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the design issue john jacob ÷ kelly hoppen ÷ peter marino kim stephen ÷ donald nxumalo ÷ roger ballen kelly wearstler ÷ hubert Zandberg mary maurel ÷ otobong nkanga ÷ tiaan nagel

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CON TEN TS january/february

60 I NS I D E R 12 17 21 26 29 31 6

FROM THE EDITOR Editor in

Chief Piet Smedy welcomes you to the Big Design issue VERNISSAGE Otobong Nkanga’s first solo exhibition in Africa SHOPPING Three curators inspire three shoppable moods LEGACY Roger Ballen reflects on a life behind the camera DEBUT Tiaan Nagel’s triumphant return to the design scene ART A guide to the Investec Cape Town Art Fair and more HOUSE

GARDEN JANUARY/FEBRUARY 2020

D ES I GN 37 41 46 49 52 56

ARCHITECTURE Louis Vuitton

gets Peter Marino’s magic touch DESIGN SOLUTIONS The very best in interior lighting design COLLABORATION Kelly Hoppen and Hakwood get graphic SHOWROOM Seriously stylish appliances for the new year PROFILE Inside the high-glam world of Kelly Wearstler ARCHITECT’S NOTEBOOK

Karen Newman gives us the lowdown on walls, floors and ceilings

G A R DEN S 76

CONSTANT GARDENER

H&G Gardens Editor Heidi Bertish talks to local architectturned-landscape-designer Mary Maurel about her garden

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

CON TEN TS january/february

37 76 T H E ED I T

HISTORY REPEATED Cover star

designer John Jacob transforms a 1950s apartment in Cape Town into a midcentury modern marvel COLOUR COMPACT

Print and pattern take centre stage in South African decorator Kim Stephen’s colourful London home FINDERS KEEPERS Hubert Zandberg renovates a family home inspired by Notting Hill’s vibrantly eclectic street life BOY MEETS WORLD

Decorator Donald Nxumalo makes a punchy debut in H&G with this Joburg family home

C O NC I ER GE

29 8

HOUSE

GARDEN JANUARY/FEBRUARY 2020

99 112

GOURMET Discover why tomatoes

are all we’re craving at the moment OBSESSION The wilder, weirder side of floral arrangements

ON THE COVER: History Repeated, page 60. Photographed by Elsa Young.

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from the editor

otice anything different? After 22 years we’re taking a bold new direction. What better way to signal that than with a striking new logo – and what better month to shake things up than January, the month when we all recharge, regroup and reflect. ‘direction’ has become a bit of a buzz word for me. the way i see it, it’s less about trends and more about, well, directions. in my mind, the former conjures up notions of the ephemeral, subjective, even whimsical, while the latter signals a commitment to an ideology, a belief in the meaning behind one’s work – sometimes, as in the case of photographer roger Ballen, that’s a direction 30 years in the making. this issue is dedicated to the pursuit of discovering these design directions, and we turned to the industry’s biggest game-changers to answer one question: what next? for Kelly hoppen it’s graphic tiles that turn flooring into personal expression, for Peter Marino it’s evoking emotions through art and architecture and for tiaan nagel it’s writing your own history through your work. fittingly, all the houses that we feature in this issue are by local designers; from Cape town to London, there’s a touch of SA design on every page. We have so much to be proud of and i hope that by the end of this issue you feel the same way. Let’s build on our success, Welcome to the new House & Garden.

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Coming Home Celebrated multidisciplinary artist Otobong Nkanga returns to Africa with a reflective celebration of twenty years of work: her first solo museum exhibition on the continent at Zeitz MOCAA. 8 zeitzmocaa.museum

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‘My mother told me to choose art because with art, I could do everything’ Celebrated artist Otobong Nkanga opens ‘Acts at the Crossroads’ – her retrospective of 20 years’ work. This marks her first solo exhibition on the African continent TEXT EDWAIN STEENKAMP ‘Coming from a place like the African continent, we’re very familiar with the idea of borders,’ says Otobong Nkanga. ‘We understand it very well because of visas, passports, language barriers, and the difficult relationships between countries like Nigeria and Cameroon. We all grew up thinking of the other not through connections but division.’ For the last 20 years, Otobong has explored the politics of land and its relationship to the body while unpacking different histories of 18

house

garden January/february 2020

land ownership and migration. In her work, she searches for similarities and connections between different people that transcend geographic and cultural divisions. The result has been a body of work that is not only deeply personal to the artist, but profoundly relevant to the viewer. This interpersonal and charged experience is the reason Otobong is lauded as one of the most important contemporary artists working today. But while she has garnered much acclaim overseas (most recently, the Lise

