXT THOBEKA PHANYEKO PHOTOGRAPHS BROTHERTON-LOCK

A VINTAGE CANE ARMCHAIR FROM 1STDIBS WITH A LAMP FROM PAMONO IN THE CONSERVATORY PREVIOUS SPREAD THE LAYERED DRAWING ROOM, INCLUDING A PAIR OF CABINETS FROM LORFORDS ANTIQUES ON

EITHER SIDE OF THE ORIGINAL FIREPLACE. THE HAND-STITCHED ‘TICK TOCK’ OTTOMAN IS A CLEAR NOD TO THE PETER PAN NARRATIVE. THE SOFAS ARE

BY CASSANDRA ELLIS AND THE RUG IS FROM GALLERY YACOU

steeped in history, beautiful period details and quirky and original features, this iconic site embodies Studio Ashby’s philosophy on art and design.

A ‘ rt plays a central role in our inspiration and process. It has a place in every interior, and no space feels complete without it,’ says creative director Sophie Ashby, who leads a team of experienced designers at her studio. ‘Our collective mission was to create habitable spaces with identity, informed by the client’s brief to preserve the magic of the house. Giles Quarme Architects were our go-to experts to retain and restore those heritage features.’

Giles Quarme says the main element of the original design was its evolution from an attractive but not unique, early 19th century semi-detached house into a special home created by the actress Mary Ansell for her husband, JM Barrie. It was ‘the’ salon for the Edwardian literati at the turn of the century, ‘a fashionable venue designed for entertaining, with its large drawing room taking up the full depth of the house and extending into a revolutionary glazed conservatory that has a unique glazed floor, panelling and an Arts and Crafts fireplace’.

It is also worth noting that the subsequent owners preserved this right up to its most recent sale. ‘You can see their respect for the building’s appearance in the new Brutalist extension commissioned from the Smithson’s in the ’50s that is almost divorced from the main house so that it does not impinge on this “shrine” to one of England’s greatest children’s book authors,’ says Sophie Sophie credits Giles Quarme Architects for having provided a treasure trove of historical information and literature that gave Studio Ashby a platform for interior storytelling. Through their collaborative efforts, a comfortable, practical, modernised family home emerged, embellished with pocketed references to the location. ‘We then sprinkled a little magic with a few joyful details of the Peter Pan story, in the form of special commissions such as a footstool embroidered by Fine Cell Work,’ she adds. You can also see traces of pixie dust in the stunning fireplaces, unique mouldings and decorative details.

She shares that even though the client was keen to retain the house’s heritage, she and her team made brave design choices. Her preference for bolder design plays aligned with our vision as a studio, and she had an almost insatiable appetite for pattern and palette –

which makes everything more fun!’ Some of the elements preserved from the original design include the stained glass windows in the conservatory section of the sitting room, discovered during the refurbishment. ‘These were a real highlight, so of course, we had to keep them,’ she says.

Sophie describes the style and personality of the 514-squaremetre house as ‘British, whimsical and storied. We opted for a bold approach to colour and design details – I would say our fabric choices had an English feel overall, and we used local suppliers such as Lewis & Wood, Watts of Westminster and Claremont Furnishing.’

The colour choices were largely informed by the client’s preference for bold, jewel tones over milky pastels, which Sophie found refreshing. ‘No colours were out of bounds, so we were free to draw on the whole spectrum, which was liberating and inspiring.’

In the larger spaces, Sophie and her team played with an array of hues, ‘but in some of the smaller rooms, we pared these back for a more calming effect.

‘The overall look and feel of the interior is comfortable, functional, confident, rich and layered.’ Each room has unique finishes, tied together by unifying references to the Arts and Crafts period, British heritage and the storied history of JM Barrie. ‘We wanted the stories embedded in the house to unravel with the interior details – we chose the de Gournay wallpaper and a fourposter bed by Collier Webb to echo the whimsical details installed

by Mrs Barrie, as an example. The drawer of a walnut games table

by Hugh Miller reveals a carving of a tiny Peter Pan and layered patterns on new and antique furniture pay homage to the living room’s Edwardian heyday.’

