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THE ESSENTIAL GUIDE TO AUTUMN STYLE BRILLIANT IDEAS TO UPDATE YOUR KITCHEN DESIGN INDABA’S AGENTS OF CHANGE
Extraordinary moments happen on ordinary days. Let’s set the stage for the extraordinary to happen every day. domum.bulthaup.com
Domum Africa (Pty) Ltd Waterway House Canal District, V&A Waterfront Cape Town, 8002 Tel. +27 (0)21 419 5445 info@domum.co.za
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CON TEN TS april
54 21
IN S I DE R 8 17 23
4
FROM THE EDITOR Editor-in-
Chief Piet Smedy welcomes you to the new season SHOPPING A round up of decor essentials from our favourite stores in South Africa DESIGN INDABA An inside look at the talent headlining South Africa’s premier design conference HOUSE & GARDEN APRIL 2020
DE SIG N 31 45 50
DESIGN SOLUTIONS Give your
G A R D EN S 39
kitchen a design-savvy facelift SHOWROOM Keep things tidy with the very best in cleaning appliances ARCHITECT’S NOTEBOOK
With the colder months fast approaching, Karen Newman provides some tips on fireplaces
72
URBAN GARDENER
Danie Steenkamp revives a historic site, keeping community and sustainability at the top of mind GARDEN How a Los Angelesbased designer turned her backyard into a lush sanctuary for drought-tolerant plant life
april CONTENTS
99 23 T H E ED I T 54
WORK OF HEART
A dreamy Modernist home in Cape Town celebrates art and family life
64
LONDON PRIDE
P H O T O G R A P H S : E L S A YO U N G / B U R E A U X , S U P P L I E D
Dimore Studio designs a London home for DSquared2 founders Dean and Dan Caten
78
DOUBLE TAKE
84
Designer Paul van den Berg’s African-inspired London outpost A GREAT ESCAPE Sandra Nunnerley creates the ultimate summer home in The Hamptons
72
C ON CI ER G E 95 99 112
GOURMET Why we can’t stop
thinking about comfort food TRAVEL Explore the idyllic Tengile River Lodge in Sabi Sand Private Game Reserve OBSESSION Velvet becomes the luxe fabric to lust over this season
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ON THE COVER: London Pride, page 64. Photographed by Paul Raeside. APRIL 2020 HOUSEANDGARDEN.CO.ZA
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PIET SMEDY
EDITOR-IN-CHIEF ART ART DIRECTOR THEA PHEIFFER GRAPHIC DESIGNER KEENAN JEPPE
Dornbracht Kitchen Inspiring contrasts
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from the editor
T
here’s more to the change of season than just a drop in temperature and breaking the knitwear out of summer hibernation – it’s when our interiors need to adapt to a new set of requirements. Think layered, nuanced spaces geared toward a sense of warmth and cosiness popularised by the Danish hygge movement. Some like it quiet and comforting, such as SMITH Gallery founder Candace Marshall-Smith, who sensitively updated her late-Modernist home at the foot of Table Mountain, and designer Sandra Nunnerley, who took a plush approach to an allAmerican beach house. Others, such as Studio Dimore and Cécile & Boyd, take a more cocooning angle, as seen in the enveloping apartment of Dean and Dan Caten of DSquared2 and the South African designers’ earthy-toned outpost in London. Speaking of comfort zones, we got out of ours at the 2020 Design Indaba, which marks the 25th year of the country’s foremost design and innovation forum. As always, the all-star lineup didn’t disappoint, from edge-of-cool multidisciplinary studio Neri&Hu to industry-defining architect Jeanne Gang, and we got the lowdown on how design is going to shape not just our lives but the future of mankind. Welcome to the autumn style issue.
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P H OTO G R A P H : K A R L R O G E R S
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A good all-rounder
P H OTO G R A P H : S U P P L I E D
Perched on a staggered wooden deck against the Witzenberg mountains, the recently completed Geodome on the historic La Bruyere Guest Farm, just outside of Tulbagh, Western Cape, offers adventurers and design lovers alike a unique escape. A galvanised steel structure covered in PVC, the Geodome is completely immersed in nature, allowing guests to enjoy swimming in the serene river at its doorstep (or a soak in the outdoor bathtub), hike the surrounding forest or simply relax in absolute peace. @labruyerefarm
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P H OTO G R A P H S : C O U RT E SY O F D OMUM
DON’T MISS AN EDITION
SHOPPING
MASUREEL ‘KHRÔMA’ WALLPAPER, FROM R2 240, HERTEX
AFRICAN TRIBAL NECKLACE LAMPSHADE, R4 800, MODERN GESTURE PLASCON PAINT IN GINGER BISCUIT O1-C1-1, FROM R179, BUILDERS WAREHOUSE ‘VERDIGRIS’ SIDE TABLE, R11 402, EGG DESIGNS
POPHAM DESIGN ‘HEX ZULU’ TILES, POR, OPIA DESIGN
‘LOLO’ CONICAL VASE, POR, IMISO CERAMICS
P H OTO G R A P H S : S U P P L I E D
KNIT CUSHION, R1 350, MAXHOSA AFRICA
Close to Home ‘SANSA’ DINING CHAIR, R2 899, CIELO
Traditional patterns and natural materials inform a new wave of Afro-modern design APRIL 2020 HOUSEANDGARDEN.CO.ZA
13
SHOPPING BLACK CHRYSTAL EARTH PRINT, R1 095, KNUS U-SHAPE SIDE TABLE, R400, MR PRICE HOME STOOL/SIDE TABLE WITH BONE INLAY IN BLACK AND WHITE, R4 990, CÉCILE AND BOYD
No Grey Areas Black and white continue to elevate chic minimalism
‘CHRYSALIS SKY’ FLOOR LAMP IN BLACK, R19 995, WEYLANDTS
GLASS POD TABLE LAMP IN BLACK, R269, @HOME URAL FABRIC IN STEEL, POR, HERTEX FABRICS
‘WOOLSTON’ COFFEE TABLE, POR, MADEBYLEMON.CO.ZA
14
HOUSE & GARDEN APRIL 2020
PRESENT TIME ‘GRACE’ WATERING CAN IN BLACK, R599, SUPERBALIST
P H OTO G R A P H S : S U P P L I E D ; P R O D U C T I O N : JA N I A D E L EY L A N DM A N
BLACK CHRYSTALLINE GLASSWARE, FROM R149, ZARA HOME
SHOPPING
TRAY TABLE WITH SHELF, R4 790, LIM
MARBLE AND AGATE TRAY, R899, @HOME
‘BARK’ SERVING TRAY, R795, LA GRANGE INTERIORS
METAL TRAY TABLE, R10 000, ANATOMY DESIGN
EVA SOLO ‘NORDIC’ KITCHEN SERVING TRAY, R1 249, YUPPIECHEF
HANS WEGNER CH417 TRAY TABLE, POR, CARL HANSEN AND SØN
BUTLER’S TRAY, R200, MR PRICE HOME
URCHIN ART OBLONG SPLASH TRINKET TRAY, R149, SUPERBALIST
Serving Looks
Elevate your entertaining with chic trays and tables 16
HOUSE & GARDEN APRIL 2020
P R O D U C T I O N : JA N I A D E L EY L A N DM A N ; P H OTO G R A P H S : S U P P L I E D
HEXAGON MIRROR TRAY, R699, WOOLWORTHS
SOLID, RELIABLE, BEAUTIFUL AND AFFORDABLE. FOUR WORDS YOU DON’T OFTEN SEE TOGETHER. Beautifully finished and manufactured in South Africa from hand-selected solid timber, our Timber Wood Range of shutters is 100% custom made. For those whose sense of style often outweighs their budget, these shutters offer a stylish, yet affordable solution. TIMBER WOOD SHUTTERS
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DESIGN INDABA
after 25 years
How Design Indaba completely is still relevant and opening and shifting our eyes our perceptions to the life-changing future design potential of
P H OTO G R A P H : P E D R O P E G E N AU T E
TEXT SHANNON MANUEL & THOBEKA PHANYEKO
APRIL 2020 HOUSEANDGARDEN.CO.ZA
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architecture and beyond
NERI & HU Shanghai-based architectural design practice Neri&Hu uses research as a design tool. Founded in 2004 by partners Lyndon Neri and Rossana Hu, their practice is as diverse as the issues affecting the city in which it ďŹ nds itself, working internationally across architecture, interiors, master planning, graphic and product design. For Lyndon and Rossana, it is about the reinforcement of the practice’s core vision to respond to a global world view by incorporating overlapping design disciplines for a new paradigm in architecture. One project that best represents this is the renovation of the Waterhouse at South Bund in Shanghai: a four-storey, 19-room boutique hotel that has been built into an existing three-storey building, which served as the Japanese army headquarters in the 1930s.
The architectural concept behind the renovation was on contrasting old and new. The original concrete building was restored, while new additions built over the existing structure were made using corten steel, reecting the industrial part of this working dock. The practice’s structural addition on the fourth oor reects the industrial nature of the ships that pass through the river, providing an analogous contextual link to both history and local culture. Other projects include Pernod Ricard’s ďŹ rst malt whisky distillery in China, as well as various art installations. They have also received numerous accolades from the likes of CondĂŠ Nast Traveler and Architectural Digest as well as being named the winners of this year’s Madrid Design Awards. Neri&Hu
neriandhu.com
‘Their practice is as diverse as the issues affecting the city in which it ďŹ nds itself’
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HOUSE & GARDEN APRIL 2020
DESIGN INDABA
art with a purpose
P H OTO G R A P H S : C O U RT E SY O F N E R I & H U ; C O U RT E SY O F M I D U N U ; A L MU D E N A CA S O B U R BA N O ( I B R A H I M M A H A M A P O RT R A I T )
IBRAHIM MAHAMA conscious cuisine
SELASSIE ATADIKA Chef Selassie Atadika is the founder of Midunu, a lifestyle company dedicated to celebrating Africa’s varied culinary heritage through events and tastings. ‘My approach is inspired by the lessons learnt in African kitchens after over a decade of travelling around the continent and experiencing various African foodways,’ says Selassie. She noticed similar patterns in many countries and distilled them into what she calls ‘New African Cuisine’. ‘This is where culture, community and cuisine intersect with the environment, sustainability and economy. I want people to enjoy a delicious and thoughtful meal, but to also appreciate where the food comes from, the people it has brought together and how interconnected food is with practically every aspect of human life,’ she says. ‘The conversations my guests and I have had have been about the impact of food imports on local producers to the medicinal properties of local ingredients, along with knowledge about local foodways and biodiversity.’ Selassie believes a lot of the solutions the world needs are here on the African continent. ‘Our kitchens have the innovation the world is looking for: plant-forward, low wastage, ancient grains, communal dining – the list goes on. I’m very excited to join Design Indaba this year to share the method to my madness and my creative process. And of course, I’ll continue to work on the preservation of Africa’s culinary heritage one plate and conversation at a time.’ While Midunu’s menu features mostly West African food, it also features meals from other countries for a truly African experience.