Wilhelmsen Art Award in Norway and the Sharjah Art Foundation Prize in the United Arab Emirates), her exhibition ‘Acts at the Crossroads’ at the Zeitz MOCAA is her first solo exhibition on the African continent, and her first time showing in South Africa. ‘With regards to exhibiting in Africa for the first time, spaces for such are still new,’ says Otobong. ‘The continent is only now growing in a way that allows us to build our own structures and histories.’ Otobong believes that this is part of a change that will see more artists in Africa and the Diaspora showing their work, and also people returning to Africa for the first time after their forefathers left generations ago. ‘When I was younger and choosing a career path, my mother told me to choose art because with art I could do everything.’ This sentiment, she adds, has helped build her large body of work over the last two decades. Her art explores almost every form of media, from photography and collage to tapestry and installation. The exhibition also includes previously unseen pieces. ‘I have kept a lot of my work with my husband who has always been a fierce protector, so there are pieces that have never left my studio or entered the market before,’ she says. ‘Acts at the Crossroads’ will run at the Zeitz MOCAA until the end of February. Zeitz MOCAA 8 zeitzmocaa. museum; Otobong Nkanga 8 otobong nkanga.com

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His Dark Materials

With a major exhibition in Paris, a new book and an eponymous centre for photographic arts nearing completion, multidisciplinary artist Roger Ballen reflects on his own life journey t e xt ro ge r bal le n

have been taking photographs for over 50 years and have been living in Johannesburg for 38 years. during this time, I have developed an aesthetic that is commonly referred to as Ballenesque. From 1982 to 1994, I worked exclusively in the south african countryside, and from the mid-nineties, I have taken nearly all my photographs in and around Johannesburg. It is clear to me that I inhabit an anomalous position, as an outsider and insider. I am an insider in the sense that I am well educated, travelled and aware of the nuances of the photographic and art world. In my daily routine, I regularly travel to what I refer to as the â&#x20AC;&#x2DC;outlandâ&#x20AC;&#x2122; â&#x20AC;&#x201C; a place that might seem strange, enigmatic, chaotic and even dreamlike. I have never considered myself a documentary photographer in any traditional way. My images have always

reflected a psychological preoccupation. over the years, they have evolved into what I believe is a unique aesthetic, revealing a world that is neither real nor unreal, sane nor mad. My images should challenge and provoke my subconscious mind with enigmatic questions that may take years to reconcile and answer. If I have an implicit understanding of the underlying meaning of my imagery, the work has little value to me. In other words, my best works are the ones I do not understand. It is clear to me, and most people who view my photographs experience the fact that they have an unexplainable means of lodging themselves in their subconscious minds. how and why this occurs is hard to fathom, but it is a fact that seems to happen more often than not. It has become evident that my photographs contain archetypal symbols that elicit a common response wherever they are seen.

im m e rs e d , 201 6 o p p os i t e pag e , c lo ck wi s e , f r o m to p le f t t h e bac k o f t h e m i nd , 201 2 ; m i m i c ry, 20 05 ; t h e wo rl d acco r d in g t o ro ge r ba l l e n ( T h a m e s & h u dson ) , R 949; d raw i ng 1 , 201 8 ; in ev i ta b l e, 2013

Legacy although the images are constructed via a complex interaction between me and an environment, and then transformed through the camera, it does not mean that what I have created is entirely personal. Whilst the viewers seldom understand how my photographs were created, the environment they were shot in, or the cultural content, they are implicitly understood. as many of my images are intensely powerful, provocative and archetypal, they pierce the conscious mind and enter the subconscious. In other words, they hit something inside that most cannot escape from – they are right in your face. In the past decade, my artworks have extended beyond the photographic image to incorporate media such as video, installations, painting, and drawing. Last september, halle saint Pierre in Paris opened a show titled ‘The World according to roger Ballen’. Thames & hudson published the accompanying catalogue to the exhibition, which closes at the end of July this year. This exhibition, which has received huge media coverage in France, has extended people’s understanding of my aesthetic, as it incorporates not only my photographs but videos, installations, paintings and drawings. The roger Ballen Centre for Photographic arts, located on Jan smuts avenue in Forest Town, Johannesburg is under construction and should be completed during the middle of 2020. I am hopeful that under the auspices of the roger Ballen Foundation, the Centre will not only make a lasting contribution to the art of photography but to art in general, both in and outside of south africa. Roger Ballen 8 rogerballen.com

‘I have never considered myself a documentary photographer in any traditional way. My images have always reflected a psychological preoccupation’ roger ballen

january/february 2020 houseandgarden.Co.za

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Second Act With the opening of his Joburg flagship, tiaan Nagel makes a bold return to design

