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seeking sanctuary

INTERIORS TO CALM & RESTORE

TAG HEUER BOUTIQUES 6$1'721 &,7< Ŝ 9 $ :$7(5)5217 )25 )857+(5 ,1)250$7,21 3/($6( &$// ::: 3,&27$1'0266 &2 =$

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FROM THE EDITOR We are often

told that our spaces need to relax us – but what exactly does that mean?

And what exactly is required for creating a sanctuary home?

Editor-in-Chief Piet Smedy goes looking for answers INSIDER Designer – and lover of print and pattern – Phillipe Du Preez takes House & Garden inside the new maximalist showroom for his bespoke interior brand, Gordijn Studio SHOPPING From the arabesque patterning and gem tones of Moroccan design to the pretty but practical elements that make children’s rooms fun HOUSE & GARDEN FEBRUARY / MARCH 2022

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ARTISAN Meet Kylie and

Michael Bornman, the creative duo behind East Coast furniture brand Kipekee Studio TRAVEL Unlike many others, the sleepy town of McGregor has quietly evaded the madding crowds – until now. Discover the low-key charm of this Breede River Winelands village brimming with luxe accommodation, emerging design talent and a rapidly expanding fine food scene BOOKS Whether you are into photography, interiors or architecture, these new releases will make a stylish addition to any bibliophile’s coffee table

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STYLISH Bridging the divide

between high-end and accessible design is the philosophy and motivation behind creatives Dylan Thomaz and Adrian Beukes’s new foray: Curación Collection. Their first range comprises both classic and avant-garde furniture pieces, as well as a selection of accessories made in collaboration with various artisans KNOW-HOW Landscape designer Franchesca Watson wants you to make a lasting impact with your garden by creating wow-factor moments with plants. Armed with her expert advice, your garden need never be boring

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INSIDER

Staying for lunch?

Create a welcoming entertainment experience with our collection of dining furniture. www.coricraft.co.za

CON TEN TS february/march T HE E D IT 50

HIGHER POWER

New York-based designer Noa Santon creates a monastic, sanctuary home in a palette of bone and beige that strikes a beautiful balance between ultra-luxury and barefoot living

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NEST LEVEL

Set among the treetops, this cocooning Melbourne home by designer Tamsin Johnson evokes an atmosphere of high glamour and quiet comfort

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GOING COASTAL

Breaking from the typical beach-house aesthetic, architect and designer Bryce Henderson has created a compact seaside bolthole in Clifton that champions raw materials, natural textures and local design

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HOUSE & GARDEN FEBRUARY / MARCH 2022

AN ODE TO NATURE

Employing her signature palette of natural materials and neutral tones, La Grange Interiors founder Sumari Krige elevates a humble beachside cottage into a secluded master class in off-the-grid living

ON THE COVER: Higher Power, p50.

Photographed by Nainoa.

S UB SCR IB E

A collaboration between landscape designer Mary Maurel and Fairholme Flowers sees a Cape garden planted to evoke romance, using secret pathways, painterly flowers and charming archways AMAZING GRACE A preview into the first residence on the ultra-exclusive Sabina, a private, ecologically driven, villa estate on Ibiza, designed by Spanish architect Jordi Carreño with interiors by Tara Bernerd

SILENT TREATMENT

In Constantia, interior decorator Hendre Bloem creates a modern, minimal family home that speaks to a slower way of life

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

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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 GARDENS EDITOR DECOR ASSISTANT

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from the editor

S

elling sanctuary has become quite a fashionable concept in the world of homeware marketing of late, with what feels like every major retailer purveying a more mindful, self-carecentric modus vivendi. And sure, there is some merit here. I mean, who does not feel better curled up on a Kagan-esque bouclé sofa with an oud candle burning – but is it all just domestic wellness window dressing?

For the concept of ‘sanctuary’ to exist – which I am defining here as a space that, through its physical architecture, evokes the very non-physical feelings of safety, calm and even healing – we have to not just believe but also agree that what we build (and how decorate) can and will directly impact our collective psyche. Sure, it seems straight forward enough, anyone who has ever stepped into, say, Notre Dame or Angkor Wat can attest to feeling that undeniable, if unnamable, mix of gravitas and serenity and that thing where you do not feel so alone in the cosmos, all in one. So, if we agree then that sanctuary is possible to create, the real question is: How do you create it at home?

It is a big question that, unsurprisingly, doesn’t yield one definitive answer.

For American designer and architect Noa Santos, whose monastic southern California residential project stars on this double issue’s cover, sanctuary is the product of simplicity – from large, unfussy spaces to a minimalist approach to materials (for this house, he used only three, calling them his ‘holy trinity’). In Melbourne, designer Tamsin Johnson follows a similar course, immersing a tree house-structure home into its surroundings while maintaining a neutral interior scheme. Closer to home, designers Sumari Krige and Bryce Henderson, of La Grange Interiors and Studio BHD respectively, rely on a direct link to South Africa’s natural, and often times quite complex, landscapes – through materials, textures and visual references – to create a grounded oneness with both site and context.

As many an Instagram lifestyle influencer will tell you, it is about the journey, not the destination – and maybe that is a little bit true this time. We are all looking for the same thing from our homes – sanctuary – and no matter what form that takes (for me, it is the Nancy Meyers soft life), I hope that this issue helps you on that journey.

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

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Paarl. Architect: Louis Phillips. Joiner y, finishes and lighting: Block Plan. Furniture and styling: Salome Interiors.

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INSIDER

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

THE SCOOP ON SHOPPING, STYLE, DESIGN & CULTURE

GORDIJN STUDIO, A LAYERED, RICH, TEXTURED SPACE IN CAPE TOWN, WAS DESIGNED

BY CURTAIN DESIGNER PHILLIPE DU PREEZ

FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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MISTER There is nothing ordinary about curtain designer Phillipe Du Preez – and Gordijn Studio, with its maximalist new space in Cape Town, captures the essence of his avant garde approach

TEXT THOBEKA PHANYEKO PHOTOGRAPHS GREG COX

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FANTASTIC HOUSE

GARDEN FEBRUARY / MARCH 2022

INSIDER

O

n one of Cape Town’s coolest stretches, in the location of a former video store, Phillipe Du Preez’s Gordijn Studio is an expression of his unconventional perspective. He says his approach is inspired by a deep appreciation for everything and anything done with good intent.

‘Someone once said there is no such thing as good or bad style, only a style executed well. So, I try my best to understand different styles, from Baroque to bare minimalism. By exploring these different “style languages”, you evolve, and your sense of style does too. So my style is ever-changing.’ As a creative, he gravitates towards the details, things carefully made and thoughtfully paired. ‘The truth is, I do not think my style can be described or defined because everyday life shows me something else that is wonderful and I am convinced I will be on this style journey until the day I die.’

The Kloof Nek Road space – layered, rich, textured – was designed by Phillipe with the intention to capture the full effect of the materials, themselves big and loud and applied throughout the interiors.

But it is people, he says, that bring a space to life. ‘We can only create a space, but without the observer’s interpretation that space has no meaning,’ he says.

‘So what we do is allow for our clients to explore and create. Through our use of different materials and colours, we try to make the experience as immersive as possible. What this does is create a sense of playfulness and fun, something often missed in our busy lives.’

As a guest, you experience a familiar feeling when entering the space, a kind of design deja vu brought on by the traditionalism of the space, yet there is an invisible impetus to try something new. This juxtaposition is a recurring theme, something that Phillipe was intentional about when it came to the layout, colours and textures. ‘I hope our space tells a story of what is possible to create in Cape Town.

Everything in the shop has been carefully made by the women behind Gordijn Studio or crafted by local tradesmen,’ he says. ‘What is on display is a fraction of what can be created, and I trust this is how the customer will engage with it, that it will start the process of wonder. What can be done with some skill and the right fabric is endless.’

Gordijn Studio gordijnstudio.com Q

TOP DOWN GORDIJN STUDIO’S SOFT FURNISHINGS AND SCATTER CUSHIONS; DRAMATIC TEXTURES AND COLOURS, BIG AND LOUD, ARE

APPLIED THROUGHOUT THE INTERIORS OPPOSITE PAGE CURTAIN DESIGNER PHILLIPE DU PREEZ FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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INSIDER

LEFT TO RIGHT THROUGH GORDIJN STUDIO’S USE OF DIFFERENT MATERIALS AND COLOURS, THE FABRIC ATELIER TRIES TO MAKE THE EXPERIENCE AS IMMERSIVE AS POSSIBLE, PLAYFUL AND FUN

FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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ROCK THE A MODERN INTERPRETATION OF THE CLASSIC MOROCCAN PATTERNED TILE BY MARRAKECH-BASED POPHAM DESIGN, AVAILABLE LOCALLY AT OPIA DESIGN

KASBAH

Arabesque patterning, coloured glass and ornate metalwork and carpentry inspired by the bustling marketplaces of Marrakech’s ancient medinas, where the cultural conflux of West and East bears unique, timeless design 16

HOUSE & GARDEN FEBRUARY / MARCH 2022

SHOPPING

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2 3

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

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1. ‘MILANO’ GLASS PENDANT LIGHT IN BLUE (LARGE), R1 768, EUROLUX; 2. ‘CORAL’ BED IN NATURAL (QUEEN SIZE), R14 990, SHF; 3. BRASS HANGING LAMP, R11 000, MOROCCAN WAREHOUSE; 4. ‘GYPSY’ MIRROR, R1 895, BLOCK & CHISEL; 5. KENZO TAKADA ‘HOSHI’ CUSHION IN RED, R3 410, ROCHE BOBOIS; 6. ‘BASTIDON’ CONSOLE TABLE, R20 089, KARE DESIGN; 7. STITCHED LEATHER POUFFE, R6 300, CÉCILE & BOYD HOUSE & GARDEN FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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CHILD’S

PLAY

Decorating a child’s room calls for a charming balance of fun and function.