Ghanaian artist Ibrahim Mahama’s recognition is growing worldwide – both for the scale of his work, as well as how it addresses complex and complicated aspects of his country’s past. He is perhaps best known for his monumental installations, which see architectural structures draped in vast patchworks of old jute sacks. Once the leading exporter of cocoa, Ghana’s legacy of commerce is tied to these seemingly innocuous objects. When they have served their purpose in housing cocoa, they go on to transport coal. Ibrahim reappropriates these sacks by reimagining their makeup and stitching them back together in new forms. Usually installed in art spaces and public markets, his work draws attention to the global transportation of goods across borders. His belief in the role of art in not only making symbolic objects but also shifting existing perspectives lends his installations great conceptual strength.
@ibrahimmahama
‘Usually installed in art spaces and public markets, his work draws attention to the global transportation of goods across borders’
Midunu midunu.com APRIL 2020 HOUSEANDGARDEN.CO.ZA
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life-saving inventions
BAS TIMMER ‘When I found out that my friends’ father, who was homeless, had died on the streets of my hometown from hypothermia, I needed to do something about it.’ Designer Bas Timmer then came up with the idea of the Sheltersuit, a warm, water- and windproof hooded coat that can easily be transformed into a sleeping bag that provides full-body protection. ‘People across the world struggle to survive the cold and rain in winter,’ says Bas. ‘We believe everyone deserves protection, dignity and warmth at all times, so because of this, Sheltersuits are given away for free.’ The suits are given to homeless people and
refugees for free, and while it does not solve the problem of homelessness, the Sheltersuit does prevent people from the danger of freezing to death. ‘Setting up and running a business has been a challenging ride, but my motivation to help those in need makes the obstacles easy to overcome,’ says Bas. ‘I am so thrilled and honoured to be part of a community that wants to create for a better world. The opportunity we have been given to launch Sheltersuit South Africa at Design Indaba will give us a larger platform to raise awareness and make more of a difference.’ Sheltersuit
sheltersuit.org
DESIGN INDABA
examining intersections
SUNNY DOLAT
P H O T O G R A P H S : C O U R T E S Y O F B A S T I M M E R C O U R T E S Y O F S U N N Y D O L AT;
Kenyan creative director, producer and curator Sunny Dolat is creating space for more diverse and inclusive discussions around African fashion. He is the cofounder of The Nest, a multidisciplinary collective that uses various art mediums to examine intersectionality between blackness, feminist and queer theories; as well as design and technology in their home country. Sunny wants to challenge the idea that ‘African fashion’ only exists in cities that are considered our fashion capitals, such as Joburg, Lagos and Dakar. He wants to involve the whole continent.
Last year, his debut film In Their Finest Robes, the Children Shall Return, premiered. Described as a fashion film and installation, it was shot on the shores of São Tomé, a former slave-trading post just off the coast of Cameroon, and featured Sunny and other models, each wearing a garment by a designer from each country in Africa. His previous works have been more controversial but just as impactful: the film Stories of Our Lives, focused on the LGBTQ+ community in Kenya and was banned by the country’s Department of Film Services.
@sunnydolat
Sunny wants to challenge the idea that ‘African fashion’ only exists in cities that are considered our fashion capitals such as Joburg, Lagos and Dakar. He wants to involve the whole continent
APRIL 2020 HOUSEANDGARDEN.CO.ZA
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building sustainable cities
JEANNE GANG As one of the most important architects of her generation, Jeanne was included on Time magazine’s 2019 list of the 100 most inuential people and was named Architect of the Year by Architectural Review in 2016. She is also a recipient of the MacArthur Fellowship. Her award-winning practice, Studio Gang, headquartered in New York, is dedicated to making cities more liveable, with an emphasis on sustainability and community building. Its Aqua Tower (the tallest building in the world designed by a female architect when it was completed in 2010, soon to be surpassed another one of Studio Gang’s designs, Vista Tower, under construction and expected to be completed this year) is an 82-storey undulating building that was awarded ďŹ rst place in the Emporis Skyscraper
Awards in 2009. Aqua Tower was also named one of the most important buildings of the previous decade by Dwell. Studio Gang’s research-driven approach extends to building materials, and the practice frequently exhibits its innovative material tests and ďŹ ndings. For example, the 5.4m-high stone jigsaw Marble Curtain was exhibited in Washington D.C. and meant to test the performance of marble when hung, while the wood-tensioned Writers Theatre canopy was on display at the 2017 Chicago Architecture Biennial. Other work has also been exhibited at the Museum of Modern Art (MoMA), the Art Institute of Chicago and the International Venice Biennale, among other institutions.
Studio Gang studiogang.com
Studio Gang’s research-driven approach extends to building materials, and the practice frequently exhibits its innovative material tests and ďŹ ndings 26
HOUSE & GARDEN APRIL 2020
DESIGN INDABA
fashion for the future
P H O T O G R A P H S : S AV E R I O T R U G L I A ( J E A N N E G A N G P O R T R A I T ) ; C O U R T E S Y O F N AT S A I A U D R E Y C H I E Z A
NATSAI AUDREY CHIEZA The Zimbabwean-born designer and researcher is the founder and director of Faber Futures, a multidisciplinary agency that addresses the problem of pollution in the fashion industry. The agency is responsible for equipping start-ups, multi-sector brands and institutions with the frameworks and tools to adapt to holistic systems for regenerative futures. One of the agency’s key research projects, Project Coelicolor, was meant to integrate the inner workings of a pigmentproducing bacteria called streptomyces coelicolof with design processes in order to ďŹ nd a more sustainable way of dyeing textiles, a revolutionary move considering that this is one of the biggest causes of fashion-related pollution. This method of dyeing is not only chemical-free (the bacteria is grown directly onto the pigment to generate the colour and requires no ďŹ xing agents) but it also uses to 500 times less water. Natsai’s keen interest in bio-design can be traced to her background in architectural design. In a recent interview with Design Indaba she shared that her motivated is her optimism. ‘That is why I am doing all this work and asking all these questions,’ she says. ‘These are the pertinent issues that we can collectively address with a mission-driven attitude that integrates a variety of disciplinary expertise with a mindset that anything is possible.’ Q
Faber Futures faberfutures.com
In a great headspace THE LEXUS LC 500 DROPS ITS TOP TO REVEAL A STUNNING CONVERTIBLE The much-anticipated convertible version of the Lexus LC 500 has finally made its debut, giving the flagship coupe a brand new drop-top counterpart. Since its launch in 2017, the coupe has set pulses racing, and now the convertible amps up the curb appeal. Both serve as the brand’s aspirational halo models – combining unique driving experiences with ultimate beauty. The exterior of the new LC blends the coupe’s roofline with the characteristics of a convertible, achieving beauty whether its top is up or down.
The LC Convertible’s fourlayer soft top features improved sound insulation thanks to the carefully selected fabrics that ensure a refined cabin. Its interior details include style-savvy quilting and perforation patterns on the seats, and come equipped with neck heaters – ideal for a cosy, wintery drive. Lexus’s engineers have also improved upon the chassis rigidity with the help of extra braces, yielding dynamic performance in line with the coupe’s driving signature. lexus.co.za
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DESIGN SOLUTIONS
DESIGN KNOW-HOW AND DECOR DETAILS THAT MAKE THE LOOK
Colour is king
T E X T: E D WA I N S T E E N K A M P ; P H O T O G R A P H C O U R T E S Y O F C O L O M B O A N D S E R B O L I A R C H I T E C T U R E
Talk about making a statement. This apartment, renovated by Colombo and Serboli Architecture, saw simple but effective alterations change the entire way the space looks and feels. A simple splash of paint demarcated the kitchen area, giving it its own identity within the open-plan space. cargocollective.com/CASA
Turn up the heat Bold and daring kitchen design to usher in the new season
APRIL 2020 HOUSEANDGARDEN.CO.ZA
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Culture clash When bringing together contrasting colours and styles, or simply building on existing features in the kitchen, desaturated colour is key. This will help bold patterns live alongside colour, without feeling overwhelming. vitra.com
P H OTO G R A P H : C O U RT E SY O F V I T R A
IN THIS KITCHEN , TWO VERY DISTINCT TILING SOLUTIONS FIND THE PERFECT BALANCE. THE ‘RETROMIX’ SERIES OF TILES FROM VITRA REINTERPRETS TRADITIONAL GRAPHIC PATTERNS AND COLOUR IN AN UNDENIABLY CONTEMPORARY WAY
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HOUSE & GARDEN APRIL 2020
DESIGN SOLUTIONS
Layered up
1
Layering textures in the kitchen allows you to bring depth and character to what could otherwise be a clinical space. Think countertops, tiling and cabinets. Valcucine’s ‘Vitrum Arte’ customisations (pictured below) are a bold and unusual expression for kitchen cabinetry and done entirely by hand. valcucinesa.co.za 1. NICOLE FULLER FOR ANN SACKS, ‘WHIMSY’ TILE , POR, KOHLER; 2. ‘MAISON’ DINNER PLATE, R89, @HOME; 3. ‘9141 ICE SNOW’ COUNTER SLAB, POR, CAESARSTONE; 4. HAY BOROSILICATE MUG IN AMBER, FROM R265, FINNISH DESIGN SHOP; 5. ‘HANDOVER’ AGATE PESTLE AND MORTAR, R3 780, LOOT; 6. HEXAGON TILE IN RED, FROM R499, WOMAG; 7. MARBLE JUG, R395, WEYLANDTS
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6 P H OTO G R A P H S : S U P P L I E D
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APRIL 2020 HOUSEANDGARDEN.CO.ZA
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Top shelf
While built-in cabinetry is an investment, it is not always a feasible option, especially if you are renting your home or have limited space. Smaller, mobile cabinetry is the perfect solution, like the Bulthaup b ‘Solitaire’ shelf unit (pictured left) with customisable ďŹ ttings. domum.bulthaup.com
1
2
7 3
8 1. KISUKE ‘GYUOTO’ KNIFE, R5 500, WAZA; 2. ‘SAMMY’ THREE-TIER SHELF, R2 199, SUPERBALIST; 3. STORAGE JAR IN SAGE, FROM R539, LE CREUSET; COUNTRY ROAD ‘ANDE’ GRINDER, R999, WOOLWORTHS; AMBER SHOT GLASS, R895 (SET OF 6), WEYLANDTS; 6. ‘ZEN’ MESH BOWL, R259, MR PRICE HOME; 8. ‘CASSETTO’ STORAGE CABINET, R22 590, SHF
6 34
HOUSE & GARDEN APRIL 2020
5 4
Perfect ďŹ t
IN THIS DESIGN, BLU_LINE KITCHENS EXPLORES THE POSSIBILITIES OF A MONOCHROMATIC PALETTE, INTRODUCING ELEMENTS THAT NOT ONLY LOOK AND FEEL MORE AUTHENTIC THAN TRADITIONAL KITCHENS BUT ALSO REIMAGINE THE IDEA OF FUNCTIONALITY AND AESTHETICS
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GARDEN APRIL 2020
P H OTO G R A P H : S U P P L I E D
While looks are important when it comes to your kitchen, ergonomics should also be a part of every aspect of the space. Customise counters and shelves to elevate the experience of cooking and entertaining in what should be the heart of the home. With a kitchen overhaul, a master plan is crucial. Turn to an expert in the ďŹ eld that will help determine your needs, as well as considering the entire home. blu-line.co.za
DESIGN SOLUTIONS
1
1. ‘DRAPER’ BAR STOOL, R6 600, DESIGN STORE; 2. TOM DIXON ‘SLAB’ STOOL, POR, CRÉMA DESIGN; 3. ‘BARBER’ BAR STOOL, R2 699, KARE DESIGN
2 4
3
DESIGN BY THE KITCHEN STUDIO
Hot seat
5
Have you ever sat on a stool, only to feel the discomfort of having too little room for your legs? With bar stools, space is everything. Allow for just over 30cm between the seat to the counter, and 20cm between the stools. Remember to also leave a little more space with seats that swivel around.