‘I

t’s about craft and luxury, and what better design studio to work with than Tonic design on a tight brief,’ says Tiaan nagel, who’s recently opened hyde Park flagship marks the lauded designer’s industry return. ‘I wanted to create an intimate space, where your favourite art, sofa and family heirlooms are interspersed with contemporary design. all things are handmade, sophisticated, but ultimately reflect the wearer.’ oversized curtains of raw Belgian linen drape over wide oak floorboards, and a perfectly proportioned velvet couch is set against a palette of dark-chocolate brown. Tiaan worked with antique dealer riaan Bolt to procure the finest cape stinkwood pieces for the store, as he wanted that ‘gravitas’ of history, which is then offset by reflective, coloured mirrors, while a Michael Macharry paper wall hanging creates texture. Voluminous and free-flowing, ‘remember You are’ summer 2019/2020, Tiaan’s latest collection, relooks at simple clothes in

a new way. The fabrics are natural, and the colours are strong – from wheat and greige to pale blues, ochres and warm russet. he utilises similar earth tones and smooth textures in his collection of decor pieces, evoking an authentic africa, but one, he says, that strays from the trend of a ‘ frican aesthetic.’ ‘south african design is in such a peculiar spot, with international eyes focused firmly on the fashion and interior design scene, but in a way that is too often blinded by the curio, happy, bright african aesthetic of it. I wanted to work with craftsmen and on fine craft but not with brightly coloured beads and prints, because it’s simply not my culture, and appropriation in design in south africa still seems to be viewed with blinkers – in this industry, there are many still exploiting that,’ he says. ‘The point is that we are all south african but have very different backgrounds. I wanted something that speaks to my cape dutch history, my point of view on contemporary art, and, hopefully, in a way that feels fresh.’ Tiaan Nagel tiaannagel 8 tiaannagel.co.za n

January/february 2020 houseandgarden.co.za

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A Fair to Remember the names to know at Investec Cape town art Fairâ&#x20AC;&#x2122;s Tomorrows/ Today showcase

ErnEsto shikhani, PErvE GalEria, lisbon

At the core of his art, politically speaking, Ernesto addresses the struggle for independence in his native Mozambique. Whether its the distorted figures of the brutally oppressed or more surreal and colourful images reflective of home,

his work is bold in scope, referring to the countryâ&#x20AC;&#x2122;s artistic traditions while pushing the boundaries of formal conventions. His work is not a subsidiary of any specific style: more than its roots, there are signs of a very original and unique approach to modern and contemporary African art. 8 pervegaleria.eu

January/february 2020 HousEAndgArdEn.co.zA

isabEllE GroblEr, sulGEr-buEl GallEry, london

Isabelle’s work is dreamlike and anthropomorphic; based on reality, but reconfigured by the unconscious, where recognisable things have been shuffled to produce a Kafkaesque ambiguity. 8 sulger-buel-gallery.com

The Cannibals’ Concupiscence Establishing Ideology by Isabelle Grobler, 2019, mixed media on Fabriano paper Je suis une princesse, Chemises Jaunes series by Gregory Olympio, 2019, acrylic on paper

GrEGory olymPio , sEPtiEmE GallEry, Paris

Having grown up in a multicultural family – French, Beninese and Togolese – with the feeling of being in the interspace of these cultures, gregory’s work plays with the complex notion of identity in a shrinking world. 8 septiemegallery.com

Pyramide, Sénégal by François-Xavier Gbré, 2012, ink print on fine art paper François-XaviEr Gbré, GalEriE CéCilE Fakhoury, abidjan

Born in Lille, France, François-Xavier now lives and works in Abidjan, Ivory coast. His photographic work hones in on urban landscapes, particularly the architectural collapse of Africa, where factories and monuments have become modern ruins. 8 cecilefakhoury.com 32

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Eko Atlantic #1, Lagos, Nigeria by François-Xavier Gbré, 2014, ink print on fine art paper

p h oto g r a p h s : c o u r t e sy o f a r t i st s a n d r e s p e c t i v e ga l l e r i e s

the Investec Cape town art Fair runs from 14 – 16 February at the Cape town International Convention Centre

Calling on my private number by Amanda Mushate, 2019, oil on canvas

amanda mushatE, First Floor GallEry, hararE

Working in both mixed-media painting and sculpture, zimbabwean-born Amanda aims to explore the idea of relationships and personal identity, visualising these as vibrant, often complex, abstract pieces. 8 firstfloorgalleryharare.com Fathi hassan, lawriE shabibi, dubai

despite a career that spans over 30 years, this Egyptian artist has remained relatively under the radar. Born into a nubian community in cairo, his work has an undeniable vibrancy to it. often a mix of the figurative, urban and calligraphic, it attempts to visualise what is largely an oral culture. 8 lawrieshabibi.com