Opt for calming shades (think dusty pastels and neutrals) mixed with soft natural materials – and a pop of playful patterning, for good measure 18

HOUSE & GARDEN FEBRUARY / MARCH 2022

SHOPPING

1 2 3 T E X T: J A N I A D E L E Y L A N D M A N ; P H O T O G R A P H S : N I C K S M I T H , S U P P L I E D

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1. ‘MOUSE’ SILICONE PLATE, R143, ZARA HOME; 2. ‘PETER RABBIT’ WALLPAPER IN FELBRIGG GARDENS PRINTED ONTO CARTRIDGE PAPER , POR, FROMENTAL; 3. SILICONE STACKER TOY SPRING, R355, TOBBIE AND CO; 4. PLUSH BABY GIRAFFE, R1 275, MELISSA & DOUG TOYS; 5. HERTEX HAUS ‘TIGGIE’ RUG IN CARAMEL, R2 400, YUPPIECHEF; 6. ‘ROBOT’ CUSHION, R799, ZARA HOME; 7. SENZA BABY VINTAGE FOUR-DRAW-ONE- DOOR CHEST, R4 500, 99 RANDS FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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SHOPPING

RIVIERA 2 1

3 Inspired by the deep blue coves, beige sands and terracotta roofs of the Mediterranean coastline, the summer collection by H&M Home embraces a slow and stylish way of living

5 6

1. CUSHION COVER IN BEIGE, R80; 2. CANDLE LANTERN IN BAMBOO, R349; 3. VASE IN TERRACOTTA, R429; 4. PLACEMAT IN RATTAN, R199; 5. STONEWARE BOWL, R129; 6. CARAFE, R229; GLASS R80 H&M HOME IS AVAILABLE AT V&A WATERFRONT, CANAL WALK, MALL OF AFRICA, MENLYN PARK, FOURWAYS MALL AND GATEWAY THEATRE OF SHOPPING

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HOUSE & GARDEN FEBRUARY / MARCH 2022

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ARTISAN

FA M I LY VA L U E S Boutique woodworking company Kipekee Studio creates handcrafted furniture with a simple yet sophisticated design TEXT SHANNON MANUEL PHOTOGRAPHY STEPHANIE VELDMAN AND LAR RATTRAY

‘CAFE QUAINT’ CHAIR IN WHITE OAK AND BROWN LEATHER, R3 740; ‘CAFE AROMA’ TABLE IN WHITE OAK, R6 540

FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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‘B

oth of us have always had a creative side, and Kipekee Studios is a family adventure,’ says Kylie Bornman, who founded the design studio in Ballito in 2017 with her husband Michael (a former teacher and quantity surveyor, respectively). ‘Our workshop is situated on the beautiful east coast of South Africa.

Kipekee, meaning “unique” in Swahili, started almost exactly four years ago and is built on our passions, talents and callings.

Together, we create original, quality furniture handcrafted with passion, care and love.’

The brand has slowly grown its collection, with clean lines and simple designs a dominant theme throughout. ‘Life and other past and present designs inspire us. We make pieces that we would want to own ourselves and accentuate our customers’ homes,’ says Michael. ‘We have a few different collections and statement pieces that have become real favourites among our customers.’ Kipekee’s general aesthetic has always been functional minimalism, emphasising natural elements and a design language heavily influenced by Scandinavian and Japanese sensibilities.

The collections include the Chameleon range, developed around the beauty of the chameleon and its unique hands and changing colour, and the Panache and Floc ranges that focus on the materiality of cord, a traditional Nordic medium.

‘We are about to launch a few new items: our ‘Luna Moon’ chair, inspired by space, and the ‘Lush’ modular sofa, designed around big families in need of a bold and luxurious statement

piece,’ says Kylie. ‘We have always wanted to create functional yet unique pieces of furniture that speak for themselves when standing in a room. We like complex designs that look simple – there is a real beauty and humility in intricate work executed in a minimalist style. That said, we would love to move slowly into creating more functional art, and we think that our last launch on products shows this trend.’ The ‘Luna Moon’ chair is a good indication of the combination of very traditional Eastern design and joinery with a sculptural element.

At Kipekee Studio, each piece of furniture is handmade using traditional craftsmanship, modern technology and the highest standard of markings and materials. ‘First and foremost, we select timbers that are environmentally friendly and ethically sourced. Forested timbers from North America, parts of Europe and Australia fit this profile best. Secondly, we look at structural properties and workability, and, thirdly, aesthetics,’ says Kylie.

‘As such, we have ended up narrowing our offering to American white oak and American walnut.’

‘Handmade furniture is a craft – it draws on knowledge gained over centuries of experience. It is the same practice today as it was a century ago,’ says Michael. ‘There is something grounding when your hands are the tool – I am sure any artist or craftsman would agree. We do not aim to make products that trend with the season but rather create something that holds design integrity for many years. This extends to the support we as local designers, makers and suppliers receive, something we believe will create a better, more sustainable future.’

Kipekee Studio kipekeestudio.co.za Q

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HOUSE

GARDEN FEBRUARY / MARCH 2022

ARTISAN

‘There is a real beauty and humility in intricate work executed in a minimalist style’

CLOCKWISE, FROM TOP LEFT ‘CHAMELEON’ KITCHEN STOOL IN WHITE OAK AND OLIVE GREEN, R5 350; ‘LUNA MOON’ OCCASIONAL CHAIR IN WALNUT AND ROSE PINK, R9 920; ‘LUSH’ MODULAR SOFA (PART OF 5-PIECE COLLECTION) IN WHITE OAK AND IVORY, POR; ‘PETITE SELAH’ ARMCHAIR IN WHITE OAK AND SKY BLUE, R6 470;

‘SELAH’ FOOTSTOOL IN WHITE OAK AND SKY BLUE, R3 930 OPPOSITE PAGE, TOP DOWN KIPEKEE STUDIO CO-FOUNDER, KYLIE BORNMAN; KIPEKEE STUDIO CO-FOUNDER MICHAEL BORNMAN WITH TWO OF THEIR CHILDREN, FYNNLEY GRACE AND WILLOW WYLDE

KYLIE BORNMAN

FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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COUNTRY ROAD Two hours – and a whole universe – outside of Cape Town, the sleepy (for now) town of McGregor is going through a renaissance or the most part, the town of McGregor has swerved the outcome of its many (former) small-town cousins – Franschhoek, Greyton, Prince Albert, the list goes on of once quiet villages swallowed up by the urban-escape tourist market, of city dwellers looking

f

for a momentary out (and more often, permanent transplant) to these quieter parts. The resulting population boom, and the inevitable influx of Bootlegger coffee shops and Woolworths Food outlets, counterproductively end up erasing the charm and character that first made the town an attractive destination.

The town of McGregor seems to know this, carefully balancing ‘mainstream appeal’ with the kind of creative quirks only a small

town can get away with. Here, things are still a little weird and a little wild – the kind that makes for unexpected adventures that can only exist outside of the fullyestablished urban matrix – which is exactly why it should be at the top of your ‘next holiday trip’ list. Luckily, there is no shortage of fine dining and activities, and a stay at the country-luxe Lucky Crane Villas is a must. McGregor Tourism tourismmcgregor.co.za Q

TRAVEL WHERE TO STAY Lucky Crane Villas 076 151 4526 luckycranevillas.co.za Beautifully curated, self-contained accommodation is the worldwide trend, with wellbeing, holistic inspiration, connecting with nature, and beauty becoming the new currency of luxury. All these elements combine at McGregor’s Lucky Crane Villas, a stunning private estate with easy access to the Robertson Wine Route, the famous Route 62, and the Klein Karoo. Set on the edge of the Krans Nature Reserve and a picturesque stroll from the cafes and creatives of the village, the Villas – five in total – are individually designed, featuring deluxe details that make the difference, from superb entertaining areas and swimming pools with mountain views to olive groves, all decorated in a chic Afro-modern-meets-farmhouse style.

‘Exactly seven years to the day since I had landed in South Africa, I visited McGregor — the first place I had stayed when I arrived. I came across an empty piece of land nestled between the nature reserve and a tranquil part of this wonderful village, and the idea of Lucky Crane took seed, says Monika Schmalzl, Lucky Crane’s creator, owner and manager, who had closed her advertising agency in Italy to relocate to the Western Cape. ‘I am Italian by birth and South African by choice,’ she says.

Together with architect Frederik Labuschagne, Monika co-conceived the Villas as a fusion of airy modernity and village aesthetic. Her love of art and gardening shines through in the light-filled interiors and striking landscaping, which she designed. And her interest in food, entertaining and la dolce vita is evident in the high quality and comfort of the Villas, from dreamy bedrooms to great kitchens.

‘Most importantly, Nature herself created the wonderful surroundings,’ says Monika.

A ‘ nd I feel lucky to be able to share this incredible setting, especially during this time when we all need relaxation, grounding and personal happiness.’ Alongside the exquisite accommodation, Lucky Crane Villas also offers bespoke experiences, curated by Monika, that focus on discovering the unforgettable surroundings, including pottery sessions, bread-baking courses and wellness excursions.