Sophie shares her ultimate vision for the project was to celebrate the space where JM Barrie wrote Peter Pan without transforming it into a museum. ‘His story provided us with a backdrop and certainly set us on a path towards creating something typically British, special and charming,’ she says.

Giles agrees it was crucial to recognise the enormous sentimental attachment to the house, not only for the new owners but the rest of the country, too. Studio Ashby studioashby.com; Giles Quarme Architects quarme.com Q

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THE CUSTOM SEDILIA SOFA IN THE DINING ROOM WAS UPHOLSTERED IN A GREEN MOHAIR OPPOSITE PAGE ‘CAMEMBERT’ CHAIRS IN A GLOSS PLUM FINISH WITH LEATHER SEATS FROM HOWE LONDON, AN ALLIED MAKER PENDANT LIGHT AND A FRENCH ANTIQUE DINING TABLE FROM BRIGITTE GARNIER INTERIORS IN THE KITCHEN

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HOUSE & GARDEN AUGUST/SEPTEMBER 2021

‘His story set us on a path to creating something typically British and whimsical’ SOPHIE ASHBY

TOP DOWN THE BEDROOM FEATURES ‘TEMPEST’ WALLPAPER BY QUERCUS & CO., A ‘NANTES’ BED COVER BY LEWIS & WOOD AND THE BLIND IS IN BENNISON FABRICS ‘CREWELWORK’ FABRIC

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HOUSE & GARDEN AUGUST/SEPTEMBER 2021

‘ADIA’ VASE, FROM R449, CORICRAFT

HERTEX ‘REFLEX’ CUSHION COVER IN GOING GREEN, R399, SUPERBALIST

‘FORGOTTEN BEAUTY’ WALL COVERING, POR, LEMON

T E X T: S H A N N O N M A N U E L ; P H O T O G R A P H S , S U P P L I E D

‘HASKELL’ FULLY UPHOLSTERED COUCH IN MAURICE RED, R12 499, CORICRAFT

‘VENICE’ DINING TABLE, R12 990, SHF HOME ‘AXE’ FLOOR LAMP, R7 339, KARE DESIGN

CASERA RATTAN OCCASIONAL CHAIR IN BLACK AND NATURAL, R6 099, YUPPIECHEF AUGUST/SEPTEMBER 2021 HOUSEANDGARDEN.CO.ZA

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TEXT SHANNON MANUEL PHOTOGRAPHS DEPASQUALE + MAFFINI

Marta Chrapka, founder of Polish design studio Colombe, combines modernism and Art Nouveau to transform a prewar apartment in Warsaw

Clear Thinking

L

ocated on the fifth floor of a tenement house from 1913, the 150-square-metre apartment in central Warsaw captivated Marta Chrapka of Polish design studio Colombe with its beautiful light and functional layout.

The brief was to design a space for two people suitable for hosting frequent events, which include small piano concerts. ‘The space was to be as large as possible, which is why the living room is connected to the kitchen,’ says Marta. ‘The second part of the brief was to create two separate workspaces – there is a book room for him and a kind of atelier for her (she is a photographer).’ The couple also wanted the interiors to be interesting, but not overwhelming, and consistent with the building’s architecture.

‘When it comes to the style of the interior, I usually separate the fixed elements from the movable ones – the design of the furniture is not entirely related to the character of the building and thus the woodwork or flooring usually reflects the era of the building,’ says Marta. As such, the existing layout was not changed and instead of demolishing walls, the focus was placed on changing the proportions of the walls by adding stucco and utilising carpentry structures – such as wardrobe doors to enclose the bathroom entrance. The project combined furniture of Colombe’s design and international brands, and lighting by classic designers including Santa & Cole and Gubi, and fellow Polish design studio Lexavala. The rooms are minimalistic, with colour accents appearing mainly in the fabrics.