Lights will guide you home by Bonolo Kavula, 2019, woodcut print on canvas, canvas discs and thread

bonolo kavula, suburbia ContEmPorary, Granada

The 4 Seasons of the Basic Man by Fathi Hassan, 2019, mixed media on paper

This south African-born artist works predominantly with print media but also includes video and installation. Her multi-step process incorporates alternative materials that question notions of scale and surface, delivering a truly distinct voice on the contemporary African art scene.8 suburbia-granada.com January/february 2020 HousEAndgArdEn.co.zA

Public Display the inaugural Stellenbosch triennale is set to establish the Winelands town as Saâ&#x20AC;&#x2122;s coolest new art destination

p h oto g r a p h s : c o u r t e sy o f a r t i st s a n d r e s p e c t i v e ga l l e r i e s

Clockwise, from top Mountains of gold by Mongezi Ncaphayi, 2019, Indian ink and watercolour on cotton paper; Victory Trance, by Malebona Maphutse; Bronwyn Katz, 2019, steel wool, cardboard, audio, Dimensions variable

stellenbosch attracts many people to its sleepy valley throughout the year, for many different reasons: literary lovers to the annual Woordfees festival, wine drinkers to the vineyards, and of course, the bright young things to the student nightlife. But the inaugural stellebosch Triennale will see the town go into unexplored territory for just over two months. With some of the finest contemporary African artists set to showcase their work, the town will serve as a public exhibition space, redefining the way people see and interact with art. chief curator Khanyisile Mbongwa hopes to present works that investigate the possibility of healing through looking at the divided past, the collective present and the imagined future. The Triennale will run from 11 February to 30 April. 8 stellenboschtriennale.com

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design know-how And decor detAiLs thAt mAke the Look

Art Boom

p h oto g r a p h s : C o u rt e sy o f lo u I s v u I t to n , Ja s o n s C h m I Dt ( p e t e r m a r I n o p o rt r a I t )

Long-time Louis Vuitton collaborator Peter Marino spoke to H&G about the brandâ&#x20AC;&#x2122;s exciting new art-filled flagship

January/February 2020 houseandgarden.co.za

p r e v i o u s pag e a d o ub l e- he l i x sta ir case in c e ruse d oa k , d e sig n e d by p e t e r m a r i no le f t a c e le bratio n of sat urate d co lo u r to a n n ou n c e t h e op en i ng of lou i s v u it to n ’ s new b on d str e e t m a ison

understand there is a connection between the Place Vendôme Maison, which opened in 2017, and the New Bond Street Maison, which opened last year. Can you explain the link between the two projects? There are two main similarities between the new Bond street and Vendôme Maison: the use of beautiful, clear, beige French stone throughout, and the play on volumes. Volumetrically, we wanted to expand the existing space. We found that people react to impressive volumes by wanting to spend extended periods in these spaces, so we removed slabs and created double-volume spaces for women’s shoes and women’s ready-to-wear. There are three double volumes in the new Bond street Maison, which are approximately seven-and-a-half metres each, and a triple volume where the staircase is almost 12 metres. These volumes are only achievable when you work with a Maison that is so confident in design that it can remove square meterage from the store itself to give a feeling of luxury and wow visitors. What was the thought process behind the four massive architectural volumes that you cut into the space? What is more luxury than removing a slab that could be used as selling space? It encourages visitors to spend more time there, sit on the sofas and spend hours shopping. What does the scale of the slabs of St Croix Huyart Coquillé French limestone do for internal architecture? I don’t like little things. They didn’t build the Parthenon with three-by-three tiles and, at the time, they didn’t have machines to help. I like the

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big expansive tiles; they allude to the idea of eternity. How do you create a palette of materials and textures – stone, carbon fibre and cerused oak – for a project? I have worked with Louis Vuitton since 1994. We have moved away from all the brown wood we used at the beginning. There has been a real evolution towards something lighter, clearer and, dare I say, happier. We are using immense washes of colour in the artwork, which is displayed in a lighter, clear environment. Why? We find people respond better to these tones; colours that resonated with the public 25 years ago don’t work today. People feel cheered up by colour, and there is a direct relation between bright colours and sales. The Maison is full of art, and the double-helix staircase is almost a sculpture in itself. What is the role of this staircase within the project? This is an interesting point as it happens to be one of those ‘happy accidents’ of fate. I still draw by hand – I remember the tracing paper shifting, which left me with two stairs. I thought, ‘that’s a happy client’. I was with my staff and they said that the stairs didn’t line up. That meant the person going down actually gets to look up and see the ceiling, and the person going up can look at who is coming down. It is something new, and that isn’t common in staircases. Jim Lambie’s lobby and staircase on the second floor, covered with vinyl tape, is one of several site-specific installations by artists in the store. Why is art such an integral part of the retail language for Louis Vuitton? The volumes in the Maison are so vast that both the art and the fashion designer can be respected in the