TOP DOWN THE INTERIOR OF THE ‘WINGED KITE’ VILLA, WITH VIEWS ONTO THE SURROUNDING BREEDE RIVER LANDSCAPE; THE FAT LADY’S ARMS OWNER-CHEF KURT MIDDLETON LE ROUX OPPOSITE PAGE, CLOCKWISE FROM LEFT LUCKY CRANE VILLAS OFFERS AN EXPERIENCEDRIVEN STAY IN A PICTURESQUE, UNTAMED LANDSCAPE; THE VILLAS ARE DECORATED IN A CHIC AFROSCANDI STYLE, WITH SPACIOUS AND LIGHT-FILLED ROOMS; LUCK CRANE VILLAS FOUNDER MONIKA SCHMALZL FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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WHAT TO EAT Ragazzi Osteria 065 598 9542 @ragazzi_osteria Fine dining takes the form of Ragazzi Osteria, which is owned and run by Chef Clinton Drake (formerly of Singita). The menu is firmly Italian with ingredient-led dishes prepared using locally and sustainably sourced meat, seafood, and market-fresh produce. Highlights include sourdough pizza, homemade gnocchi, and artisanal ice cream. The wine list offers a curated selection of regional producers.

TOP DOWN LORD’S WINERY, ON THE SLOPES OF THE MCGREGOR VALLEY; ALILA HOFMEYER OF MILLSTONE POTTERY

The Fat Lady’s Arms 078 514 7454 This converted stable is now a cosy and intimate space owned by Kurt Middleton-le Roux (formerly of Belmond Mount Nelson and founder of Karoux). The menu draws on the international street food scene, influenced by Kurt’s travels throughout Asia. Dishes of zheng shui dan (steamed egg custard), hong shao rou (braised pork belly) or calamari katsu can be enjoyed with a selection of hand-picked regional wines.

WHAT TO DO Lord’s Wines 023 625 1265 lordswinery.com Located 500 metres above sea level on the northern slopes of the McGregor Valley, the beautifully isolated Lord’s Winery presides over panoramic vistas of fynbos and vineyards. A family-run winery headed up by viticulturist Jacie Oosthuizen (an avid cricket fan, he named the farm for the famed grounds in London), the estate is renowned for its sparkling wines.

Millstone Pottery 081 322 5166 Housed in the original 1880s wagon shed, Millstone is one of only a handful of wood-firing pottery studios active in the country. Recently taken over by potter Alila Hofmeyr, the founder’s former apprentice, and her partner Lyle Krimchanski, they host ceramic making and firing workshops, eco-landscaping and permaculture workshops as well as small group and one-on-one tailored clay classes.

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HOUSE & GARDEN FEBRUARY / MARCH 2022

COLMAR P902CHA

SPARTA CH279B

SOLAR HANGING LANTERN O616BS

SOLAR ALL LIGHT M

O547

Cape Town (Head Office) : 9 Racecourse Road, Milnerton, 7441 | Tel: +27 (0) 21 528 8400 | Email: info@eurolux.co.za Johannesburg: 72 5th Street, Wynberg, Sandton, 2090. | Tel: +27 (0) 11 608 2970 | Email: jhb@eurolux.co.za Durban: Talksure House 62 Umhlanga Ridge Boulevard, Umhlanga, Durban | Tel: +27 (0) 31 263 0088

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

CLOCKWISE, FROM TOP LEFT THE ART DECO EASTERN COLUMBIA BUILDING IN DOWNTOWN LOS ANGELES, DESIGNED

BY CLAUD BEELMAN; ON THE COVER, THE CITY OF DREAMS SKYLINE; THE SHEATS-GOLDSTEIN RESIDENCE, BEVERLY HILLS, DESIGNED BY JOHN LAUTNER

Los Angeles Today: City of Dreams: Architecture and Design This book is a marvellous portrait of the City of Dreams in its infinite variety. Longtime Angeleno and architecture photographer Tim Street-Porter and designer Annie Kelly honour stylish museums, a flourishing art scene, Hollywood’s Chateau Marmont and historic Beverly Hills, modernist homes by Richard Neutra and John Lautner, and Frank Lloyd Wright’s Hollyhock House – set against dramatic backdrops of sky and sea. Rizzoli rizzolibookstore.com

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Light Space Life: Houses by SAOTA

Spaces for Living The first book from esteemed Australian interior designer Tamsin Johnson showcases her signature style: high comfort, playful design, luxurious ease and coastal elegance through contrasts of scale, bold use of art and sculptural furniture.

Rizzoli rizzolibookstore.com

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Casa Cabana Tablecloths, china, glasses, cushions and mouthwatering Italian cuisine are the effortlessly cool essentials of a Cabana magazineworthy abode. Immerse yourself in its glossy pages and stunning photographs, as author Martina Mondadori shares taste-makers’ secrets on entertaining, lifestyle and design.

Vendome Press vendomepress.com 32

This full-colour monograph celebrates 35 years of architecture studio SAOTA’s exceptionally crafted modern buildings on six continents, including the South African coast, where it all began.

Thames & Hudson thamesandhudson.com

HOUSE & GARDEN FEBRUARY / MARCH 2022

Essential Style Solutions for Every Home Who wouldn’t want to give their home a dash of Kelly Hoppen glamour? This go-to bible from the world-renowned designer will help you create a beautiful, functional and relaxing home that suits your individual needs and reflects your personality – and saves you money. Quarto Publishing quartoknows.com

BOOKS CLOCKWISE, FROM TOP LEFT TAMSIN JOHNSON’S PIECES FROM ACROSS CONTINENTS FEELUNDERSTATED AND NATURAL; SAOTADESIGNED LAKE HURON IN ONTARIO,

CANADA; AN UNUSUAL TABLE SETTING CREATED BY DESIGN GALLERIST JAMIE CREEL; A DINING ROOM IN BARKLI VIRGIN HOUSE, MOSCOW, BY KELLY HOPPEN FOR YOO RESIDENCES

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

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BOOKS

African Artists: From 1882 to Now Art lovers who feel they have seen it all, collectors who want to explore new niches and cultural connoisseurs alike need to crack open Chika Okeke-Agulu and Joseph L. Underwood’s potted history of the continent’s booming scene.

With a rich selection of images produced by over 300 modern and contemporary artists born or based in Africa, it dips back into the past with Nigerian painter Aina Onabolu, born in 1882, and features works by familiar figures William Kentridge, Marlene Dumas and Lubaina Himid. Texts written and edited by experts within this field accompany a striking image of each artist’s work.

Phaidon Press Limited phaidon.com Q

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

CLOCKWISE, FROM TOP RIGHT GREEN FLUFFY COAT BY KWESI BOTCHWAY, 2020, ACRYLIC ON CANVAS; PHOTOGRAPHER OMAR VICTOR DIOP; A SPREAD FEATURING VISUAL ARTIST LISA BRICE AND SCULPTOR EL ANATSUI; THE COVER, INSPIRED

BY NDEBELE PAINTER ESTHER MAHLANGU’S WORK

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NDIBUDITSEI IPAPO (TAKE ME OUT OF THERE) BY PORTIA ZVAVAHERA FOR STEVENSON 2021, OIL ON LINEN 36

HOUSE & GARDEN FEBRUARY / MARCH 2022

FLOWERS FOR TEMI BY TALUT KAREEM FOR THK GALLERY, 2021, CHARCOAL AND ACRYLIC ON CANVAS

P H O T O G R A P H S : C O U R T E S Y O F I N V E S T E C C A P E T O W N A R T FA I R

IT WAS THAT NIGHT WE ENDED UP AT BEREA COURT

BY DADA KHANYISA FOR STEVENSON, 2021, MIXED MEDIA

RETURN TO FORM

PARTNERSHIP HOME DUTY BY FENI CHULUMANCO FOR EBONY CURATED, 2021, ACRYLIC ON CANVAS

After a hiatus brought on by Covid-19, Investec Cape Town Art Fair, Africa’s largest contemporary art fair, will return to the Cape Town International Convention Centre (CTICC) this February

F

or the 2022 edition, local and international art lovers will have the opportunity to engage with art online or in person, with Investec Cape Town Art Fair offering a hybrid of both platforms.

The ninth edition will bring together the excitement of the long-running programme with a special new addition.

Investec has been the title sponsor of the fair since 2018.

‘We believe art can break down barriers and bring people together. So, we are delighted to welcome back a face-to-face fair, combined with the digital edition, which could bring the world of art to a potentially larger, more diverse audience,’ says Peta Dixon, Investec’s head of sponsorships.

As artists – and the art industry – grapple with an uncertain future, the fair needs to stay abreast of audience and consumer trends. The new hybrid offering takes into account the lean towards at-home viewing while making sure the in-person experience is worth dusting off those party dresses for.

This year’s fair draws the best global artistic talent, from Nairobi to Paris, Dakar to Berlin, Lusaka to Leipzig and beyond, creating a diverse and delectable set of options for viewers and buyers alike.

‘We cannot wait to welcome old and new friends and

partners to Investec Cape Town Art Fair in 2022 and provide a platform to connect, re-connect and interact with one another. The return of the physical event offers some reprieve and restoration for the global art community,’ says Investec Cape Town Art Fair Director Laura Vincenti.

In addition to a broader artist presentation, this year’s fair has some exciting new additions. The debut ‘ALT’ section takes a different spin on a similar theme, inviting alternative galleries to portray ways the pandemic has affected how artists engage with the real and more pressingly virtual worlds of art.