4. KARTELL ‘CHARLES GHOST’ STOOL, FROM R3 600, AMARA; 5. ‘NOOK’ STOOL, FROM R799, MR PRICE HOME; 6. ‘AIDA’ BAR STOOL, POR, ROCHE BOBOIS; 7. ‘CALI’ BAR CHAIR, R3 100, PATIO WAREHOUSE
7 DESIGN BY EASY LIFE KITCHENS
6 APRIL 2020 HOUSE GARDEN
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Port Elizabeth - Richmond Hill 041 373 1266
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Less is More Landscaper Danie Steenkamp talks about breathing new life into the historic Groot Drakenstein Handelshuis in Simondium, creating a twenty-ďŹ rst-century garden and a landscape language that is as beautiful as it is sustainable TEXT HEIDI BERTISH PHOTOGRAPHS KARL ROGERS
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W hat drew you to the early-1900s Huguenot property in Simondium – and what was your initial vision? Simondium has always been a special place for me. I grew up in the area, and during my childhood, my grandparents farmed down the road. The Handelshuis, which means ‘trade house’ in Dutch, has a history of trading as a general dealer in the early nineteenth century and servicing the community in the area with everything from freshly baked breads, soap and household items, to electrical supplies. It was this history, the untouched buildings and ancient pepper trees around the central werf, or courtyard, that I fell in love with. What we have hopefully rekindled here almost a century later, is a design, furniture and botanical destination with a sense of place and community that existed almost a decade ago. How has the space evolved? From the beginning, we wanted it to feel accessible and comfortable. The Handelshuis is made up of two original buildings: the old barn to the south, built in 1931, and a long, gently lit building that houses Onsite Gallery. Across the werf lies the old house, built three years earlier, in 1928. Here, Ou Meul Bakkery fills the air with the smell of fresh bread and coffee. Die Gieter provides botanically-inspired decor, indoor plants, gifts and a specialist plant nursery, which has developed somewhat of a reputation for being a treasure trove of rare and unusual plants sourced from all over the country whilst searching for plants for our upcoming landscape projects. Whilst the historical buildings remain as they were, the core of the project 40
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BOTANIST CLOCKWISE, FROM TOP LEFT ALOES AND ECHEVERIAS MAKE UP A SMALL PART OF THE COLLECTION OF SPECIALISED DROUGHT-TOLERANT PLANTS AT DIE GIETER; GLAZED POTS PLANTED WITH TUMBLING BURRO’S TAIL (SEDUM MORGANIANUM) UNDER THE ORIGINAL
HANDELSHUIS GABLE; THE TALL, UPRIGHT, SUCCULENT, MADAGASCAR OCOTILLO AND METAL FARM TABLES WITH SEDUM, EARTHENWARE AND EDIBLE GRAPE VARIETIES; DIE GIETER, IS A TREASURE TROVE OF BOTANICAL DECOR, OBJET AND INDOOR PLANTS
TERRACOTTA POTS HOME TO EDIBLE FIGS THAT ARE TRAINED TO ARCH AND TUMBLE DOWN THE SIDES OF THEIR POTS PREVIOUS PAGE CLIPPED SPEKBOOM (PORTULACARIA AFRA) FRAMES A WATER FEATURE ABUNDANT WITH CAPE BLUE WATER LILIES (NYMPHAEA CAPENSIS) IN THE WERF AT THE GROOT DRANKENSTEIN HANDELSHUIS
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was the werf between the historical buildings – a space I share with David and Vicky Bell from the renowned Onsite Gallery. We wanted the design to retain the original charm reective of both the history of the property and our common aesthetic. It so happened that the planting of the courtyard garden coincided with the worst drought the Western Cape had experienced in a century. We were forced to respond with a planting palette that would sustain itself on minimal water reserves, as well as look good all year. The solution was in the mass planting of Spekboom (Portulacaria afra) that we’re currently pruning and shaping into large, billowing, green mounds. With the addition of water features, now spilling over with indigenous water lilies, ‘leiwater’ and cafĂŠ tables and chairs, it has all come together to make the courtyard into the oasis we intended it to be. I love that the courtyard space is an ever-evolving canvas for you to experiment with planting ideas, design concepts and new planting combinations. The courtyard planting, as well as the plants available in our specialist nursery, are living examples of what can be achieved if we are mindful of our natural resources, particularly ďŹ nite ones such as water. Our more recent work has consisted of experiments where we play with drought-tolerant plants, local materials and solutions for gardens that are contextual and sustainable. This goes beyond rainwater tanks and mulching to incorporate a landscape language that is contemporary, environmentally relevant and just simply beautiful. Where the environment and aesthetics meet is where we are comfortable to work. What’s your favourite thing about The Handelshuis? I love the courtyard and the informal space it allows for people to connect, relax under the trees and discover special items for their garden and home. Q
The Groot Drakenstein Handelshuis is on the R45, halfway between Franschhoek and Paarl. Open from Monday to Saturday, 7am to 5pm diehandelshuis.com 42
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BOTANIST
‘The courtyard planting as well as the plants available in our specialist nursery are living examples of what can be achieved if we are mindful of our natural resources’ DANIE STEENKAMP
CLOCKWISE, FROM TOP LEFT: A NURSERY TABLE DISPLAYS THE UNIQUE FAN ALOE (KUMARA PLICATILIS); THE NURSERY AT DIE GIETER BOASTS AN ARRAY OF PLANT VARIETIES SPECIFICALLY SUITED TO THE LONG, DRY SUMMER MONTHS IN THE WESTERN CAPE; TRADITIONAL ‘LEIWATER’ LEADS ONE TO A MODEST WATER RESERVOIR
TEEMING WITH BULRUSHES AND WATER LILIES AND OUT OVER THE ORCHARD OF 200 OLIVE TREES; ILLUSTRATION OF THE WERF AND ORIGINAL BUILDINGS AT THE GROOT DRAKENSTEIN HANDELSHUIS SHOWS MOUNDS OF CLIPPED SPEKBOOM, WATER FEATURE AND TRANQUIL SEATING AREAS UNDER THE OLD PEPPER TREES
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SHOWROOM
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CLEAN SWEEP
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3 5 1. ‘200 SERIES’ DISHWASHER IN WHITE, POR, GAGGENAU; 2. 18KG TOP LOADER WITH ‘ACTIV DUALWASH’, FROM R9 999, SAMSUNG; 3. DYSON ‘BALL MULTI FLOOR 2’ IN YELLOW, POR, AMAZON; 4. BAGLESS ‘POWERPRO’ COMPACT VACUUM CLEANER, FROM R2 099, TAKEALOT; 5. ‘MOVE’ CORDLESS HANDHELD VACUUM CLEANER IN SILVER, FROM R1 399, BOSCH
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APPLY THIS
With a focus on user experience, Bosch’s line of cleaning appliances aims to integrate into the home seamlessly without distracting from your aesthetic. bosch.africa
For the design-conscious homemaker, LG allows you to have matching ďŹ nishes. You can never go wrong with their silver steel, which is both scratch- and stain-proof. lg.com/za
Samsung’s range of dishwashers are engineered to take on notoriously hard-to-clean items, such as pots and pans. They come with handy indicators and added features. samsung.com/za
Keep your cleaning appliances in tailor-made Portuguese cabinets from Fabri Kitchens. Their innovative designs ensure they are always within reach and safely stored. fabri.pt
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SHOWROOM 1
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1. ‘IQ500 SPEEDMATIC’ DISHWASHER IN SILVER, FROM R10 999, SIEMENS; 2. STEAM FLOOR CLEANER, POR, PHILIPS; 3. ‘PERFECTCARE’ COMPACT ESSENTIAL STEAM GENERATOR IRON, FROM R2 599, PHILIPS 4. ‘SCOUT RX1’ VACUUM CLEANER, FROM R12 999, MIELE; 9KG FREESTANDING FRONT LOADING WASHING MACHINE, FROM R7 999, WHIRLPOOL; 6. BAGLESS VACUUM CLEANER, FROM R1 350, DEFY; 7. TEFAL ‘MASTER PRECISION’ GARMENT STEAMER, R2 299, YUPPIECHEF
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6 ‘Bianco Italy’ marble tile, R349 womag.co.za
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GARDEN A LOW SLUNG, CORTEN STEEL WATER FEATURE BY GARDEN DESIGNER MARY MAUREL ADDS CHIC SIMPLICITY TO AN ABUNDANT PLANTING SCHEME
Water retention gels These magical gels are mixed into the soil when preparing for planting. They assist greatly in reducing water loss through evaporation during hot weather while the water held in them is still available to the roots of your plants. It means that the amount of irrigation required is markedly reduced. There are a few products available with differing lifespans in the soil. My favourite is Terra-Sorb as it can last for many years.
Mulch and micro-organisms Soil health is dependant on various systems, micro-organisms being a big part of vibrant soil. I have found the easiest method of conditioning soil is a product developed locally called Soil Build. It has two parts: a living mulch and an inoculant ball to mix into the mulch. The inoculant hosts a diversity of naturally generated micro-organisms and mycorrhizae, which work absolute miracles on damaged or depleted soils. The mulch itself is highly nutritious, long-lasting, looks great and is wind resistant.
Metal ďŹ nish ďŹ breglass
Franchesca Watson rounds up her pick of sustainable garden products for the twenty-ďŹ rst century gardener
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ustainability is a hot topic on gardener’s minds at the moment. Here is a selection of products that promote healthy gardens while still creating practical beauty.
Grass blocks These products create driveable surfaces by giving solid support while still allowing 48
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percolation of water through to the ground beneath, thus preventing wasteful runoff. I use them instead of, or combined with, paving wherever possible. There are many types, but my favourite is a plastic product called Sudpave that becomes totally invisible when ďŹ lled with soil and planted with lawn grass. I also use them to make stabilised gravel areas that are easier to maintain and use than loose gravel.
Corten We are starting to see more of this wonderful metal used in the landscape. It’s a type of weathering steel developed to remove the need for painting or ďŹ nishing. After about six months of exposure, it achieves its ďŹ nal appearance, which is a lovely mottled, dark, rust-bronze look. It is corrosion resistant and has tensile strength, which means it has many potential uses, such as low retaining walls, water features, planters and edgings. Franchesca Watson 082 808 1287 franchescawatson.com Q
P H O T O G R A P H S : E L S A YO U N G
Playing Favourites
I often have planters made up to my designs in ďŹ breglass, especially for roof gardens where weight can be a problem. Lately, my supplier has been making them in metal ďŹ nishes such as brass, bronze, lead and aluminium. Powder of the various metals is added into the ďŹ breglass to get the look.