c lo ck w is e , f r o m to p a ‘ b o mb oca’ s ofa by t h e ca mpa n a b r ot h er s a n d a ‘ d i a mo n d’ wall by m ar c el wand er s ; ar ch i t ec t p e te r mar in o ; ‘ coco on ’ c h a ir s by t h e ca mpa n a b r ot h er s for lo ui s vu it to n ’s ‘ ob je t n o mad e s’ co ll ec t i on ; on the wall h a n g s a sp ec ial ly co mmi ss io n ed art wo r k by sarah c r ow ne r a nd love is wh at yo u wa n t by t rac ey e mi n

same space. We looked for art with cheerful, bright flashes of colour because we wanted to enhance the experience and perception of the space, to make visitors feel happier and more alert. You have been collaborating with Louis Vuitton for 25 years. How do you evolve the architectural codes of the Maison? I work on three to four flagships a year. I never want any of them to look alike, and this is the reason why I have worked with Louis Vuitton for so many years. For London, I wanted the space to have a dressier feel, to echo the street of Mayfair and the sophistication of the neighbourhood. With each new Maison, we push design and innovation. It is a constant evolution that has worked wonderfully over the years. What I have done in London will be used as inspiration by in-house architects for other new stores in the making. James Turrell’s 2009 Tall glass was installed deep into the wall of the women’s ready-to-wear salon. What did it involve? I’m a huge fan of his work, and I loved putting him in the store. In my eyes, the ultimate luxury is space and light, which James’s work embodies. an infinite amount of coordination was required to install the artwork – it’s the first painting you see and presents a real play on the spatial aspect of volume. When you first walk into the store, chris Martin’s Spaceships is displayed on the right-hand side, a play on terms between space and light. Then you look up, and James Turrell echoes this play on words. Louis Vuitton first came to Bond Street 120 years ago. London continues to evolve. How does this project relate to London today? The face of retail changes so fast. Bond street is completely different now compared with 20 years ago, and as such, Louis Vuitton has to be at the forefront of this change. It’s very much a necessity for Maisons to make these big, special statements in locations close to significant landmarks. What do you want visitors to the store to feel when they step inside? I want space, light and happiness with no intimidation. We strived for a cool hipness, which exudes from both nicolas ghesquière and Virgil abloh’s design. I’m proud of what we have achieved. louis vuitton 8 louisvuitton.com

January/February 2020

houseandgarden.co.za

t e x t: e d wa i n s t e e n k a m p ; i m ag e : J av i e r wa i n s t e i n , c o u r t e s y o f d e l l o s t u d i o

Leading light A practical guide to making the most of your home’s lighting A generAl light in the living room should ideAlly be wArm And white Around 2 700K (Kelvin colour temperAture. the higher the number, the colder the light, ideAl for illuminAting Kitchens), which typicAlly emits A cosy luminAnce. for Added brightness, lAyering with trAcK or Accent lights complements the mAin light source. in this imAge, the ‘prototypes’ collection by london-bAsed dello studio, As imAgined by JAvier wAinstein.

8 dellostudio.com

january/february 2020 houseandgarden.co.za

touch of glass Pair frosted, coloured or cut-glass covers with incandescent bulbs, which are especially effective in decorative lighting due to the yellow-white light that they emit. Invest in a glass shade that softens your home, while still exuding contemporary charm. desaturated tones, which will enjoy increased popularity over the next few years, bring a decidedly modern edge and help create an ambient, warm, quality light. 8 cremadesign.co.za

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4 3 Barefaced Because shades help soften and disperse light, exposed bulbs are more about form than function. The light emitted by exposed bulbs can be hard on the eyes, and should thus be used more for decoration than as task lights. To complement the minimal look and feel of the bulb, cluster two or more of these lamps together, especially above or below eye level.

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s 5, ors

p H oto g r a p H s : k a r l r o g e r s , s u p p l i e d

4. ‘AlbA’ pendAnt light in smoKey glAss, from r1 150, spAZio; 5. euroluX ‘hAllstAt’ pendAnt light in bronZe And opAl glAss, from r2 528, glo lighting; 6. mArgAuX Keller ‘moi non plus’ floor lAmp, r35 880, roche bobois; 7. herKner ‘stellA’s grApe’ stAnding lAmp, r68 200, cAsArredo

8. ‘morph’ light in creAm rosA mArble, r3 800, studio An; 9. ‘Aston’ stAnding lAmp, r999, mr price home; 10. the urbAnAtive ‘mAntis’ floor lAmp, r2 600; 11. the urbAnAtive ‘mAngbetu/lupitA’ floor lAmp, r7 200; both Knus

9 january/february 2020 houseandgarden.co.za

1. lAser-cut metAl bAll pendAnt light, r1 190, K. light; 2. gAllotti & rAdice ‘Jolie’ pendAnt light, r100 100, cAsArredo; 3. cArdboArd bArrel pendAnt light, r2 095, elevenpAst

Filtered

control the quantity and quality of light in a room with screens, which can mask or ﬁlter illumination. When incorporating paper-based shades into a space, such as a lantern, opt for an Led lightbulb, which emits very little heat and negates the danger of ﬁre from overheating the paper.