In addition to ‘ALT’, the highly anticipated signature line-up includes: ‘Tomorrows/Today’ guest curated by Nkule Mabaso and Luigi Fassi; ‘Past Modern’ guest curated by João Ferreira; ‘Cultural Platforms’; ‘Magazines and Books’; ‘Editions’; and ‘SOLO’.

‘SOLO’ seeks to explore the artistic practices of artists working locally and abroad, through curated solo presentations. In its fourth iteration, the section will explore how artists have reacted to periods of isolation, as well as provide dialogue for conversations about the effect that exchange, and

MAIDEN VOYAGE TO NOWHERE GOOD BY MICHAELA YOUNGE FOR SMAC GALLERY, 2021, MERINO WOOL ON FELT

collaboration has in the artists’ production.

The digital edition will be available for online viewing via Artshell, allowing for autonomous, independent gallery/exhibitor access directly via an Artshell account, in sync with the Investec Cape Town Art Fair office championing the theme of ‘Connect Through Art from Africa and the World’.

The ninth edition of Investec Cape Town Art Fair will take place from Friday 18 to Sunday 20 February 2022 at the CTICC and via the online platform Artshell.

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Tickets can be purchased via the Webticket link on investeccapetownartfair.co.za Follow them on Instagram: @investeccapetownartfair

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DESIGN

P H OTO G R A P H : J O H N O M E L L I S H

KNOW-HOW AND DECOR DETAILS THAT MAKE THE LOOK

DYLAN THOMAZ AND ADRIAN BEUKES OF CURACIÓN COLLECTION WANT TO MAKE GOOD DESIGN ACCESSIBLE TO EVERYONE

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ACCESS APPROVED

Championing a democratic design ethos, Curación Collection proves timeless forms and expertly crafted pieces need not be reserved for the few but attainable by all

TEXT WALTER HAYWARD PHOTOGRAPHS JOHNO MELLISH PRODUCTION AND STYLING KATARZYNA STEFANCZYK

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STYLISH

h igh-end design pieces are usually accompanied by a similarly high-end price tag, making them a near-impossible addition to your everyday interior. With the Curación Collection, designers Dylan Thomaz and Adrian Beukes aim to soothe this aesthetic injustice.

‘Making good design accessible to everyone is the reason we started it,’ says Dylan, also the founding force behind Dylan Thomaz Studio.

When the lockdowns first corralled us all inside our homes, it gave him and Adrian the perfect opportunity to reevaluate the decor market and where they fit into it.

The timing was right for the duo to take a leap of faith. ‘Honestly, it just felt right.

Behind the scenes, we had been working and reworking on designs, so we agreed on a launch date, and everything else fell into place,’ he says.

Launching late last year, Curación Collection made good on its promise of making quality design attainable.

Dylan’s previous projects merge separate eras into singular spaces, and his unique approach continues with this collection. ‘Mixing textures and materials achieve this enduring approach to classic design,’ he says.

His furniture range is available in three ageless textile options; retro-yet-classy corduroy, timeless sherpa, and a bouclé blend that reminds you of a certain Chanel jacket. ‘All these fabrics have stood the test of time while still feeling contemporary, which makes our furniture a locally designed future classic,’ says Dylan. Clients can choose from daybeds to dining chairs and even a rather lush threeseater sofa.

A standout at any of the Curación Collection pop-up exhibitions are the spherical scatter cushions. Available for purchase separately,

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they are avant-garde and add a whimsical touch to any space in need of a charm upgrade. ‘It is practical but, more importantly, makes a space feel more curated than decorated,’ says Dylan.

The collection also hosts a group of artisans that, at the moment, comprises a ceramicist, painter and knitter. ‘The circle will most definitely grow as we increase our presence and inspire more shoppers,’ he says. ‘We will display their crafts alongside our furniture collection at Curación Collection’s pop-ups. Finding the perfect partnership is tricky – we believe the best collaborations are with artisans who own their craft and create pieces we love and make us smile. This is how something becomes timeless.’

Their first pop-up is on Cape Town’s historical Hout Street in a gorgeous, light-filled atelier. ‘Finding inspiring spaces is part of our brand experience and wanting to do retail our way. Countrywide, Curación Collection will showcase beautifully designed spaces merged with finely crafted furniture pieces.’

Curación Collection curacion-collection.co.za Q

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STYLISH

LEFT TO RIGHT ‘THE TREAT’ SCATTER CUSHION, FROM R1 450 , ‘THE FLORENTINA’ THROW IN NATURAL, FROM R1 700, ‘THE CANTILEVER’ SIDE TABLE IN GREEN, R4 250, ‘THE LOOPY LUCY’ LED LIGHT, FROM R4 500, ‘THE CASEY’ OCCASIONAL CHAIR IN GREEN, R10 050, ‘THE CLOVER’ FLOOR LAMP, R6 150, ‘THE THERAPIST’ CHAIR IN BEIGE, R8 500, ‘THE TONY’ SIDE TABLE IN WHITE, R4 850, ‘THE CASEY IN THE KITCHEN’ BARSTOOL, R4 050 PREVIOUS SPREAD THE CURACIÓN COLLECTION COMPRISES ARTFULLY DESIGNED PIECES THAT ADD PANACHE TO ANY SPACE FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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STYLISH LEFT TO RIGHT ‘THE BALANCE’ SOFA, R25 650, ‘THE NINA’ COFFEE TABLE, R13 100

‘We believe the best collaborations are with artisans who own their craft and create pieces we love and make us smile. This is how something becomes timeless’ DYLAN THOMAZ

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High Impact Landscape designer Franchesca Watson on cultivating impact in our gardens and how being singular in vision and bold in approach takes it to the max PHOTOGRAPHS HEIDI BERTISH AND ELSA YOUNG

KNOW-HOW

h

ow do you give people a lasting impression of a garden, a picture that sticks

in their mind or a feeling of which they keep dreaming? If you have an asset such as a stunning view or a 200-year-old oak tree, you have only to appreciate and augment it. But how to create a vibe out of an ordinarylooking space?

I like to focus on one main thing, either a problem or an asset (sometimes they are the same). You can transform an awkwardly shaped plot with screens and clever planting shapes within its existing envelope, instead of fringing shrubbery around its edges, which only reinforces an already awkward perimeter. Change levels in parts of the garden to add interest and dimension to the space – sunken gardens have an amazingly intimate feel, and raising areas can suddenly give you a view that was unavailable before. Undulating berms have an immediate transformative effect and can be a tonic to a flat space. Consider roof garden spaces advantageous. You can get creative with awkward corners or cantilever pergolas to provide seating or shadow below and shut out towering neighbours.

Once you have worked out what the main elements of the garden will be, take the idea a couple of steps further, perhaps using intriguing and unusual materials when creating your level changes. A wall of wine bottles, a rough stone wall painted red, plaited bamboo columns for creepers. Upsizing certain elements in the garden can play eye-catching tricks with the sense of scale, such as an urn the size of a human, a water trough down the entire side of a pergola you can also sit on or an upsized pond. Be bold, and your garden will be memorable.

Carefully consider how they will look and grow together – and, importantly, have fun!

Above all, plants must reinforce and create the mood of the garden as a whole. Choose a theme, and do not stray from it. It is easy to be seduced at the garden centre and end up theme-park planting. Break the rules consciously, do what makes you happy. Just do not be tentative.

Franchesca Watson 082 808 1287 franchescawatson.com Q

How to translate this bold approach into planting?

Plant a grove of trees rather than a couple, mix textures – think pointy with frothy as in foxgloves with grasses – and clashing colours, such as orange geum with pink watsonias. Put some thought into your plant combinations, moving away from blandly filling space with arbitrary plants.

TOP DOWN CELEBRATE EXISTING ASSETS IN THE GARDEN SUCH AS THIS MATURE XXX, TRIMMED TO REVEAL ITS SCULPTURAL FORM AND UNDERPLANTED WITH FLOWERING AGAPANTHUS, WILD IRIS AND ‘ORANGE

BEAUTY’ CANNAS; LANDSCAPE DESIGNER FRANCHESCA WATSON OPPOSITE PAGE BERMS IN ALL SHAPES AND SIZES ADD INTEREST AND DIMENSION TO A FLAT SPACE

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Exclusive to Woolworths stores Gateway, Menlyn, Sandton & V&A Waterfront www.woolworths.co.za

THE EDIT

P H O T O G R A P H : N A I N OA

SUPERB HOMES AND STYLISH GARDENS

LARGE VOLUMES AND A TIGHTLY EDITED PALETTE OF MATERIALS INFORM THIS MONASTIC KITCHEN BY DESIGN STUDIO NAINOA

Full story overleaf

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H I G H E R Seemingly carved out of rock, this monastic family home in southern California by NAINOA deftly employs hypertextural materials and extraordinary volumes to establish itself as both supremely serene and impossibly transporting TEXT PIET SMEDY PHOTOGRAPHS NAINOA

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TEXTURE WAS INCORPORATED INTO THE MATERIALS TO ADD GREATER VISUAL DIMENSIONALITY, AS SEEN HERE IN THE RIBBING AND FLUTING IN THE DINING ROOM PREVIOUS SPREAD THE CAPACIOUS GRAND HALL, LIKE THE REST OF THE HOUSE, DRAWS ON A MEDITERRANEAN VERNACULAR IN ITS DESIGN, WITH WALLS FINISHED IN CLAY PLASTER AND NATURAL MATERIALS, SUCH AS TIMBER, STONE AND TRAVERTINE, USED THROUGHOUT

southern California, Noa Santos, founder of architecture and design studio NAINOA, and his team have completed a project that, if we were the sort of publication that traded in sweeping, grandiose statements, we might describe as ‘the apotheosis of architecture’. Looking at those cathedral-like volumes, the raw, textured materials, you can almost feel just by looking at them, the luxurious minimalism – all design plays that are nothing short of divinely inspired.