1 KAREN NEWMAN SHARES HER THOUGHTS ON...
#13: FIREPLACES Hearth and home The expression ‘hearth and home’ is an old colloquialism that underpins how focal the ďŹ replace is to the house. It was used for everything: cooking, heating, boiling water for bathing. It really was the ‘heart of the home’. In modern times, where ďŹ replaces have fewer functional uses, they are no less important. Simply put, a house without a ďŹ replace (at least one in the commonly used living area of the house) is not a home. There is nothing that lures you in like a cracking ďŹ re. Considered ďŹ replace design will enhance the beauty and energy efďŹ ciency of your home.
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3 Position a ďŹ replace so that it is in view of those passing through the room or in adjoining rooms. [1] Allow space for people to sit and gather in front of the ďŹ replace – a lovely rug and some seating. [2] Both masonry and metal insert ďŹ replaces have their beneďŹ ts. In a more traditional or rustic home design, you could build the hearth of a ďŹ replace with ďŹ rebrick or stone. A metal insert ďŹ replace, on the other hand, is pre-manufactured so it is easy to install and can make for a more contemporary look. Gas ďŹ replaces are handy for instant heat but they seldom throw out as much warmth as a wood-burning stove There is a sensible trend towards enclosed solid-fuel burning stoves (either wood or pellets) as the tempered glass doors and an effective heat-air exchange system allows the warmth to circulate into the room. Wood-burning stoves are also feisty little bombs and can be smaller in size for effective heat generation. An open ďŹ replace is less energy efďŹ cient as much of the heat generated is wasted through the chimney. Having said
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that, a traditional open ďŹ replace with a generous hearth is unbeatable when it comes to atmosphere – they feel alive as they crackle away, and the aroma of burning wood adds to the real-deal feel. Double-sided ďŹ replaces allow you to heat two areas at the same time, and can aesthetically break up a large space whilst still allowing visual and light ow. [3] Mantels (an old wooden beam for example) can add to the beauty and practicality of your room. Accessorise your ďŹ replace. Add a generous basket for wood or built-in cavities next to or below the ďŹ replace for neatly stacking wood. Outdoor ďŹ replaces (built-in or freestanding) are a cultural necessity in South Africa as much as anything – braaiing is an integral part of our heritage, after all. Built into a verandah, they can enliven an outdoor eating area and allow the chef, family and friends to mingle while cooking is in process. [4] Fire pits are lovely to sit around, can be used year-round and, lit, they cast a lovely glow in a garden at night (and are great for toasting marshmallows). [5] newmanarchitects.co.za @newman_architecture_design Q
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ENSURE THAT THE FIREPLACE IS POSITIONED IN VIEW OF ANYONE PASSING THROUGH THE ROOM
A LARGE BASKET OR A CAVITY FOR LOGS IS NOT ONLY USEFUL BUT ADDS A TOUCH OF DESIGN SAVVY
ENSURE THAT THERE IS ADEQUATE SEATING – CHAIRS OR RUGS – AROUND THE FRONT OF THE FIREPLACE
DO NOT BE FOOLED BY THEIR SMALL SIZE: WOOD-BURNING STOVES CAN PACK A REAL PUNCH
DOUBLE-SIDED FIREPLACES NOT ONLY HEAT TWO ROOMS BUT ACT AS A HANDY WAY TO DIVIDE LARGER SPACES
AN OUTDOOR FIREPLACE DOUBLES AS A SOCIAL SPACE FOR SUMMER BRAAIS
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THE EDIT
P H O T O G R A P H : E L S A YO U N G
SUPERB HOMES AND STYLISH GARDENS
A CURVED SOFA AND DAYBED BY INTERIOR DESIGNER CHRISTINE JOUBERT AND ARTWORK BY DALE LAWRENCE IN THE CAPE TOWN HOME OF SMITH GALLERY FOUNDER CANDACE MARSHALL-SMITH
Full story overleaf
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TEXT GRAHAM WOOD PRODUCTION SVEN ALBERDING PHOTOGRAPHY ELSA YOUNG/BUREAUX
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ADDITIONAL ROOM WAS CREATED WITH TWO TIMBER-CLAD BOXES, WHICH WERE ADDED ON EITHER SIDE OF THE EXISTING HOUSE, FLANKING THE DOUBLE-STOREY GLASS FACADE PREVIOUS PAGE A TERRACED GARDEN BRINGS IN THE ROCKY LANDSCAPE AND INDIGENOUS TABLE MOUNTAIN VEGETATION
WORK OF HEART This reinvigorated late-Modernist home at the foot of Table Mountain has become an ever-evolving personal exhibition space for its gallerist owners and their young family
c andace and William Marshall-Smith decided to refurbish their Cape Town home while Candace was still energised after the renovation of her fine art gallery, SMITH, in the CBD. Not long after moving from Joburg to Cape Town with their young family, Candace and William found a house in the City Bowl suburb of Oranjezicht. The house itself was a fairly unremarkable ’70s double-storey. ‘It looked like a school building,’ laughs Candace, ‘but it had a wonderful sense of space, which is rare in Cape Town. It had incredible views of the city and Lion’s Head to one side, and it’s right at the foot of Table Mountain.’ A terraced, rocky garden with a beautiful stone staircase seems to bring the mountain right down to the edge of the house, giving it a strong sense of place. Yet, somehow, its potential had been overlooked, perhaps because of its inelegant architecture. But the position, and 360-degree outlook, were enough for the couple. ‘I just remember being astonished at the views,’ says Candace. And they could see potential in some of the house’s late mid-century features. Nevertheless, she and William didn’t renovate immediately. ‘We lived in it for three years,’ she says. ‘We had time to consider what we wanted to do.’ Besides, Candace was rather taken up with the launch of her gallery in a beautiful idiosyncratic heritage building in Church Street. After the success of that project, however, she was ready for another challenge, and decided to renovate. ‘I was excited to start the project,’ she says, adding that they had decided to have a third child, so she finally knew how many bedrooms to plan for. She and William worked with architects Stuart Thompson and Matt Pretorius of STARC to convert the existing house into the mid-century dream Candace had been nurturing in her imagination. They managed a remarkable alteration, retaining many of the late-Modernist features Candace and William had grown fond of, such as the fireplace and the stairway with its glazed facade on the southern side of the house, which let in views of the mountain and lovely soft natural light. They largely stripped out the rest of the interiors and added space
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THE KITCHEN JOINERY WAS BY COASTAL KITCHENS IN CAPE TOWN, THE BAR STOOLS ARE FROM STOKPERD AND THE CERAMICS ARE FROM VORSTER & BRAYE
THE LIGHT IN THE SOUTHSIDE LIVING ROOM IS SOFT AND INDIRECT. THE GEORGE-NELSON-STYLE PENDANT LIGHTS ARE FROM SPAZIO RIGHT THE DINING ROOM TABLE IS BY JAMES MUDGE, SURROUNDED BY WISHBONE-STYLE CHAIRS FROM BLOCK & CHISEL. THE ARTWORK BETWEEN THE DINING AND KITCHEN AREA IS BY KATHERINE BULL
IN THE LIVING ROOM, A DOUBLE-VOLUME SPACE WITH FLOORTO-CEILING WINDOWS LETS IN VIEWS OF TABLE MOUNTAIN RIGHT THE KITCHEN OPENS PARTIALLY TO THE LOUNGE, WITH A BREAKFAST BAR FORMING A LOW BARRIER BETWEEN THEM, DEMARCATING THE SPACE WHILE KEEPING THE TREETOP VIEW THROUGH A PICTURE WINDOW UNOBSCURED
THE FRONT LOUNGE OPENS ONTO THE DECK, WITH VIEWS OF THE CITY AND HARBOUR. THIS OPENPLAN ARRANGEMENT IS PREDOMINANTLY MID-CENTURY PIECES
to unlock the hidden potential of the unlikely building. Stuart and Matt opened up the northern views by cleverly lifting the eaves and wrapping the top level of the house with a balcony, which not only created a lovely deck but sheltered the interior from the northern sun. Candace adds that its new sleek horizontal lines also finally undid the impression that the house seemed to loom over them, which she had always found off-putting. Slatted timber screens provided relief from the sun, which tends to beat down quite mercilessly on the rocky mountainside, and clever sheltering devices provided protection from the wind and created cosy nooks for all weather. ‘That’s the benefit of living in the space for three years,’ says Candace. ‘We knew what the elemental challenges were.’ They also extended the grid of wooden windows Candace was so fond of on the southern side, adding a vast Mondrian-like arrangement of windows (actually inspired by the stonework around the fireplace) to let light flood deep into the interiors via the gorgeous double-volume lounge.