4. &trAdition ‘formAKAmi Jh4’ pendAnt light, from r2 418, Questo design; 5. pierre dubois And AimÉ cÉcil ‘tolede’ stAnding lAmps, from r53 060, roche bobois; 6. foscArini ‘nuAge’ wAll light, por, crÉmA design

6 7 7. ‘wonton’ rAttAn floor lAmp, r6 995, weylAndts; 8. ‘lAmpion’ floor lAmp, r2 519, KAre design; 9. mArin thuery ‘Arc’ tAble lAmp, r32 620, roche bobois

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light work When it comes to hanging pendants, it’s all about proportion. For decorative pendants in the dining room or kitchen, suspend the light at least 75cm from the table. a warm, white light (up to 4 000K) is ideal and provides suitable illumination for performing tasks. When choosing the shade, determine the area you want to light – for more focused light, an opaque shade directs light downwards, whereas for ambience, a semi-translucent shade helps disperse light more evenly. Pictured, the ‘strand Pendant series’ by Muuto available at créma design, is made from a cocoon-like fabric ideal for diffusing light. ■ 8 muuto.com

january/february 2020 houseandgarden.co.za

Off The Grid

South African-born, London-based designer Kelly Hoppen teams up with Hakwood on a graphic range of timber tiles

hat was the thinking behind your collaboration with Hakwood? I’ve always been incredibly passionate about wooden floors and was so excited when the opportunity to work with Hakwood arose. Designing the collection was a fantastic way to be able to create something new; the tiles have been designed by me but have been crafted to give the customer control of the overall layout. What was the inspiration behind the collection? I wanted this collection to encompass the luxurious simplicity that is evident

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throughout my design work and be a feature for any home. I wanted to give customers the freedom to get creative and make the tiles their own – the floor tiles come in four colourways and can be laid in a square, grid or V formation to make them unique to you. Placing a cluster of tiles on a wall next to a mirror is a great way to make a room look bigger, and a feature wall covered in tiles or a runner behind a fireplace make a statement. I can’t wait to see the different designs people come up with. Collaboration is about synergy. How have you reflected your style within this collection?

This collection encapsulates my ethos of balance and contrast. The range features beautiful inlays of brass and silver, contrasted with deeper tones of black and grey or lighter hues of white and cream, all of which are divine. It also features subtle geometric patterns that create incredible volume and room within a space. Having always been a trademark in my designs, these were key to this collection. When you were designing the collection, did you have a particular homeowner in mind? It is for people who want to make their mark on their house’s style without spending

coLLAborAtion

excessive time or money searching for the right accents. This collection allows you to combine custom textures, colours, shapes and patterns to achieve your signature statement with minimal effort or expense. For the same reason, it’s a brilliant option for owners of commercial locations who want to add a real feature to high-traffic areas – think a hotel lobby or apartment-building entryway. The tiles have an immediate wow factor that will give a great impression and make your building memorable. There’s an amazing interchangeability to this collection. How important was it to you to make this happen? Very important. The collection is so unique because it’s interchangeable and offers the customer the power to be creative. While people may immediately assume that tiles belong on the floor, this doesn’t have to be the case; tiles can be a great way to elevate a wall through runners and features using both horizontal and vertical lines. Hakwood 8 hakwood.com; Kelly Hoppen 8 kellyhoppeninteriors.com; Bestwood Flooring 8 bestwood.co.za n

p h oto g r a p h s : c o u rt e sy o f h a kwo o d

c lo c kw i se , f r o m fa r le f t ‘ v ib ra n t ’ g r i d t il e ; ‘a b st rac t ’ g r id t i le ; ‘ icon ic ’ squa r e t il e; ‘ v ib ra n t ’ v t i le ; ‘a b st rac t ’ s ig n at ur e t il e ; ‘ g ra n d’ g r id t il e ; d e s ig n e r k el ly h op pe n

Show Highlights InHabit Workshop Garden Kitchen Theatre Designer Spaces Truly Artisan and lots more...