‘I think you mentioned there is this kind of monastic quality to the house itself, where the focus is very much on these singular, larger volumes,’ says Noa, connecting with me from New York over Zoom. ‘It gives, I think, the person living in the home a kind of calming feeling because those simple volumes are not just easy on the eye, but they are easy to navigate.’

In a word, ‘easy’ feels like just the right one for this home; it is not demanding anything from you but rather facilitates a kind of trouble-free state of being. Part of this is undoubtedly Noa’s brand of luxe minimalism that has been deftly applied to every touchpoint of this project, from the aforementioned volumes and how they interconnect to the materials and textures and the dialogue between the build, furniture, and fixtures.

‘I think people associate minimalism with the absence of everything, but I think our definition is more of a contemporary take. For us, it is about making grand statements, but just fewer of them and using materials to connect to the humanity of the space,’ says Noa. For him, there is a fine line between a spartan gallery space and a home space that has warmth and establishes a personal link between the environment and the person living in it.

The materiality of the spaces – that is, the natural materials used throughout – is something Noa keeps coming back to, and for good reason. ‘We typically pick what we call the holy trinity of materials that ground the entire project,’ he explains. In this home, that would be the oak, travertine and stone, which are then carried into every room, both in terms of the architecture and the interior design. ‘Much of the materials we use are either intrinsically highly textured, so the right light fixture going to light that material the

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right way and make a huge difference to its depth.’ And if a material is not naturally textured, the team work to add it, ergo the profusion of ribbing and fluting, which again works to add that additional layer of interest and depth.

This holistic simplicity is also present in the home’s generous 1 500-square-metre floor plan, with spaces revealing themselves along three arms that run off of a central foyer. The first houses the communal spaces – living, dining and kitchen areas, and functions, ostensibly, as the family wing – the second is the guest wing – with bedrooms and bathrooms, as well as rooms for the children – and finally, the third holds the master bed and bath. Interestingly, as you move through the home, the ceiling heights shift quite dramatically, depending on which room you are in. In public spaces, such as the grand hall, the walls can reach over 7.5 metres in height and, conversely, shrink down to create cocooning private spaces in the bedrooms. Similarly, capacious spaces are grounded through the double-volume window treatments, which not only open up to the view but allow in air and light, the latter which could even be considered the fourth material in the house’s holy trinity, given the amount of shadowplay that is employed as a kind of dappled decor effect on the walls. ‘It is a big house, no doubt, but for the clients, family is a big part of it for them, and they want the houses to evolve as their family evolves,’ says Noa. As such, despite its outward appearance, there is nothing precious about this home – right down to the cream upholstery. ‘When we meet clients with kids, they will often talk about it as if this requires some kind of sacrifice in terms of design, you know, like they cannot have a certain fabric or finish,’ says Noa. ‘But designing for a growing family is a great “constraint”, as it elicits really interesting conversations around lifestyle. With smart storage and performance materials, everything is possible.’

Digging deeper is a big part of Noa’s design approach. It is how he comes to not only understand his clients’ needs but also how the architecture and interiors can be engineered to make these a daily reality. He references the kitchen as a prime example of this process: ‘Many people say, “I want to focus on the kitchen, as it is the primary space”, and that is not a novel concept in the home.

We want to know what utilitarian purpose it serves, how it brings you joy and how the design can augment that.’ In this particular case, the homeowner wanted a spa-like kitchen, one where cooking was more of a meditative activity rather than a gruelling chore, and the light-filled, airy space, with appliances hidden from view, was designed as such.

With Noa, nothing is ever done for the sake of being done – there are strata to his creativity, layers of influence and points of reference, tightly packed to form the rock-solid aesthetic that he creates on every project and, particularly, on this one. ‘I think probably the most standout quality about the home is the juxtaposition between the heaviness of the space – I feel monastic really is the right word for it – and the lightness of it, which we achieved by carving these volumes into the thick walls and by hiking the ceilings,’ he says.

‘Because it is easy to make a glass house feel light, but here we have achieved the same thing, but with stone.’

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‘I think people associate minimalism with the absence of everything. For us, it is about making grand statements, just fewer of them’ NOA SANTOS

IN THE PRIVATE AREAS OF THE HOUSE, SUCH AS THE MASTER BEDROOM, THE CEILING HEIGHTS WERE LOWERED TO CREATE A MORE COCOONING EFFECT, WITH TIMBER AND NATURAL FABRICS ADDING SOFTNESS TO THE STONE ARCHITECTURE

NEXT PAGE THE MASTER BATHROOM, WHICH FEATURES A TRAVERTINE BATH AND BASINS, IS A PRIME EXAMPLE OF HOW SHADOWPLAY WAS USED TO INTRODUCE A SOOTHING, DAPPLED EFFECT INTO THE HOME THROUGH THE FILTERING OF NATURAL LIGHT

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DESIGN NOTES

‘ANSE’ VASE, R3 170, MEZZANINE INTERIORS

RAPHAEL NAVOT ‘WALRUS’ ARMCHAIR, POR, ROCHE BOBOIS

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

INTERLUDE ‘JOSEPHINE’ SIDE TABLE, POR, DECOR HOUSE FURNITURE

HAY ‘BERNARD’ LOUNGE CHAIR, R26 805, CRÉMA DESIGN

‘SARAH’ BENCH, R17 900 (EXCLUDING FABRIC OR LEATHER), ANATOMY DESIGN

SERVING / CUTTING BOARD, R580, DEFT STUDIOS SMALL ‘WONKY’ VASE IN BROWN, R499, CORICRAFT

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NEST LEVEL 58

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TEXT JESSICA ROSS PHOTOGRAPHS SEAN FENNESSY

Pitched amid the trees in a leafy Melbourne suburb, this contemporary cocoon is a sophisticated escape from the city FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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THE DINING ROOM FOLLOWS THE BLACKAND-WHITE THEME, WITH TABLE AND CHAIRS

BY CHARLES RENNIE MACKINTOSH . THE CUSTOM WALL SCONCE IS HAND-PAINTED IN LE CORBUSIER’S ROUGE VERMILLON PREVIOUS SPREAD THE ELEGANT ARCHES OF THE RECESSED SHELVING AND

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ORGANICALLY CURVED BLACKFRAMED MIRROR CONTRAST AGAINST THE CLEAN LINES OF THE ARTWORK ON THE ADJACENT WALL. THE SHELVES ARE FILLED WITH A COLLECTION OF ’20S FRENCH CERAMICS FOUND IN PARIS’S CLIGNANCOURT FLEA MARKET

THERE is something altogether halcyon about time spent in a treehouse – that nostalgic yearn for a carefree escape from the demands of everyday life. For a busy homeowner, this neutrally driven threebedroom penthouse, suspended above a canopy of greenery in Melbourne, is such a refuge – a modern treehouse that is both sanctuary and hub for entertaining.

It is the sort of space Australian interior designer Tamsin Johnson is known for – thoroughly livable yet unmistakably stylish.

And it is an ethos that the homeowner had already bought into, so her brief to Tamsin was simple: ‘Let your imagination run wild.’

For Tamsin, the project was irresistible.

‘I was inspired by the owner’s trust and faith in me to have the vision for her apartment and see it through in every loving detail.’

Thanks to its location in the idyllic South Yarra suburb, close to the Royal Botanic Garden, the top floors of this Art Deco apartment building seem to almost float among the trees. To complement and contrast against all that verdancy, Tamsin took a pared-back approach to the interiors. ‘The scenery of the gardens informed the palette, providing plenty of colours against which the monochromes would look elegant and timeless. I wanted to create a calm sanctuary that was not overly furnished and where colour was subtle and materiality appealing amid the classic scheme,’ she notes. But first, Tamsin had some serious restructuring to do.

Once a gloomy, boxy set of rooms with a paucity of flow and light, this space required a full-on gut job to harness its potential. Tamsin set about re-configuring rooms and removing walls to open them up and wash the floors and walls with natural light. The designer eschewed solid doors for a more lustrous touch, using steel-framed glass doors to improve flow and airiness.

‘They connect the spaces and allow more light in, while still giving the living area the feeling of being a separate zone,’ she explains. She also flipped the entry to the kitchen to connect it with the living and dining areas and added recessed shelves to the living room, which mirror the Art Deco style of the building itself.

‘I wanted to introduce glamour but balance it with raw, organic elements that ensured the house was calm and welcoming as well as beautiful,’ says Tamsin, who installed Belgian sisal carpets in the living zones, creating a sense of underfoot consistency.

‘The materiality blends smoother, “tougher” surfaces such as those of the doors and windows, and the stainless steel kitchen, with softer, more organic ones, such as the sisal floors, the warm timber of the parquetry floor, the Calacatta Viola marble in the kitchen, the ceramics on display and the sumptuous Mario Bellini for B & B Italia ‘Le Bombole’ linen armchairs and Living Divani cotton sofa.’