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Additional timber-clad boxes for a study and bedroom were added. ‘I had quite a speciďŹ c vision for the interiors,’ says Candace, who was keen to pick up on the mid-century cues in the architecture. ‘I’m a huge fan of furniture that is functional,’ she says. ‘And I love furniture that is ďŹ tted.’ Built-in window seats and daybeds have been worked into the bedrooms and study and, for the rest, Candace worked with interior designer and stylist Christine Joubert, who helped bring together a combination of new and vintage pieces to complement their existing collected furnishings and, of course, the art. Candace values the sense of time that a collector’s sensibility brings to a home, rather than everything looking like ‘it had all been acquired at once’. The sense of an easygoing, evolving interior was exactly what she was after. Restored Modernist pieces picked up at auctions rub shoulders with contemporary Modernist-inspired works by the likes of James Mudge, setting up a lovely sense of dialogue between past and present. Perhaps inevitably, the house has become something of a gallery in its own right. Candace bemoans the lack of wall space in many extensively glazed contemporary homes, something she was careful to retain during her renovation, balancing the spectacular views with space for art and everyday life. Apart from the southern façade, Candace points out, ‘The views are carefully framed and quite subtle. A lot of houses just maximise the views, which is not always the best solution.’ The result is a much more thoughtful relationship with the home’s beautiful setting. While she does have a few heirloom artworks and has picked up some 20thcentury-Modernist pieces by the likes of Walter Battiss, the majority of the collection is contemporary local art. ‘I really like how contemporary art is pushing the boundaries with medium,’ she says. So, while the architecture and furnishings might hearken back to the 20th century, the art is up-to-theminute. ‘A lot of art is from artists I work with at the gallery,’ she says. It’s a lovely expression of her belief in the artists she represents, but also brings a wonderful sense of life to the house. With its beautiful light and ample wall space – little nooks as well as large expanses like the stairwell, it really does atter art as much as life. SMITH smithstudio.co.za Q
IN THE MAIN BEDROOM, THE ROCKING CHAIR IS FROM PEZULA INTERIORS, THE COFFEE TABLE FROM WEYLANDTS AND THE RUG FROM HERRINGBONE. THE ARTWORKS ABOVE THE BED ARE BY DALE LAWRENCE TOP LEFT CANDACE WITH HER CHILDREN TESSA, MAX AND STELLA BOTTOM LEFT THE RESTORED DANISH MODERNIST ARMCHAIRS WERE ACQUIRED ON AUCTION
THE BALCONY IN FRONT OF THE LIVING ROOM LOOKS OUT OVER THE CITY. THE CHAIRS WERE ACQUIRED AT AN AUCTION FIND BY INTERIOR DESIGNER CHRISTINE JOUBERT
‘The views are carefully framed and quite subtle. A lot of houses just maximise the views, which is not always the best solution’ CANDACE MARSHALL-SMITH
DESIGN NOTES HAY ‘NELSON CIGAR’ CRISSCROSS BUBBLE PENDANT LIGHT, POR, CRÉMA DESIGN THROW IN MYSTIC SOLAR, R1 990, SHF
GROTTO I BY CATHY LAYZELL, 2019, OIL ON BOARD, POR, SALON 91 HANS J. WEGNER ‘WISHBONE’ CHAIR, POR, CARL HANSEN & SØN
P R O D U C T I O N : JA N I A D E L EY L A N DM A N , P H OTO G R A P H S : S U P P L I E D
HAMMERED VASE IN GOLD, R390, SHF
DIDIER GOMEZ ‘IPANEMA’ SOFA, POR, LIGNE ROSET
‘PLANALTO’ DINING TABLE, POR, OKHA
EASY VELVET IN COLOUR 553, POR, MAVROMAC AND GATEHOUSE
‘RAYA’ RATTAN BASKET IN NATURAL BROWN, R3 595, LA GRANGE INTERIORS
TEXTURED TUFF STRIPE CUSHION 50X50CM, R200, MR PRICE HOME
‘CLASSICO’ WOODEN FLOOR IN HANDSCRAPED GREYMIST, FROM R795, OGGIE FLOORING
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VINTAGE FURNISHINGS AND A CUSTOMMARBLE MANTLE DISTINGUISHING A LIVING ROOM IN DEAN AND DAN CATEN’S LONDON HOME
Ditch the chintz, embrace the chinoiserie – Dimore Studio’s house for fashion stars Dean and Dan Caten goes for the globe-trotting gold TEXT MITCHELL OWENS PHOTOGRAPHS PAUL RAESIDE APRIL 2020 HOUSEANDGARDEN.CO.ZA
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‘We wanted traditional London – modern isn’t what we were looking for, Dan Caten says. It’s a comment that startles a bit, considering that Dsquared2, the fashion label that he and his brother Dean founded more than two decades ago, has always been more rock ‘n’ roll than royalty. Instead, the Canadianborn identical twins – close-cropped silver hair, bold eyewear, whippet-thin physiques, and a habit of completing each other’s sentences – wanted a classic example of local real estate but on their own terms. So they went looking in a west London area that Tatler once called ‘mistressy and the fact cannot be avoided’: Maida Vale, where Italianate houses painted the colour of clotted cream have hosted kept women and infamous sex scandals since the 19th century. One of those stolid buildings, facing Regent’s Canal in the Maida Vale enclave of Little Venice, is now the Catens’ own. Appropriately enough, given the inhabitants, it’s a semidetached, one half of mirror-image residences built around 1830. (Actress Anjelica Huston lived next door as a teenager.) Despite the location, though, there is not a single Anglo signifier in its revamped rooms – no chintz, no Chippendale, no rus in urbe cheerfulness. That comes as little surprise, given that the Catens asked friends Emiliano Salci and Britt Moran of Milan’s Dimore Studio to decorate the house with the same cinematic moodiness that the firm brought to Ceresio 7, the celebrity-magnet bar and restaurant that crowns Dsquared2’s headquarters in the same Italian city.
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‘We try to come up with a storyline for every project, and we really wanted to create this idea of two travellers and all the treasures they have brought back from various places in the world,’ Britt says. Elaborate lookbooks, beautifully bound, are prepared at the start of every Dimore Studio commission – compilations, he adds, of ‘sensations, poetry and images that act as a style guide, with disposition of the pieces of furniture, how the spaces are going to work, the fabrics and the colours.’ Dean and Dan were smitten, although they had reservations. ‘A pumpkin-coloured room with a blush-pink ceiling? Hmmmm. I don’t know about that,’ Dan recalls. ‘Sometimes they can be very out there.’ Dean adds, ‘you have to trust them.’ Trust is why the kitchen has olive-brown cabinets offset by a pale sage-green floor, a combination, Dan admits, that ‘sounded weird to me, but when you see them together it works.’ As for the living room and dining room – the former’s sliding doors replaced with a folding divider of amber stained glass – they are enamelled such a deep, dark shade of blue that the spaces might as well be a grotto. That is, if one could imagine a grotto outfitted with a beefy rose-pink marble mantel, voluptuous green-and-whitestriped curtains, angular brass dining chairs, and expanses of green velvet that suggest neoclassical panelling without actually imitating it. Park some towering potted palms over here and over there, and you get a louche ’70S vibe, even though the effect is arguably nothing that the disco decade ever really experienced.
BOISERIE WITH INTEGRATED MIRRORS ENVELOPS A LIVING ROOM. THE CINI BOERI FOR ARFLEX SOFA IS UPHOLSTERED IN A JANE CHURCHILL VELVET AND THE CONSOLE IS BY DIMORE STUDIO OPPOSITE PAGE DEAN AND DAN CATEN WEAR DSQUARED2
THE KITCHEN IS CROWNED BY A DIMORE STUDIO CHANDELIER. THONET STOOLS STAND AT THE CUSTOM CHROMEPLATED-STEEL ISLAND LEFT DIMORE STUDIO PENDANTS HANG OVER A VINTAGE TABLE AND ROMEO REGA CHAIRS
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‘JUNGLE WEAVE’ WALL PANELS BY DIMORE STUDIO LINE DAN’S BEDROOM OPPOSITE PAGE, CLOCKWISE FROM TOP RIGHT AN OSVALDO BORSANI MIRROR HANGS IN DAN’S BATHROOM; IN DAN’S BEDROOM, THE VINTAGE DESK AND CHAIR ARE FROM LUIGI CACCIA; DAN’S CUSTOM CLOSET HAS VIENNA STRAW DOORS WITH BRASS HARDWARE
‘Our inspirations tend to be from the ’20s to the ’70s. Obviously, we didn’t live during most of those periods, but we have a perception of how they looked and felt,’ Britt says. ‘It’s magic for us to reinvent different time periods – or maybe how we want them to be.’ Mistakes are part of the mix, too. ‘Emiliano always adds something that’s not right, pieces that are odd or off, what he calls sbagliato, which means “wrongâ€?,’ Dean notes. ‘He says it takes something wrong to make it good.’ Consider the slouchy, low-slung Cini Boeri sofa, a ’60s design that is dressed in smouldering tangerine velvet, which in lesser hands might seem too big and too brash for the delicately cherryblossomed walls of a sitting room. ‘Emiliano once did a blackand-gold Asian room at Salone del Mobile,’ Dan recalls, ‘and he knew we loved that, but for us he used owers instead of birds.’ The studio’s work also tends to be enriched with mesmerising furniture and lighting by refreshingly non-household names. Chez Caten, that roster includes furnishings by Italian modernists Gianfranco Frattini and Luigi Caccia Dominioni. Britt and Emiliano are also restrained when it comes to relying on anything iconic. About the only instantly recognisables in the Catens’ seductive rooms are a scattering of walnut stools by Charles and Ray Eames in the chinoiserie living room and the Andy Warhol portraits of David Bowie and Elizabeth Taylor on the staircase. ‘It’s a combination of all the things we usually do but in a house that has its own patina, with good proportions and moldings,’ Britt observes. ‘Maybe that’s why it worked so well.’ Plus, Dan adds with a laugh, ‘We’re great clients – we don’t complain too much.’ Dimore Studio dimorestudio.eu Q
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‘It’s magic for us to reinvent different time periods – or maybe how we want them to be’ BRITT MORAN
CLOCKWISE, FROM TOP RIGHT THE HOME OFFICE, OUTFITTED WITH OSVALDO BORSANI CHAIRS AND A VINTAGE DESK AND TABLE LAMP, OPENS TO THE GARDEN; A JEAN-MICHEL BASQUIAT WORK IS DISPLAYED
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IN THE BOLDLY COLOURED ENTRY, WHERE A STUDIO DIMORE STOOL SITS BENEATH A CUSTOM SHELF AND MIRROR; ANDY WARHOL PORTRAITS OF DAVID BOWIE AND ELIZABETH TAYLOR IN THE STAIRWELL
DESIGN NOTES FRANCO MOZ ‘CRAZY PALMS TROPICAL BIRDS’, POR, ROBIN SPRONG
‘SALENCIA’ IRON HANGING LAMP IN GOLD, R7 995, LA GRANGE INTERIORS
‘BUTTERFLY’ RATTAN OCCASIONAL CHAIR, R6 958, EIGHT DEGREES SOUTH
PLASCON PAINT IN BIG BLUE STAR P1-A1-1, FROM R179, BUILDERS WAREHOUSE
P R O D U C T I O N : JA N I A D E L EY L A N DM A N , P H OTO G R A P H S : S U P P L I E D
CHARLES AND RAY EAMES ‘EAMES’ WALNUT STOOL, POR, HERMAN MILLER
MAISON LA CROIX ‘BOIS PARADIS’ LARGE SCREEN, POR, ROCHE BOBOIS
ALUMINIUM KNOT ORNAMENT, R449, @HOME
‘ASTHA’ 3-SEATER SOFA IN SORRENTO STEEL BLUE, R15 999, SOFACOMPANY.COM
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Urban Jungle At her Los Angeles house, garden designer Judy Kameon has introduced deďŹ nition and shade to a plot with a series of tired terraces and verdant, drought-tolerant plants.
TEXT CAROLINE DONALD PHOTOGRAPHS RICHARD BLOOM
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ere it not for an early love of dogs, the landscape designer Judy Kameon’s life might have taken a very different turn. It was the Eighties and she was studying fine art when she asked her painting professor if he knew of any property for rent that had a yard for her new Great Dane puppy. He told her of a house to let in Elysian Park, a neighbourhood in Los Angeles. She rented for a year, eventually bought it, and – more than three decades on – she is still there. The house is a Spanish-colonial style bungalow and it came with enough land on the upwards sloping site for Judy to build an artist’s studio behind it. In the early Nineties, she also bought the adjacent empty lot, as there was a beautiful 100-year-old pepper tree on it that she had long coveted. The first thing she did was install an egg-shaped pool at the bottom of the enlarged garden. She then created a terrace around the pepper tree, and the garden grew – literally – from there. ‘The bungalow was tiny and I love to entertain,’ she explains. ‘The outdoor space had the potential to be the biggest room of my house.’ Lack of horticultural knowledge was not going to hold her back. ‘I’m self taught, but I’ve never let that get in the way of my doing something,’ she says, as we sit under a leafy canopy with Zoey, the family dog, nuzzling me for attention. ‘I proceeded with great excitement, enthusiam and ignorance – I became completely obsessed.’