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27 Feb - 01 mar Ticketpro Dome | Johannesburg FIND IT ALL AT THE EXPO

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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 s : e L s a yo u N g , s u p p L I e d

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Appliances and accessories that are as hard-working as they are good looking

3 1. 9KG ‘ADDWASH’ FRONT LOADER WASHING MACHINE, FROM R8 699, SAMSUNG; 2. FIVE-BURNER GAS STOVE, FROM R10 999, WHIRLPOOL; 3. STANDING MIXER IN CHROME, FROM R9 999, KITCHENAID; 4. ‘SERIES 3100’ FULLY AUTOMATIC ESPRESSO MACHINE IN BLACK, FROM R7 999, PHILIPS

4 january/february 2020 houseandgarden.co.za

Details

With a powerful cooling system and stainless-steel interiors, the Vario 400 series of refrigerators from gaggenau keeps functionality and performance as a top priority in its design. 8 gaggenau.com

In keeping with its philosophy of intuitive and functional design, Mieleâ&#x20AC;&#x2122;s unique range of cooker hoods includes an option for every type of kitchen space and oven. 8 miele.co.za

appliances can leave a kitchen feeling cluttered, so keep things simple with ergonomic and minimalist kitchen units, which take into consideration power and water points. 8 domum.bulthaup.com

given an ergonomically considered space, appliances not only function at their best; they also last longer. opt for a storage system that is multifunctional, durable and timeless. 8 valcucinesa.co.za

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Wall ovens offer a great deal of flexibility in the kitchen. ergonomic comfort and aesthetics aside, they allow you to maximise on available space and even have multiple ovens that are separate from your stovetop, as seen in this kitchen designed by Poliform sa. 8 poliform.it

january/february 2020 houseandgarden.co.za

The Wearstler

Effect

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With her high-octane decorating and personal style,Â Kelly WearstlerÂ has built an empire by refusing to blend in TEXT hannah martin phoTographs trevor tondro

january/february houseandgarden.co.za

TO P DOW N TH E LO B BY O F TH E SA N TA M O N I CA P RO P ER H OTE L F E AT U R E S CO LLECTA B LE D E S IG N PI EC E S; KE LLY’S LASTE ST B O O K , EVO C AT I VE ST Y L E

wenty years ago, when Los angeles developer Brad Korzen asked up-and-coming designer Kelly Wearstler to decorate a model room for the avalon in Beverly hills, she was brand new to the hospitality scene. ‘I’d never done a hotel before,’ she recalls. ‘I was completely freaked out.’ But the nuanced interiors that she had in mind, schemes outﬁtted with midcenturymod furnishings that played off the 1948 building’s boomerang shape, got her the job – and then some. Today, Kelly has completed more than 10 hotel projects with Brad, whom she married. (They now have two teenage boys and split their time between Beverly hills and Malibu.) one of the couple’s latest collaborations, the downtown La Proper hotel, is inside a 1926 renaissance revival building. The basketball court and swimming pool have been transformed into supersize suites, decked out in warm colours and graphic, Mexican-inspired tiles and textiles. In true Kelly fashion, there is pattern-clashing galore. ‘It’s a well-oiled machine,’ Kelly reports of Proper, Brad’s newest hotel group, cofounded with Brian de Lowe and alex samek. In the past two years, they’ve also opened outposts in san Francisco and santa Monica, with others in the works. ‘still, the projects feel unique.’ 54

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Maintaining that balance is crucial to Kelly’s design empire. The secret weapon? Kelly herself, and her super-supply of personal style that she endlessly recalibrates for clients. after arriving in La, by way of Boston and new York, where she studied graphic design and architecture, Kelly (who grew up in Myrtle Beach, south carolina) planned to get a job working for an interior designer. But when a friend of a friend needed a few rooms in a Venice house decorated, she took on the gig. ‘Before I knew it, I had started my own practice,’ she recalls. soon after launching her firm, in 1995, she met Brad, who brought her on to tackle his hotel projects, as well as his hollywood hills house. First came the avalon. But it was the Viceroy santa Monica, completed in 2002, that earned Kelly her stripes. Inspired by the decorative pastiche of La bungalows, she put her own twist on hollywood regency, lining walls with mirrors, installing slick chequerboard floors, and deploying stark-white wingback chairs poolside. Kelly recalls her team’s apprehension: ‘They were like, whoa, we’ve never seen anything like this. But it turned out to be iconic.’ That same ‘Just trust me’ approach extended to her residential projects. (she’s completed some 25 private homes.) clients come to her for something unconventional, and she delivers, often injecting the decor with splatter-painted walls, sheets of polished agate applied floor to ceiling, and bespoke furniture and fabrics. The goal is to reflect the personalities of the residents through her own lens, such as conjuring up a one-of-a-kind fabric to upholster a sofa or creating rugs inspired by a homeowner’s abstract paintings. not surprisingly, manufacturers began approaching Kelly for product collaborations. In the autumn of 2008 she unveiled decorative objects at luxury department store Bergdorf goodman, an inaugural fabric line with Lee Jofa, and a collection of floor coverings with The rug company. The last included the veined tracery carpet that Kelly has in her own bedroom. she’s still developing collections with both brands, in addition to tiles with ann sacks, vessels with georg Jensen, lighting with Visual comfort, and her own furniture and accessories. ‘The cross-pollination is what inspires me most,’ says Kelly, fuelled by the 360-degree nature of her business. Take a painterly fabric for Lee Jofa called ‘district’, for example. The print wraps her fifth design book, Evocative Style, that was published in october last year, as well as a pair of chairs featured inside. Kelly, who now works with a team of 50, rises early to make time for it all: client meetings, site visits, and designing at the studio, plus exercising and spending time with her family, all while leaving time to get inspired. (Fans can follow her Instagram account, @kellywearstler, which boasts over 700 000 followers.) Though she’s always open to new assignments, turning her studio into a design machine is not on the agenda. ‘I could grow, take on more work,’ she admits. ‘But then I start losing the intimate relationship I have with my projects and my clients.’ she would rather keep it personal. Kelly Wearstler  kellywearstler.com 