When it came to the furniture, the designer sought out pieces that were all about comfort and did not overwhelm the predominant calm. The ‘deeply inviting’ seating in the living room was juxtaposed with clean-lined pieces such as the ’80s black leather Mario Botta chairs. Organic shapes come through in the objets, and little touches such as the brass handles on the mirror-clad bedroom cabinets and the shapely mirror in the living room.

Monochrome moments throughout the home deliver a dose of Parisian sophistication. ‘I think Melbourne has a little bit of that Parisian urban elegance about it,’ says Tamsin. ‘I wanted to create a contemporary space that felt timeless, like a Parisian apartment.’ Black-framed works by local Australian artists echo the lines of the doors and windows, offset by the recessed arched cabinets. ‘I wanted the cabinets to look as if they had always been part of the apartment, and the ’20s French ceramics are so fun as they feature little feet and facial parts in their forms,’ she explains.

When asked how this home embodies a quintessential Tamsin Johnson project, the designer answers, ‘It celebrates how pieces from different eras – vintage, contemporary and custom – can work together, and how a home gets its special energy from the mix of these and from the harmony (and lovely disharmony) of the textured and the smooth, the raw and the finished, the relaxed and the refined.’

Tamsin Johnson tamsinjohnson.com Q

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‘I wanted to introduce glamour but balance it with raw, organic elements that ensured the house was calm and welcoming as well as beautiful’ TAMSIN JOHNSON

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THE STREAMLINED, INDUSTRIAL-STYLE, BRUSHED STEEL KITCHEN IS OFFSET

BY RIPPLES OF CALACATTA VIOLA MARBLE AND PALE TIMBER FLOORING

OPPOSITE PAGE A MAX DUPAIN PHOTOGRAPH AND NOAH TAYLOR DRAWING IN THE LIVING ROOM, ECHOING THE STEEL-FRAMED GLASS DOORS

CLAD IN GREY TADELAKT PLASTER, THE BATHROOM FEATURES A MURANO GLASS SCONCE

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DESIGN NOTES

‘PROGRESSIVE 1’ A3 ART PRINT, R395, KNUS

RIBBED VASE (LARGE), R2 995, LA GRANGE INTERIORS

‘FEMALE BUST’ CANDLE (MEDIUM), R290, KNUS

T E X T: G E M M A B E D F O R T H ; P H O T O G R A P H S : C O U RT E SY O F L A G R A N G E I N T E R I O R S , S U P P L I E D

‘HAWKER’ BENCH IN AFRICAN MAHOGANY WITH MATTE EBONY STAIN, R 23 199, TONIC DESIGN

MARIO BELLINI FOR B&B ITALIA ‘LE BAMBOLE ’07’ CHAIR, POR, IL LUSSO

‘SWIRLS’ DINING TABLE IN SMOKED TEMPERED GLASS, R8 999, @HOME

‘GALAXY SKY’ MARBLE SLAB IN BLACK, POR, WOMAG

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THE LIVING ROOM, WITH VIEWS OF CLIFTON’S FIRST BEACH, FEATURES A ‘BERTA’ CHAIR WITH CUSTOM OTTOMAN BY GUIDELINE

OPPOSITE PAGE THE APARTMENT WAS RENOVATED TO BETTER UTILISE THE SPACE WHILE CAPITALISING ON THE SURROUNDING NATURAL BEAUTY

CO AST AL GOING

True to South Africa’s rich landscape, this Clifton apartment by Bryce Henderson is an unexpected departure from the typical beach house aesthetic TEXT PIET SMEDY PHOTOGRAPHS GREG COX PRODUCTION THEA PHEIFFER FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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we achieved this in our use of natural materials, muted tones and a variety of layered textures.

This was a large-scale renovation, but you were limited to the home’s 87 square metres. How drastically did you alter it to create more space? You would have faced challenges given

TH IS

is, essentially, a beach house – but nothing about it says ‘beach house’, not the architecture or the interiors.

Why this clear distinction from the expected beach house composition?

The typical beach house aesthetic is, as you say, ‘expected’, and so I started to investigate other ways to tie the apartment to its context. I think the original ‘beach house’ aesthetic derived from a more international scene, such as Greece with its white walls and blue hues. South Africa has, in my eyes, a way more complex and rich coastal landscape; our beaches contain various plant species, undulating shapes and raw textures moulded by the waves, beige sands. I incorporated these contextual elements – physical and emotive – into the design and layering of the apartment.

It was quite a project for any architect, a brief that afforded you free reign.

It certainly was a dream project. The clients were open to exploring my thoughts and ideas, and I took a risk to propose something a little outside their brief.

Which was?

They are international clients, so they wanted a space to enjoy their summer holidays. However, even though it is a temporary home, it should still have all the luxuries of a permanent one.

What were your top-level objectives for the home?

Overall, I set out to create a calm, homely environment that still encapsulated a sense of articulated design and sophistication. I feel 68

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the site.

The original apartment had a bedroom mezzanine located in the front of the apartment, with an overly stated staircase running down the middle. The kitchen remained at the back of the apartment, and the bathroom on the upper floor.

A few things struck me on my initial visit to the property. Firstly, the disconnect between the bedroom and bathroom – these spaces are typically joined in what is essentially a studio loft apartment.

More importantly, though, you entered the apartment facing a bed, which obstructed the views out towards the beachfront, and the double-volume feel of the apartment was stolen by the chunky staircase and large circulation paths. In essence, the apartment had very under-utilised space and light.

Working closely with an engineer, we devised a plan to core drill the existing bedroom floor slab out in small chunks. As it is almost on the beach, the road many flights of steps above, we manually carried the chunks up the side of the building onto a waiting removal truck. We moved the mezzanine to the back of the apartment and replaced it with a lightweight steel structure.

That opened up the view and created volume at the front, allowing the apartment to be flooded in natural light and increasing the head height.

Take us through the new floor plan.

We incorporated circulation into the design of the spaces, making the apartment feel larger and less disjointed. You enter an area of the apartment with the lowest point of the ceiling. We enhanced this ‘pinch point’ feel by cladding the walls and ceiling in mirror and recessed LED lights to create an illusion of more space. This ‘cosy’ arrival space encourages your eyes to focus ahead on the panoramic view of the beach, framed by double-volume windows. We placed mirrors on either side of the windows to widen the expanse of the front of the apartment and reflect parts of the beach inwards.

Descending the newly located steps to the lower living area reveals more of the beach below.

Evidently, materiality is a crucial aspect of the home – particularly timber and stone expressed very honestly. It reminds us of the area’s topography, the boulders and rocky mountainside and the green belt that runs along the everpresent mountains. Practically, how did you deploy these materials in terms of function and aesthetics?

Materiality played a prominent role in creating a natural and emotive feeling around the space and how it connected the apartment to the outside surroundings. All the natural finished oak timber is located on the wall of the flat that does not get direct sun, while the opposite side is kept free of design elements so that the angles of the sun dancing around the flat creates a pattern on the facade.

Downstairs, closest to the sand of Clifton’s First Beach, we sourced a tile that mimicked the feeling and colour of being on the beach. The light, sandy tones in an imperfect pattern connect and ground the space to its surroundings.

AN ‘ASHBY’ DINING TABLE IN BIANCO CARRARA MARBLE

BY LEMON WITH DINING CHAIRS BY JAMES MUDGE AND A CUSTOM STUDIO BHD COFFEE TABLE

IN THE OPEN-PLAN LIVING, DINING AND KITCHEN AREA OPPOSITE PAGE STUDIO BHD FOUNDER, BRYCE HENDERSON

LOCAL DESIGN FEATURES PROMINENTLY IN THE HOME, INCLUDING A CUSTOM SOFA BY WUNDERS, ‘KING KONE’ SIDE TABLE

BY STONECAST AND ‘GIANT MOA’ FLOOR LAMP BY BOFRED IN THE LIVING ROOM

‘Materiality played a prominent role in creating a natural and emotive feeling around the space and how it connected the apartment to the outside surroundings’ BRYCE HENDERSON

OPPOSITE PAGE, CLOCKWISE FROM TOP RIGHT THE BAR AREA; FLUTED TIMBER WAS USED TO CREATE THE APPEARANCE OF A SINGLE DOUBLEVOLUME PILLAR; THE STAIRCASE WAS REORIENTATED TO FACE THE VIEW

As an overall concept, we used the natural gradient of light and location to play on the apartment’s chosen finishes. In the front, at its highest lux level, the space is light, airy and free of architectural clutter. At the back and upstairs, we used darker materials to tie the apartment into the landscape and create a feeling of cosiness.

How did you go about selecting the furniture for the home in relation to the architecture as well as the overall decorating objectives?

The best part of a turnkey project is being able to incorporate every element into the overall design concept. As such, each piece was chosen during the design process and so the spaces and pieces all function together. The process of designing and furnishing the apartment is not linear; it is a to-and-fro approach to unify the feel of the space.

There are some great pieces by local designers here.

So far in my career as an architect and designer I have met incredible local designers and suppliers, and so I generally default to buying local where possible. There are so many talented local designers out there but I have had the pleasure of dealing with and being supported by Bofred, Lemon, Wunders, Meuble Fine Furniture, Vorster & Brae, James Mudge and Guideline. Their personal touches and in-depth design thinking and craftsmanship has cemented my commitment to sourcing locally.