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This obsession would eventually lead to a new career. At the time, Judy was working as a wardrobe stylist and costumier in music videos: ‘I either had to invest more of my time in that world or get out – so I decided to get out.’ Searching for another creative outlet, she thought, ‘I love to cook and I have a garden,’ so she decided to open a restaurant one night a week. ‘I could seat 30 people in my garden – though we ended up with a few more.’ She held the grand opening of her pop-up one Thursday evening in June 1996, with the intention of running it over the summer. One of the friends she invited was the restaurateur and hotelier Sean MacPherson. ‘He said, “I love your garden. I’ve just bought a house that has an outdoor space. Can you start work on it tomorrow?” I told him, “Tomorrow I have to wash dishes – I will come the day after.” I started making a garden for Sean and, the next Thursday, I had my grand closing.’ It was a matter of digging in. ‘I had a truck and a spade, and I’ve never looked back. From the start, I was the crew – it was an amazing way to learn.’ Those early days of doing the work herself have paid off, as Judy is now considered one of the top designers in southern California. Staying true to her roots, she is also a landscape contractor and likes her company, Elysian Landscapes, to be responsible for the build, though these days the digging is contracted out. Reticent about naming many private clients, Judy has created gardens for the likes of the film director Sofia Coppola and Mike D of the Beastie Boys, as well as chic outdoor spaces for Balenciaga, Marc Jacobs, Isabel Marant and other designer names you’d see if you walked down famous Melrose Avenue. As you wander round the garden, with the levels connected by striking pigmented concrete steps, it is hard to believe it is on a south-west-facing slope.
LEFT JUDY IN FRONT OF HER STUDIO WITH HER DOG ZOEY. THE FEATHERY FOLIAGE OF A VAST, ANCIENT PEPPER TREE (SCHINUS MOLLE) PROVIDES WELCOME SHADE IN WHICH SPIKY ‘GOLIATH’ ALOES AND FAN-SHAPED ATLAS MOUNTAIN PALMS THRIVE OPPOSITE PAGE STEPS IN A PALE PIGMENTED CONCRETE LEAD UP TO JUDY’S HOME STUDIO FROM THE MAIN PATH – ALSO IN CONCRETE BUT HANDSEEDED WITH PEBBLES – THAT CONNECTS THE PROPERTY FROM TOP TO BOTTOM. THE LUSH GREEN SURROUNDING PLANTING INCLUDES ALOES, PALMS, ACANTHUS, VARIEGATED PITTOSPORUM AND A JAPANESE MAPLE PREVIOUS SPREAD JUDY INSTALLED AN EGG-SHAPED SWIMMING POOL AT THE BOTTOM OF THE GARDEN AND CREATED A TERRACE AROUND THE BEAUTIFUL 100-YEAR-OLD PEPPER TREE THAT DOMINATES THE PLOT. THE FAMILY ENJOYS DINING IN ITS SHADE ON FURNITURE DESIGNED BY JUDY AND HER HUSBAND ERIK FOR THEIR COMPANY PLAIN AIR. SPIRES OF ACANTHUS MOLLIS AND A ‘GOLIATH’ ALOE RISE ABOVE A BORDER PLANTED WITH CHAMAEROPS HUMILIS VAR. ARGENTEA, LOMANDRA LONGIFOLIA ‘BREEZE’ AND PITTOSPORUM TOBIRA ‘VARIEGATUM’ BACKED BY SWAYING BAMBOO
‘I’m self taught, but I’ve never let that get in the way of my doing something. I proceeded with excitement, enthusiasm and ignorance – I became completely obsessed’ JUDY KAMEON
The trees Judy has planted have grown into a jungle of greenery, shading out the harshness of the Californian sun for herself, her photographer husband, Erik Otsea, and her son, Ian. She collaborated with Erik on her 2014 book, Gardens Are for Living, and also on the stylish Plain Air furniture that peppers the garden. ‘When I ďŹ rst started making a garden here, it was during a period of extended drought,’ says Judy. ‘So I was very aware of water usage. At the same time, I wanted the garden to be beautiful and lush. It was about ďŹ nding suitable plant material and working out the appropriate balance.’ She applies this philosophy to her clients’ gardens, rarely installing lawns. For shade, as well as the pepper, there is a white grapefruit tree, which bears fruit for six months of the year, and a couple of carrotwood trees, Cupaniopsis anacardioides, that provide privacy around the pool, as well as a silk tree – Albizia julibrissin – for the natural umbrella shape of its canopy, its lacy foliage and apricot pom-pom owers. Then there is a sculptural dragon tree, Dracaena draco, tree aloes and a beautiful coral-barked Japanese maple, beneďŹ tting from the shelter of the pepper tree’s giant limbs. At the top of the garden is a ďŹ g – she has just ďŹ nished making jam from its fruit – and a tall, mature Australian willow, Geijera parviora, for it weeping foliage. A trip to England provided Judy with some of her inspiration. ‘I’d already started to create terraces to break up the space and provide deďŹ nition. In Somerset, the gardens at Tintinhull and Barrington Court reinforced the idea of making linked spaces, each with different functions and plant palettes. Over the years, I’ve become much more focused on foliage, texture and silhouettes; this garden is a study in different shades of blue and green. I ďŹ nd it very peaceful.’ That feeling of peace is much needed, as work is hectic. As we walk around the garden, Judy’s phone pings constantly with emails coming in, even though it is a Sunday morning. But gardening has taught her patience, she says. ‘When we ďŹ nish a job, it is just the beginning. I’m a perfectionist at heart, so it’s a daily reminder to let things take their course. Elysian Landscapes elysianlandscapes.com Q
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RIGHT, FROM TOP DOWN AFRICAN DAISY ARCTOTIS ACAULIS ‘BIG MAGENTA’ AND THE IVY HEDERA HELIX ‘NEEDLEPOINT’ PROVIDE ATTRACTIVE EVERGREEN GROUND BELOW AGAVE ATTENUATA A VINTAGE BROWN JORDAN DINING SET, POSITIONED IN A QUIET CORNER BESIDE THE HOUSE, PROVIDES THE PERFECT SPOT TO RELAX OPPOSITE PAGE THE PEPPER TREE OVERHANGS A PLANTING OF VIBRANT EUPHORBIA TIRUCALLI ‘STICKS ON FIRE’, STRAPPY AGAVE WEBERI AND SPIKY CORDYLINE ‘RED STAR’ ON ONE SIDE OF THE STEPS THAT LEAD DOWN TO THE POOL, BALANCED BY AN EXPANSE OF WHITE GRAPEFRUIT ON THE OTHER. COLOURFUL POTS FLANK VINTAGE CHAISES WITH CUSHIONS DESIGNED BY JUDY
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Double Ta k e Part creative manifesto, part urban cocoon, inside Cécile & Boyd’s earthtoned outpost
TEXT PIET SMEDY PHOTOGRAPHS MARC ROGOFF
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THE INTERIORS FAVOUR TONAL AND TEXTURED MATERIALS, SUCH AS RAW FABRICS AND METALLIC STATEMENT PIECES OPPOSITE PAGE CÉCILE & BOYD DESIGNER PAUL VAN DEN BERG
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PREVIOUS SPREAD A PHOTOGRAPH BY PIETER HUGO HANGS ABOVE THE FIREPLACE FLANKED BY FULL LENGTH MIRRORS THAT EXTEND THE SPACE. THE 1930S HAND-CARVED CHAIRS ARE FROM LIBERTY
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or CĂŠcile & Boyd designer Paul van den Berg, this project – a 60-square-metre at in London’s Pimlico neighbourhood – was an exercise in duality. As both client and designer (Paul worked closely with his business partner Boyd Ferguson), he wasn’t just creating a home but also a base from which the South African design studio could easily access its growing list of British and European projects. ‘The at needed to function as a comfortable home as well as a studio where we could meet clients and suppliers and do presentations,’ says Paul. ‘As such, it needed to represent our design aesthetic while keeping a close proximity to our work.’ The project would take 10 months to complete and include careful structural changes although, given the late Georgian house’s grade II listing, Paul was unable to touch any parts attached to the white stucco facade. ‘We moved some of the internal walls to enhance the classical architecture and update the spatial ow while also capitalising on the generous natural light, courtesy of the home’s east and west aspects,’ says Paul. Today, light streams in through windows in the western facing living room, with views of Warwick Square, and from a pair of bedrooms to the rear of the at, with the middle of the at occupied by the entrance hall and bathroom. ‘As designers we are obsessed with symmetry – it creates order, especially in smaller spaces – and as such we opened up the kitchen onto the living room in this manner.’ Finally, ceiling heights were maximised, timber shutters and period ironmongery restored and any new additions remained respectful to the architecture. ‘There were three main elements to the design,’ says Paul. ‘The ďŹ rst two being the interplay between the classical architecture and modern upholstery and furniture.’ When it came to selecting furniture, Paul and Boyd opted for pieces
that they had designed for clients over the years, largely inspired by the work of Jean Michel Frank and Christian Liaigre. ‘Lastly, we accessorised the design with a global mix of objets d’art,’ he says. ‘We sourced decorative pots from the Middle East, hand-carved lions from India, antique Liberty armchairs as well as contemporary African art.’ Paul is quick to point out that it is not all decor for decor’s sake, as the interior treatments also serve a very functional purpose within the apartment. ‘Terraced houses are typically long and thin, so we used decorating tricks to give the illusion of wider rooms, like mirrors as well as reective and dark wall coverings.’ Of course, this wouldn’t be a CĂŠcile & Boyd interior if it was not in some way a love letter to Africa – and the two designers don’t disappoint. ‘Our roots are grounded in Africa and we needed to represent that in our London apartment,’ says Paul. From the tones of jute basketry and fumed, wire-brushed timber to the glimmer of burnished bronze and the feel of raw silks and leather, Paul and Boyd have created a series of interiors that engage and transport the senses. ‘The richness of these materials, inspired by nature, feeds the soul,’ says Paul. ‘We are used to living in nature and it is wonderful being on a garden square so close to the river. In the madness of London, it is amazing to be able to retreat to this sanctuary.’ CĂŠcile & Boyd cecileandboyds.com Q
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‘Our roots are grounded in Africa and we needed to represent that in our London apartment’ PAUL VAN DEN BERG
ABOVE THE SECOND BEDROOM WALLS ARE CLAD IN BONE-COLOURED PLAITED LEATHER WHILE THE HEADBOARD IS UPHOLSTERED IN CHARCOAL FELT OPPOSITE PAGE THE ENTRANCE HALL WALLS ARE CLAD IN NATURAL CORK, RESEMBLING TREE BARK, THE FLOOR IS IN HONED STONE AND THE CEILING IN REFLECTIVE SILVERLEAF PAPER
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DISPERSE BY LIONEL SMIT, 2017, MIXED MEDIA AND OIL ON LINEN, POR, EVERARD READ
METAL COFFEE TABLE, R19 995, LA GRANGE INTERIORS
ÉLITIS RAW RAFFIA ‘NOSY BE’ WALL COVERING, POR, ST LEGER AND VINEY
18-ARM CHANDELIER, MEDIUM, R48 800, THE CROWN COLLECTION ANTIQUE BRASS PEBBLE VASE, LARGE, R980, CÉCILE AND BOYD