‘The calm and inviting interior is conditioned by the use of a monochrome palette as the background, and moments of colours and pattern to play against this background,’ says 92

HOUSE & GARDEN AUGUST/SEPTEMBER 2021

LEFT TO RIGHT A VINTAGE YESTERSEN SOFA UPHOLSTERED IN ETRO ‘KENMORE’ FABRIC, KVADRAT RUG AND CUSTOM BOOKSHELVES IN THE GUEST ROOM AND LIBRARY; DESIGNER MARTA CHRAPKA SITS ON A GUBI ‘PACHA’ LOUNGE CHAIR

PREVIOUS SPREAD THE OPEN-PLAN LIVING ROOM FEATURES A CUSTOM WALNUT TABLE BY COLOMBE WITH DINING CHAIRS BY 366 CONCEPT, A GUBI ‘EPIC’ COFFEE TABLE, SANTA & COLE ‘MORAGAS’ TABLE LAMP AND SOFAS BY NAP

Marta. ‘While I was designing it, I imagined the interior as layered scenery, where the outer layers are light and inner ones are more intense.

When painting walls and carpentry, we opted to use Belgian brand Emente, as its solvent-free paint meets the conservatorship requirements when restoring a heritage apartment, and used tones from the original frescoes in the staircase and the rest is invention. This gives me the comfort that, no matter the colours we use, the style and era will match the historic interior.’

The kitchen, featuring a hand-painted de Gourney wallpaper with a motif of the Korean mountains, is undoubtedly the home’s pièce de résistance. A ‘ s the space has to double as entertainment-ready and be comfortably intimate for two, we decided to open the space as much as possible and focus on the kitchen as the most decorative area in the house,’ says Marta. ‘We decided to use the natural, cement tiles on the floor that were often found in this type of tenement house and add some modern character by using corrugated walnut panels. While the forest-patterned wallpaper was my first choice, the clients were not convinced but, luckily, they came round.’

Marta’s is greatly influenced by her affection for prewar interiors, finding inspiration in the works of Josef Frank and Eileen Gray as well as the Polish folk style from the Tatra Mountains. ‘Growing up, the city and time didn’t have as strong a sense of aesthetic, nothing likeI had found in the untouched prewar interiors.

These old houses were the only ones that were genuine and emotionally interesting. And since I spent part of my adult life in Africa, I like to break this nostalgia with the patterns and strong colours I saw there.’

Colombe colombe.pl Q

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‘I imagined the interior as layered scenery, where the outer layers are light, and the inner ones are more intense’ MARTA CHRAPKA

TOP DOWN VOLAKAS MARBLE AND WOW DESIGN TILES IN THE BATHROOM; THE BEDROOM FEATURES A HEADBOARD UPHOLSTERED IN DEDAR FABRIC, MÉTAPHORES CUSHIONS AND A GUBI ‘BESTLITE’ WALL LAMP PREVIOUS SPREAD THE COLOMBEDESIGNED KITCHEN FEATURES A SHOW-STOPPING ‘MOUNTAINS ABOVE CLOUDS’ HANDPAINTED WALLPAPER

BY DE GOURNAY, KOLORY MAROKA FLOOR TILES AND CUSTOM CABINETRY

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HOUSE & GARDEN AUGUST/SEPTEMBER 2021

DULUX PAINT IN ELECTRICAL STORM, FROM R199, BUILDERS WAREHOUSE

DE GOURNAY ‘MOUNTAINS ABOVE CLOUDS ’ WALL COVERING IN ORIGINAL DESIGN COLOURS ON DEEP RICH GOLD GILDED PAPER, POR, ST LEGER & VINEY

MARCO ZANUSO FOR CASSINA ‘720 LADY’ SOFA, POR, TRUE DESIGN

GUBI ‘PACHA’ LOUNGE CHAIR, FROM R52 263, CRÉMA DESIGN

P H OTO G R A P H S : S U P P L I E D

CHARLES RENNIE MACKINTOSH FOR CASSINA ‘320 BERLINO’ TABLE, POR, TRUE DESIGN

DAVID READE ‘GLACIER’ VASE, POR, OKHA; ‘SPARTAN’ CANDLE HOLDER IN RUST, R895, LA GRANGE INTERIORS

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