Studio BHD bhd.design; @bryce_sa Q

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THE COCOONING BEDROOM, WITH CUSTOM STUDIO BHD BED, WAS COMPLETELY REPOSITIONED ON THE FLOOR PLAN

DESIGN NOTES HARDWOOD DINING CHAIR IN IROKO TIMBER IN A GREY OIL FINISH WITH AN UPHOLSTERED SEAT, R4 485 (EXCLUDING FABRIC), JAMES MUDGE

&TRADITION ‘LATO’ TABLE, R12 960, CRÉMA DESIGN

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

‘ASHBY’ TABLE IN BIANCO CARRARA MARBLE, R42 310, LEMON

SAPIENSTONE ‘ALPI CHIARO VENATO’ PORCELAIN SLAB, FROM R4 546, STUDIO MASSON

GOOD EXERCISE BY HEIDI FOURIE, 2018, OIL ON BOARD, R8 200, SALON91

‘BERTA’ ARMCHAIR IN LEATHER, R16 500, GUIDELINE

‘GIANT MOA’ FLOOR LAMP, R16 330, BOFRED

MALIN+GOETZ LEATHER SCENTED CANDLE, R1 000, MAISON MARA FEBRUARY / MARCH 2022 HOUSEANDGARDEN.CO.ZA

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TRUE ROMANCE

A garden design should take the viewer to a place where emotion trumps reason, where balance and form, while present, sit quietly in the wings. It should speak directly to the soul. Garden designer Mary Maurel and Fairholme Plants talk to us about their love affair with romance and how to achieve it in your garden TEXT & PHOTOGRAPHS HEIDI BERTISH

S E C R E T PA T H WA Y S A N D F L O R I F E R O U S M E A N D E R S

For a truly romantic garden, incorporate secret pathways, spaces or nooks tucked away behind taller planting. These areas beckon to be discovered and create an alternative ‘means to navigate your way through the garden,’ says Mary. They provide intrigue and allow the garden to be revealed in layers instead of all in one go. The sheer abandon of daylilies, Scabiosa, feathery grasses and scented Pelargoniums are a joyful foil to the formal main lawn and a clever device to blur a perimeter wall.

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CLOCKWISE, FROM TOP RIGHT ROSA ‘GARDEN QUEEN’ WITH AGAPANTHUS NANA; HELLEBORUS ORIENTALIS; PENSTEMON DIGITALIS WITH SCABIOSA INCISA; DAYLILY ‘JOAN SENIOR’; DIGITALIS PURPUREA; AGAPANTHUS NANA BLUE; ROSA ‘BLOSSOM MAGIC’; HELIOTROPIUM ARBORESCENS ‘ROYAL MARINE’

PA I N T I N G W I T H P L A N T S Flowers spilling over walls, brushing up against pathways and tumbling over arches give your garden that rich, full spectrum of colours and textures so typical of romantic gardens. Be carefree with your planting, and do not be afraid to mix plant types. Clean edging, open-lawn or paved areas allow the cheery frothiness to really sing. Here, fuscia is the point of departure for the colour palette of the garden. The lively shade of pink informs a heady mix of vibrantly coloured flowers within the garden, offset by muted shades towards the perimeter. The intentional decision to progressively fade the colour palette as it moves outwards from the centre of the garden is to allow a greater connection with the mountainscape beyond the property.

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ARCHES, ARBORS AND TRELLISES These charming structures add great charm and delight to the garden as well as offer shade, shelter and privacy. A ‘ local steel worker made these,’ says Mary, ‘but it is worth visiting your local garden outlet for off-the-shelf versions.’ Select a sunny position and plant cascading roses, such as Mme. Isaac Pereira (pictured here), to tumble up and over your support. ‘Some roses can become leggy, so plant them in combination with a creeper that performs better at the base, such as Star Jasmine,’ she says. ‘Instead of the archway ending in an object, I chose a feature space. I enjoy playing with the notion of a space being the feature object.’ The curved stone bench gently defines the area and gives you good reason to walk its florally fragranced length.

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SOOTHING AND COOLING Water brings reflection, romance, tranquillity, soothing sound and noise reduction to a garden. Here, the water feature is on an axis with the front door, immediately drawing you into the garden from the moment you arrive – a clever take-home idea for any garden. Finesse your feature with a special water spout. Mary says, ‘I am always scouring markets and antique stores searching for unique taps or nozzles, especially when I travel. When I cannot find spouts, I get them made up, often in brass or copper.’

Mary Maurel Gardens marymaurelgardens.co.za; Fairholme Plants fairholmeplants.co.za Q

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AMAZING Sabina is Ibiza’s first ecologically inspired private villa estate, located on the island’s west coast. Designed by nine esteemed architects and designers, the estate will feature 50 villas within a 17-hectare countryside setting TEXT THOBEKA PHANYEKO PHOTOGRAPHS ANA LUI

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GRACE

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T LOCAL IBIZAN STONE IS VISIBLE ON ONE SIDE OF THE LIVING ROOM AND IN THE FOREGROUND AND BEAUTIFULLY CRAFTED L-SHAPED COUCH

PREVIOUS SPREAD BEHIND THE LANDSCAPED GARDEN AND POOL IS NATURAL TEAK FURNITURE WITH WOVEN DETAILS TO COMPLEMENT THE OUTDOOR OASIS

his state-of-the-art villa offers breathtaking views and reflects a collective commitment to sustainability via indigenous landscaping. International property entrepreneur Anton Bilton entrusted designer Tara Bernerd with his vision to design a contemporary villa that epitomises relaxed luxury and the ultimate Ibizan getaway. Tara says she was delighted to work on one of the first villas on the estate. A ‘ nton outlined he would work with a team of world-class architects and that each of the villas would be unique and architecturally outstanding.’ That ethos resonated with Tara, and because she loves Ibiza, ‘it was something of a dream project, so I readily accepted’.

She shares her studio generally adheres to a specific set of design principles. ‘We do, however, draw upon the local culture, history, climate and atmosphere of a place to create a design DNA that completely embraces the character and identity of its setting.’ This home is no exception.

The remote island offers an escape from the fast-paced modern lifestyle typical of the Spanish mainland, an element on which the architects and designers capitalised. ‘By choosing beautifully crafted furniture pieces and objets d’art, we captured the essence of slow-living while creating a striking, elegant home.’

The designers responded to architect Jordi Carreño’s vision for the building, ‘which on one side emulates local stone buildings typical of the island, while the garden side is a dramatic, contemporary statement, which looks as if it is hovering slightly above the ground. We sought to meld these two very distinct characteristics throughout the interior design,’ says Tara.

Expanding on the approach to sustainable living, she says, ‘sustainability and the environment, along with wellness, are key aspects we consider when

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designing a property. Where possible, and when budgets allow, we implement the latest solutions.’ She shares the entire Sabina project has attained an excellent BREEAM qualification for sustainability. ‘This signifies the highest level of commitment to sustainability in ten categories, including water preservation, use of local materials, energy efficiency, health and welfare, waste and resource management, efficient transportation, sustainable land use, pollution reduction and use of innovation in technology. Building on this, we locally sourced materials, furniture and fabrics throughout the project, which proved particularly far-sighted when finishing the project during global lockdowns.’

With its own identity, the 850-squaremetre villa is within surrounding gardens.

Key elements that bring the space to life are carefully considered layouts, layered finishes, furniture and objets d’art. ‘The home is a contemporary take on understated luxury, designed to sit in perfect harmony within its garden setting.

The facade presented upon arrival is a deceptively simple, almost traditional

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series of boxes, clad in beautiful, warm local stone, which contain the bedrooms.

In dramatic contrast, a striking, elegant, white framed box featuring floor-to-ceiling windows is on the garden side. It appears to float slightly above the ground.’ By playing with various textures throughout the house, contrasting rough with smooth and adding locally sourced artisanal pieces, Tara says they combined these two seemingly disparate elements as a harmonious whole.

Ibiza has long been home to artists and artisans alike, reflected in their choice of furniture, fabrics and art. ‘For the kitchen, we selected an industrial, black metal frame for the smoked glass Crittall-style doors and handrails surrounding the lightwell, which contrasts beautifully with the skillfully crafted dining chairs and table. In the bathrooms, encaustic tiles add an artisanal element to the space and the overall feeling of relaxed luxury.’ Synonymous with timeless design and innovation rooted in durability and allure, Tara and her team succeeded in designing a home to be cherished for years to come.

Sabina Ibiza sabinaibiza.com Q

THE CUSTOMDESIGNED TIMBER FRONT DOOR WITH CHUNKY DOVETAIL HINGES ECHOES THE SURROUNDING STONE WALLS OPPOSITE PAGE A LONG TABLE AT THE HEART OF THE DINING ROOM WITH CARL HANSEN & SØN ‘WISHBONE’ DINING CHAIRS, SET OVER A LUKE IRWIN CUSTOMDESIGNED RUG

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THE MASTER SUITE, ROMANTIC AND CALMING WITH SOFT FABRICS AND ELEGANT DETAILS, OVERLOOKS THE SOUTHERN GARDEN AND POOL

‘THE HOME IS A CONTEMPORARY TAKE ON UNDERSTATED LUXURY, DESIGNED TO SIT IN PERFECT HARMONY WITHIN ITS GARDEN SETTING’ TARA BERNERD 86

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DESIGN NOTES ‘VICKY ECRU’ ARMCHAIR, R10 099, KARE DESIGN

SCATTER CUSHION, R899, ZARA

‘STEPS’ VASE IN AMBER (LARGE), R3 300, LA GRANGE INTERIORS

T E X T: G E M M A B E D F O R T H ; P H O T O G R A P H S : S T U D I O YAG Ü E , S U P P L I E D

CHARLOTTE PERRIAND ‘TOKYO’ CHAISE LOUNGE WITH BAMBOO FINISH, R119 306, CASSINA

‘TONGA ZIMBABWE’ STOOL (SMALL), R1 320, CÉCILE & BOYD

PATRICIA URQUIOLA ‘LOWLAND’ SOFA, R225 895, MOROSO

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a n

to

o d e

nature

Elevated by lauded interior designer and decor retailer Sumari Krige of La Grange Interiors, this calming space in Varswaterbaai tells an authentically South African design story TEXT THOBEKA PHANYEKO PHOTOGRAPHS ELSA YOUNG

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located in a small, secure private estate, zoned as a nature reserve, just 5km from Paternoster, one of the oldest fishing villages on the West Coast of South Africa, this pacific family home is one of 11 houses (on land that comprises 20 plots). The property was built in 1986, and Sumari shares her clients acquired it 10 years ago, ‘for its unique, private, secluded, quiet, rugged West Coast vernacular. There are so few houses, you hardly hear or see your neighbours, yet it is a close-knit community that holds nature and conserving the true spirit of the West Coast dear.’