SWIVEL LOUNGE CHAIR IN BLACK WALNUT, R33 099, KARE DESIGN
BENIN BRONZE HEAD, EXTRA LARGE, R6 995, WEYLANDTS
‘VALENCIA’ RUG IN GREY NATURAL, R5 299, @HOME
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A GREAT ESCAPE
Sandra Nunnerley strikes a harmonious balance in this New York beach house TEXT EDWAIN STEENKAMP PHOTOGRAPHS RICHARD POWERS
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A POLISHED CONCRETE TABLE WITH CHAIRS FROM THE 1950s BY JACQUES QUINET WITH A CUSTOM KELIM AREA RUG BY CARINI LANG
OPPOSITE PAGE IN THE SITTING ROOM, A CUSTOM SOFA BY SANDRA NUNNERLEY INC. WITH A VINTAGE ‘HOOP’ CHAIR BY HANS WEGNER AND CHAIRS BY MAISON GERARD
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hen it comes to beach houses, you’d be hard-pressed to find a few with enough effortless luxury that appeases those escaping from the fast pace of the city, while retaining the kind of practicality one would expect in a family home. But of course, not all beach houses have interiors designed by Sandra Nunnerley. This shingled beach house in the village of Southampton, near New York, is one of contrast and balance. Fine decor sits alongside raw textiles, key styles from every decade, and even every continent – all coexisting in a surprisingly natural way. For Sandra and the team at her New York-based design studio, Sandra Nunnerley Inc., this is the result of a very considered and detailed approach that has resulted in the harmonious balancing of different elements. ‘We always want to understand how people live in a house,’ she says. ‘In this case, I know the family quite well, as we’ve worked together on two previous projects.’ She adds, ‘but with any project, you have to determine how people move and function in a space and, most importantly, what their lifestyle is like.’ 86
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A DOUBLEARCH PEDESTAL OAK ‘CIPANGU’ TABLE AND A CUSTOM ‘VELIN’ BANQUETTE BENCH BY CHRISTIAN LIAIGRE, ON THE WALL, DECORATIVE PANELS BY THOMAS BOOG
PREVIOUS PAGE NEAR THE FRONT DOOR, SANDRA BROUGHT IN A LARGE CUSTOM HANDWOVEN HEMP AND LINEN RUG BY BEAUVAIS, ALONG WITH A KLISMOS BENCH MADE FROM TEAK
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‘The house is a well-balanced design equation. Nothing shouts at you. There is a real sense of tranquillity’ SANDRA NUNNERLEY 88
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For this project, a family based in Manhattan wanted a place to escape to during the summer months. ‘We wanted this to be the type of house where the family could walk in from outside with sand-covered feet,’ says Sandra, ‘swimming gear and bags in hand. Which is why it was important that beneath the surface, every room had to be as relaxed and practical as possible.’ Working closely with Scott Sottile, a principal at New York-based Ferguson & Shamamian Architects, the existing house was completely reconfigured to allow for open-plan living. Walls were broken down, doors were widened, and certain features, such as the staircase in the entryway as well as the floors, were made to be more practical and suitable for the house. The result: a spacious and intuitive design where the kitchen serves as the centre of the home. Here, Sandra says, the family can entertain friends hassle-free and naturally. This need for ease of movement meant that finding the perfect furniture was crucial. While almost everything for the house was sourced, certain pieces had to be conceptualised and made from scratch. Custom furniture (by Sandra Nunnerley Inc.) helped meet the needs of a family on holiday. ‘The sofas are large yet elevated and don’t take away from the feeling of spaciousness in the living room,’ she says. ‘You can put your feet up on them, lie down and take a nap. It’s what you want from a house by the sea.’ To help layer the furniture Sandra incorporated various textiles she found while travelling in Bali
ABOVE CUSTOM SOFA AND CHAIR BY SANDRA NUNNERLY INC. WITH A JACQUES JARRIGE COFFEE TABLE. THE LIVING ROOM ALSO BOASTS A DJIM BERGER SIDE TABLE BY MAISON GERARD, WITH SCONCES BY FLOS LIGHTING. THE RUG IS BY WOODARD & GREENSTEIN
RIGHT THE MUTED DISPLAY CABINET IS CONTRASTED WITH THE ARTWORK PARDON, 2012, BY DAMIEN HIRST. A VINTAGE INDUSTRIAL WOOD SLAT BENCH STANDS ON A CUSTOM KELIM AREA RUG WITH STRIP MOTIF BY CARINI LANG APRIL 2020 HOUSEANDGARDEN.CO.ZA
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OUTDOOR FURNITURE BY WALTER WICKERS WITH OUTDOOR FABRICS BY GLANT TEXTILES BELOW DESIGNER SANDRA NUNNERLEY
and Java, a process that she says made her feel more like a collector than an interior designer. Curtains, throws and cushions were among the treasures she found and are now used throughout the house. As with most of the studio’s projects, art makes up a prominent part of the interior design process. ‘While the family has a wonderful art collection in the city, we decided to opt for more relaxed works for the house. We added playful elements that speak to the atmosphere of the beach.’ Among these are photographic prints by Horst P. Horst for a 1941 issue of Vogue and Lionel Kazan for a 1960 issue of Glamour. Elsewhere in the house, art by Damien Hirst and Diane Petry stand out beautifully against the walls, while oral prints by artist Elizabeth Ockford and Nepalese paper prints echo the muted palette of the living rooms and kitchen. As with everything else in the house, the art is all about creating consistency. ‘The house is a well-balanced design equation,’ says Sandra, ‘nothing shouts at you. There is a real sense of tranquillity.’ Quite appropriate for a beach house, we’d say. Sandra Nunnerley Inc. nunnerley.com Q
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DESIGN NOTES ‘KANZ’ VASE, POR, NATUZZI LZF ‘POPPY’ PENDANT LIGHT, POR, NEWPORT LIGHTING
For Sandra Nunnerley, balance comes from mixing modern pieces, retro patterns and natural textures
‘LAF’ VASE, POR, NATUZZI ‘TUSCANY’ RATTAN SOFA IN SYNTHETIC BEIGE, R17 999, SEVENS
P R O D U C T I O N : JA N I A D E L EY L A N DM A N , P H OTO G R A P H S : S U P P L I E D
‘INDIGI’ CUSHION COVER IN CORAL, R320, ELEVENPAST
PLASCON PAINT IN DESERT WATER B5-B2-2, FROM R179, BUILDERS WAREHOUSE
FLECK VELVET CUSHION IN OCHRE, R400, MR PRICE HOME
‘REID’ CHAIR, R5 490, SHF
‘MILANO’ FABRIC IN COBALT, POR, SUNBRELLA ‘SADIE’ MEDIUM PATIO TABLE, R1 609, CORICRAFT APRIL 2020 HOUSEANDGARDEN.CO.ZA
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GOURMET INSPIRING CUISINE, TASTEFUL TRAVEL
Take Comfort
Hearty to have, worthwhile to cook – as the days get colder, let these slow-cooked warmers comfort you RECIPES BY SIMON HOPKINSON PHOTOGRAPHER NASSIMA ROTHACKER
MEAT-ANDPOTATO PIE
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SWEET-AND-SOUR LEEKS WITH EGG, PEPPERS, CHIVES AND CREAM
from the foil liner and place in a bowl. Add all the ingredients for the dressing, plus a little salt and freshly ground black pepper, and whisk together until well blended. 4. To assemble, trickle the dressing over the leeks with a spoon. Sprinkle over the pimento and grate over the eggs. 5. Finally, sprinkle over the chives and drizzle with a little olive oil.
MEAT-ANDPOTATO PIE 6 Servings
Instead of milk, you could use beaten egg to brush the pastry, but my thrifty mom always used milk. She also always used white pepper and it gives an authentic taste of the Sixties – use freshly ground black pepper if you prefer. The stock cube is optional, but it gives a definite flavour boost.
SWEET-ANDSOUR LEEKS WITH EGG, PEPPERS, CHIVES AND CREAM 4 to 6 Servings
I have always loved the French classic poireaux à la vinaigrette. With this recipe, however, the dish is given a boost from the peppers (I use good-quality Spanish ones from the jar), the chives and a touch of cream for added richness. Beware of under-cooking the leeks in the steamer: al dente is not nice. FOR THE LEEKS 4-6 medium-sized leeks 2-3 pieces cooked red pimento 94
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FOR THE PASTRY 100g salted butter 100g lard 320g self-raising flour, plus extra for dusting 120ml ice-cold water Milk, for brushing pepper, chopped into smaller pieces 2 hard-boiled eggs 1T chives, finely chopped FOR THE DRESSING 1.5T sherry vinegar 1t caster sugar 100ml whipping cream 60ml extra-virgin olive oil, plus extra for drizzling
FOR THE FILLING 500g stewing steak, or bavette steak, cut into 2cm chunks 500g onions, coarsely but neatly chopped Half a beef stock cube (optional, reduce the salt if you use it) 500-600g potatoes, peeled and cut into chunks (slightly smaller than the beef)
TO SERVE Buttered bread
TO SERVE Pickled red cabbage
1. Cut each leek into 5-6 short barrels, equal in length. 2. Line
1. Cut the butter and lard into
a steamer with foil, neatly arrange the leeks on their ends, then pull up the sides of the foil to keep them in place. 3. Take 3-4T of the leek juice
small chunks and place in a bowl with the flour. Loosely mix together, then put in the freezer for 20 minutes. 2. Place mixture in a food processor and pulse until the
fats have been reduced to smaller pieces and has a rubbly look. 3. Tip into a large bowl and, using a knife, mix in the water little by little until the mixture is only just coming together. 4. Tip onto a floured surface, bring together with your hands, then lightly knead. The pieces of fat should remain visible in the dough. 5. Now roll out the pastry to a very rough rectangle (around 20x30cm), the shorter side facing you. Fold over into thirds, then turn by a quarter. 6. Repeat the process and rest in the fridge for 30 minutes. 7. Do this rolling/folding/ turning/resting at least once more, twice more for the best flaky results. 8. Place the finished pastry in a plastic bag and keep in the fridge until needed. 9. For the filling, put the beef and onions in a large pot with 2t salt, 1t pepper and the stock cube (if using) and cover with 700ml water. 10. Bring to a simmer, remove any scum, then cover. Simmer for about 1 hour or until the meat is almost tender. 11. Stir in the potatoes and simmer for 30 minutes more, then tip into a rectangular baking dish (20x30x8cm) and allow to cool completely. Heat the oven to 170˚C. 12. Roll out the pastry to a shape slightly larger than the dish, brush its edges with a little milk and fit it into the dish, pushing the edges down a little within the rim. This will allow for pastry shrinkage and is something I always do to prevent the pastry ending up as simply a tight, taut sheet over the filling. 13. Brush with milk, crimp the edges with a fork and run the back of a knife over the surface in a lattice. 14. Make four vent holes, then bake for 45-50 minutes until pale gold on top. 15. Serve with pickled red cabbage or tomato sauce.