Responding to the clients’ desire for a getaway, she created a home away from home, ‘a tranquil place to recharge outside their busy lives. It is mostly just the two of them, but there will be times when three generations are there at once.’ The brief was to update its furniture and fittings while retaining it as a holiday home. Easy, comfortable living was crucial. True to her signature style, Sumari combined neutral tones with layered textures and rustic accent pieces. She says good design is like a breath of fresh air. ‘It is like a harmonious sound, it is about balance and having the freedom to create anything you wish, and it considers visual discernment, which I feel no rule or guideline can replace.’ Paramount to her work: comfort supplants overly designed interiors. She adds that no structural changes were made during the renovation.

The serene nature of the location ties into the design, ensuring functionality for everyday living. It is a beach house, so nothing is overly precious or breakable. Expanding on her approach, Sumari says she layered textured rugs on screed cement floors and covered open wardrobes with light embroidered or printed linen curtains. ‘The original sanitaryware and brass taps were retained; the beautiful patina on the brass taps is priceless,’ says Sumari.

Natural stone from the surroundings used in the initial building process was preserved and added texture and context to the interiors. The indoor lounge revolves around an open hearth, used throughout the year to not only warm the house but give it atmosphere and ambience, ‘a place where many, many hours of conversation take place’.

With raw materials and a continued hum of nature in mind, ‘we further incorporated the elements of the original structure using a subtle colour scheme of earthy fabric tones that run throughout, brought to life with vibrant pops of colour and simple patterns.’ Sumari also used inviting blues and greens from the surrounding West Coast inside, ‘yet graphic patterns in certain rooms give it a quirky edge, a departure from the typical blue-and-white beach interior.’

She says the rooms are small and comfortable yet practical, a key concept in her design.

‘It is a home, not a showcase, so we did not waste space or use pieces for interest or “design” – everything has a purpose. There are four en-suite bedrooms and a dorm for the owners’ four grandchildren, a kitchen-cum-open-plan dining area, a lounge that hugs the hearth and a family TV room in one of the roof nooks upstairs.’

Custom and unique furniture pieces are visually appealing, but Sumari insists, ‘neither these nor the interiors compete with the landscape – the unspoiled, rugged, natural surroundings come first. Elaborating on her decor choices, she says the fabrics have an element of calm yet playfulness. ‘The two headboards in the bedroom, for example, are different heights, and the fabric features graphic brushstrokes, while white and blue headboards in another room might remind you of crashing waves.’

What Sumari has achieved here – rustic, coastal, timeless – is a home that is both in and of a place, exuding a natural calmness that extends out of a truly untamed landscape.

La Grange Interiors lagrangeinteriors.co.za Q

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‘Design is like a harmonious sound and considers visual discernment, which I feel no rule or guideline can replace’ SUMARI KRIGE

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DESIGN NOTES ‘FIONA’ DINING CHAIR IN TEAK AND PE WICKER, R7 200, LA GRANGE INTERIORS

‘ANNIE’ DESK LAMP IN BLACK BRASS, R7 300, LA GRANGE INTERIORS

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

‘KEY WEST’ CHEST, R8 990, SHF

KUKIKO LINEN CUSHION IN BLACK, R1 700, LA GRANGE INTERIORS

GIANT CLAM SHELL, R805, BESPOKE HOME

‘ARGO’ BOARD WITH BOWLS, R699, COUNTRY ROAD

‘INFINITY’ VELVET SOFA IN OCEAN RIGHT, R46 299, KARE DESIGN

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silent treatment Through a deft use of muted tones and honest materials, designer Hendre Bloem has crafted a quietly characterful Constantia home that is both timeless in style and modern in execution TEXT SHANNON MANUEL PHOTOGRAPHS KARL ROGERS

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THE DINING ROOM FEATURES A ‘ROLL’ DINING TABLE BY HENDRE BLOEM INTERIOR DESIGN, ARTWORK BY ROSIE MUDGE AND &TRADITION ‘FLOWERPOT’ PENDANT LAMPS IN EMERALD GREEN

‘I wanted the interior to add detail interestingly and unusually yet complement the architecture’ HENDRE BLOEM

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A MOOOI ‘FLOCK OF LIGHT’ CLUSTER HANGS OVER THE OAK AND WHITE STONE KITCHEN ISLAND, CREATING AN ART-LIKE EXPERIENCE WITHIN THE SPACE OPPOSITE PAGE, CLOCKWISE, FROM TOP LEFT THE OPEN PLAN KITCHEN LEADS INTO THE DINING AND LOUNGE

AREAS; THE LOUNGE AREA SHOWCASES ARTWORK AND ‘TRIP’ MARBLE TOP SIDE TABLES BY HENDRE BLOEM FURNITURE; THE COVERED PATIO BOASTS BEAUTIFULLY CURATED OUTDOOR PIECES, INCLUDING THE ‘LINED’ DINING TABLE IN AN ACCENT GREEN

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k TOP DOWN THE MAIN EN SUITE BATHROOM, WITH CUSTOM JOINERY, ACCENT LIGHTING AND DECOR ITEMS, GIVES IT A WELCOMING, RELAXING ATMOSPHERE

nown for a very clean-lined aesthetic that focuses on a classic design, Hendre Bloem approaches design with a firm eye on the details and longevity. ‘I want to create spaces that will still look relevant and beautiful ten years down the line,’ the designer explains. ‘With this project, the homeowners provided me with a blank canvas. The home required no structural changes, but a focus on adding to the existing space.’

At his first viewing, stand out elements of the space were its staircase and garden. ‘While the staircase and balustrade were already in place, I saw it as an ideal opportunity to transform it into a focal point that contrasts with the rest of the house because it is such a central element,’ says Hendre.

The surrounding garden greenery brings the outside in, heavily influenced by the colour scheme and tones chosen for the main living area – ergo, emerald green with a sprinkling of turmeric yellow.

The home’s architecture presented a simple canvas, all straight lines and corners as modern builds tend to be. As such, Hendre explains: ‘I wanted the interior to add detail interestingly and unusually yet complement the architecture.’

What this did not entail was cluttering the space with superfluous things for the sake of it. ‘The elements are curated and functional. The open-plan design of the home needed negative space to maintain a natural flow,’ he says. For Hendre, the overall style of the interior is at once timeless and modern, showcasing a celebration of textures and materials that are evident through the different uses of timber, marble and fabrics. Maintaining this idea of classic individuality, imported and custom-made furniture are primary features and pieces from the Hendre Bloem furniture range. Wall decor – custom-designed mirrors, artwork, decorative accents – added personality and created unique focal points.

‘Colour is introduced through artwork, beautiful pendant lighting and accents. It is in the dining room chairs, a neutral lounge area featuring a luxurious rug with a dark blue-green undertone, and gold accents from brass details add a touch of glamour,’ says Hendre. He followed the client’s brief to bring in more colour, especially in the bedrooms (where he installed feature walls, bold accessories and furniture pieces).

‘Each room has a unique personality, one featuring a statement wall covering emblazoned with decorative trees,’ says Hendre. ‘One of my favourite spaces in the house is the guest bathroom, for which I custom-designed a hot, rolled vanity that has a beautiful marble inlay top, is made of steel and is set against textured wallpaper, above which hangs a Tom Dixon pendant light.

For Hendre, the final element was to enhance these visually unique spaces by creating a balance of contrasts, whether a black oak dining table set against a light oak floor or furniture pieces upholstered in two different fabrics (this comes with an added texture-play element). Says the designer: ‘The combination of sleek and refined elements with those that are sort of industrial yet precise and detailed, complement each other splendidly.’

Hendre Bloem Interior Design hendrebloem.com Q

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DESIGN NOTES

‘GTOW’ ART, FROM R4 000, HENDRE BLOEM

&TRADITION ‘FLOWERPOT VP1’ PENDANT LIGHT, R6 100, CRÉMA DESIGN

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

‘BEAUTY EVERYWHERE’ WALLPAPER, FROM R680 PER SQUARE METRE, LEMON

‘ROLL’ TABLE, R44 000, HENDRE BLOEM

‘VERA’ VELVET OTTOMAN, R1 099, CIELO ‘TRIP’ TABLE, R7 500, HENDRE BLOEM

‘HALEY’ ACCENT CHAIR IN GOLD VELVET, R7 995, BLOCK & CHISEL

TALL GEOMETRIC ASH VESSEL, R1 995, WEYLANDTS

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