SPICED SMOKED HADDOCK PILAF 4 to 6 Servings
A fine pilaf is all about the rice. I use a fragrant, extralong-grain basmati and I never wash them beforehand. 40g butter 2t garam masala 0.5t turmeric 250g basmati rice 375ml light chicken stock 1 lemon, grated zest, and juice, to
serve (optional) 1 bay leaf 2 mild green chillies, seeded and finely chopped 1 thumb-size knob fresh ginger, peeled and finely grated 400g undyed smoked haddock fillets, boned, skinned and halved 2-3 spring onions, trimmed and sliced 2T fresh coriander, chopped
1. Heat the oven to 160˚C 2. Melt the butter in
a solid-bottomed, lidded pot. 3. Add the garam masala and turmeric and sizzle gently for a moment. 4. Tip in the rice and stir to coat the grains. 5. Pour in the stock, then add the lemon zest, bay leaf, chillies, ginger and a touch of seasoning. 6. Bring to a simmer, then slip in the haddock fillets, gently submerging them under the surface. Put on the lid and cook in the oven for 20 minutes. 7. Remove from the
oven, but don’t remove the lid. Leave to stand for 5 minutes, this is important as it allows the rice to finish cooking. 8. Take off the lid and tip in the spring onions and coriander. 9. Using 2 forks, gently break the fish into flakes and mix everything together. 10. Remove the bay leaf, cover the pot with a tea towel and clamp on the lid. Leave for a further 5 minutes. 11. Uncover and squeeze over lemon juice, if preferred.
CORNISH HEN SALAD WITH CHICORY, LAMB’S LETTUCE AND BACON 4 to 6 Servings
I use a mini food processor to achieve the correct emulsive dressing here (alternatively, you can use the smaller cup of a NutriBullet blender).
Try to find a plump Cornish hen that is nice and fatty – it is my preference as it has a crispy skin. There will be more dressing than you need, but it is impractical to make a smaller amount. Leftover dressing will keep well in the fridge in a screw-top jar for a week or so and can be used to drizzle over salads and other meals.
CORNISH HEN SALAD WITH CHICORY, LAMB’S LETTUCE AND BACON
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FOR THE DRESSING 2T smooth Dijon mustard 2T white-wine vinegar Half clove garlic, crushed (optional, but nice) 2-4T recently boiled water 300-325ml light olive oil
4 handfuls lamb’s lettuce 8 thin rashers unsmoked streaky bacon, or pancetta 1 Cornish hen breast 1 small shallot, very finely chopped 1. Put all the dressing
FOR THE SALAD 2-3 small heads chicory, trimmed of outer leaves with inner leaves separated
ingredients with seasoning into a small food processor, then whizz until smooth. Once the consistency is pale and creamy, season to taste. The consistency should be one of thin salad cream – add a little water if needed. 2. Place the chicory leaves in a bowl of iced water and soak for 10 minutes, then lift them out and wrap in a tea towel to dry. 3. Rinse the lamb’s lettuce in the same water, then drain and add to the chicory. Set aside wrapped in the towel. 4. In a large frying pan, dry-fry the bacon over a low heat until very crisp, about 5 minutes should do it. 5. Lift out onto kitchen paper and put aside. Keep the fat in the pan. 6. Season the Cornish hen breast well and gently fry on each side until the fat has run out and the skin is crisp, 5-7 minutes per side ought to be enough. 7. Loosely cover the meat in the pan with foil and rest for 10 minutes off the heat. 8. To assemble the salad, take a large and handsome platter and distribute the salad leaves upon it, mingling them together as you go. 9. Thinly slice the breast, lay over the leaves and spoon a little of the pan juices over the meat. 10. Using scissors, snip the bacon into small pieces over the leaves and breast, then spoon some dressing all over in a swooping motion, allowing it to fall as streaks. 11. Don’t over-dress – you don’t want to swamp the dish. 12. Finally, sprinkle over the finely chopped shallot and serve.
MARMALADE QUEEN OF PUDDINGS 4 to 6 Servings
I have been using brioche crumbs for my Queen of Puddings for about 10 years now – simply cut the crusts off a couple of thick slices and use a small food processor to turn them to crumbs. I added grated orange zest to this, too. 275ml milk 1 orange, grated zest Few drops vanilla extract 100g caster sugar, plus a little
extra for sprinkling 60g brioche breadcrumbs 2 large eggs, separated Butter for greasing 4T best-quality marmalade, preferably not too chunky Pouring cream to serve
1. Warm the milk with the orange zest and vanilla, then remove from the heat, cover and leave to infuse for 30 minutes. 2. Add 50g of the caster sugar, breadcrumbs and egg yolks and a pinch of salt pour in the mixture. 3. Leave for 20-25 minutes to allow the crumbs to swell.
4. Heat the oven 160˚C. Place the dish in a deep oven tray and pour tap-hot water into the tray to make a bain-marie – it should reach two-thirds up the side of the dish. 5. Bake for 25-30 minutes, until only just firm to the touch. 6. Remove from the oven, lift out of the bain-marie and leave until cooled to room temperature. 7. Reduce the oven temperature to 130˚C. 8. Meanwhile, beat the egg whites until they are stiff, then start to add the remaining 50g caster sugar in a thin stream.
Continue beating until thick and glossy. 9. Warm the marmalade in a small pan and spoon over the sponge – ensure to cover the whole surface. 10. Pile the meringue on top, shape into loose folds with the back of a spoon, then sprinkle with a little more sugar – this will give the surface the most gorgeous crunch. 11. Return the pudding to the oven for at least another 15-20 minutes, or until it is golden, puffed and well crusted. 12. Leave until lukewarm, and then serve with cold pouring cream. Q
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As Nature INTENDED At Tengile River Lodge, in the Sabi Sand Private Game Reserve, style and sustainability are a way of life TEXT PIET SMEDY PHOTOGRAPHS ELSA YOUNG
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EACH LODGE UNIT FEATURES A PRIVATE POOL AND DECK, OUTDOOR DINING AND SEATING AREA, PRIVATE LOUNGE AND BAR
PREVIOUS PAGE FROM THEIR LOW-SLUNG POOL DECKS, EACH UNIT IS AFFORDED UNPARALLELED VIEWS OF THE SAND RIVER
here was incredible synergy on this project,’ says designer Michele Throssell, who teamed up with architects Nicholas Plewman and Ursula Randall, of Nicholas Plewman Architects + Associates, to realise this special addition to the andBeyond group of luxury lodges. ‘Nick’s placement of the units was truly inspired, tucked deep into the landscape beneath these magniďŹ cent trees,’ says Michele. ‘When you visit the lodge you barely notice them and the dappled light that this location affords them is simply magical.’ Ursula elaborates, ‘the architecture of Tengile River Lodge was greatly inuenced by two main aspects. The history of the area, including the Selati Railway Line and Kirkman’s Kamp, and the unique bend in the Sand River, which allows guests to experience views of the river north and east.’ From the oors, which have Selati Railway stones imbedded in the concrete, creating a unique arrangement of colour and pattern, to the stone cladding sourced from a local stone quarry and even the rusted metal sheets that offer a contemporary take on colonial-era rooďŹ ng, it’s clear that through the use of materiality, Tengile River Lodge speaks to its immediate and local connections. This also extends to the lodge’s approach to sustainability, with most of the materials having been repurposed. The structure itself, too, comprises a steel frame that required minimal foundations and excavation. For the interiors, Michele once again turned to nature for inspiration. ‘In the bush, you have these different animal prints that camouage beautifully into the landscape,’ she says of her mĂŠlange of zebra stripes and bush veld tones that come together to achieve the lodge’s richly cocooning spaces. ‘By bringing the outside in, playing on the bark textures of the trees and incorporating these wildlife elements in the form of velvets and frayed-edge upholstery, we were able to channel the intoxicating allure of the bush.’ Critical to Michele’s design modus operandi is the notion of form meets function, best summed up by the Steve Jobs quote: ‘Design is not just what it looks like and feels like. Design is how it works’. These little touches, such as USB points in couches and LED strip lighting inside the dressing rooms, are where the true luxury of Tengile River Lodge’s execution shines. ‘We set out to create a lodge that is unique, while still being as close to nature as possible, with uncompromising luxury and a minimal footprint on the environment,’ says Ursula – and Michele agrees. ‘We juxtaposed the raw and the reďŹ ned, melding the colours of the bush with contemporary colonial pieces to achieve a new interpretation of glamour.’ Michele Throssell Interiors michelethrossell.co.za; Nick Plewman Architects + Associates plewmanarchitects.co.za Q
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ABOVE AN OUTDOOR SEATING AREA EXEMPLIFIES MICHELE’S APPROACH TO THE PROJECT, WITH CAMOUFLAGE PRINTS, ZEBRA STRIPES AND BUSH VELD TONES LEFT THE ARCHITECTURE OF THE LODGE UNITS PURPOSEFULLY LOOKS OUT ONTO THE SAND RIVER, NOT ONLY MAXIMISING ON THE SPECTACULAR VIEWS LOCATION BUT OFFERING COMPLETE PRIVACY
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BELOW THE BAR AREA FEATURES ‘RAINFOREST GREEN’ MARBLE COUNTERS THAT REFERENCE THE RIVERS AND TRIBUTARIES OF THE SABI SABI REGION. LEATHER ELBOW RESTS ARE ANOTHER EXAMPLE OF ATTENTION TO LUXURY
RIGHT STONE FROM THE SELATI RAILWAY WAS INCORPORATED INTO THE FLOORING, CREATING A GREEN-ANDRUST COLOURED TERRAZZO WHILE SLATTED RAW WOOD WRAPS BOTH THE CEILINGS AND WALLS FOR A CABINLIKE EFFECT
‘We juxtaposed the raw and the refined, melding the colours of the bush with contemporary colonial pieces’ MICHELE THROSSELL APRIL 2020 HOUSEANDGARDEN.CO.ZA
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CLOCKWISE, FROM TOP LEFT THE INTERIORS BLEND REFINED AND RAW ELEMENTS; MIXED MATERIALS, FROM BRICK AND TIMBER TO LEATHER
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AND NATURAL FABRICS, IN A BEDROOM; CLOSENESS TO NATURE MEETS UNCOMPROMISING LUXURY AT A SUNKEN OUTDOOR SEATING AREA
ADDRESS BOOK Superior Quality Timeless Appeal Individually Handcrafted P‘ 0DKRJDQ\ ¿QLVK
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OBSESSION
Velvet Goldmine Luxe fabric gets an update in rich autumnal hues From ruby and russet to jade and lapis lazuli, velvety smooth gem tones evoke the type of plush warmth that the cooler seasons demand of an interior. Designers Guild’s new Tarazona range of fabric (which comes in 50 colourways available through Home Fabrics) is engineered to be tough and easily cleaned, ďŹ nally making velvet a practical fabric for family homes. homefabrics.co.za
P H OTO G R A P H : S U P P L I E D
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DIAMOND SPC Tile
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TOURMALINE Vinyl tile - 900 x 450 x 6mm, coral stone finish with a 4-sided micro bevel.
Stone plastic composite, stable vinyl floor tiles
100% waterproof, Designed for the South African climate with a stable rigid core. Diamond Tile is available from all leading FINfloor suppliers.
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Photographs may vary from the actual samples
Member of SAWLFA