R I GHT ‘CAS CAD I A’ A N D ‘ M I N ERA L’ WA LL PA P E R S FO R L EE JO FA ; ‘FA I R FA X’ CH A IR BY K E LLY U PH O LSTE RED IN ‘DISTRICT ’ FA B RI C FO R LEE JO FA

AB OVE , TO P D OWN ‘ C HA NN E L S’ A N D ‘A R C H E T Y P E ’ CA R P E TS FOR T H E RU G COMPAN Y

‘They were like, whoa, we’ve never seen anything like this. But it turned out iconic’ KeLLY WearStLer

RI G H T K E L LY ’S OA K A L MON D C RE D E NZA BE LOW, CLOCK WIS E , F RO M FAR R I G H T C RE S C E NT WE AV E A ND ZE N IT H OUT D O O R FA B RI C S FO R LE E J OFA ; ‘ L IA I S O N ’ M OSA IC T IL E S FOR AN N SAC KS

january/february houseandgarden.co.za

1 Karen newman shares her thoughts on...

#11: WRAPPED UP Floors, walls andceilings Floors, walls and ceilings are the home’s internal casing, and must not be at odds in a way that feels jarring. two elements should be at play as you walk through the house: continuity and interest. at the risk of sounding repetitive, the word “repeat” features prominently in this article. Case in point: floors, walls and ceilings are best integrated into the house via patterns, repeated throughout its rooms. It is a good idea to tile a floor in a stretcher-bond pattern and pick up the same pattern in other rooms – behind the kitchen stove and in the bathroom. This makes an interior appear seamless. [1] Create play between continuity and interest. If using the same floorsurface material in two or more different rooms, such as timber, change the width of the planks as rooms lead into each other (narrower for small rooms, and wider for large rooms). [2] To avoid a ‘fruit salad’ effect, choose a limited range of primary materials that revolve throughout the house in a different order. If you use timber on the floor in one room, use the same timber as a ceiling finish or wall cladding in another. [3] statement finishes are impactful, but again need to be repeated across several elements: off-shutter concrete used at a gate entrance could be repeated as a ceiling in the entrance hall or as an internal column. [4] statement wallpapers can be catchy design features. Thread a central colour in the wallpaper through

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other interior design accents, such as carpets, rugs, cushions or throws. The exception to this general guideline is the guest bathroom, which can be a wild expression of colour and pattern. a floor surface should be comfortable and warm to the touch, yet enduring enough to withstand wear and tear. a general rule of thumb is to use hard floor surfaces in high-traffic communal areas, and carpets in more gently trod rooms, such as bedrooms. Bare floors can make a room seem barren. Loose rugs can soften this, but you need to get the balance right so that they don’t lessen the impact of feature floor finishes (beautiful timber, for example). Ceilings of various heights help you differentiate between large, lofty spaces and small cocooning ones. [5] one of the elements in the floorceiling-wall sequence must have the capacity to absorb sound so the room doesn’t feel and sound hollow (think carpets, ceiling cladding and wall cladding). allow breathing space when adorning walls. size-wise, art should be in proportion to the wall so that it feels substantial but not imposing. Furnishings and props that frame walls must not be the same height – standing lamps and console-table lamps are easy additions that play on height. 8 newmanarchitects.co.za @newman_architecture_design n

oFF-shUttER concREtE At A gAtE EntRAncE coUlD bE REPEAtED As An intERnAl colUmn in thE EntRAncE hAll

iF yoU UsE timbER on thE FlooR in onE Room, UsE thE sAmE timbER As A cEiling Finish in AnothER

loosE RUgs shoUlD PRoviDE comFoRt AnD WARmth WithoUt hiDing FEAtURE FlooR FinishEs

ARt shoUlD FEEl sUbstAntiAl bUt not imPosing in sizE

vARy thE sizE oF timbER on FlooRs: nARRoWER FoR smAll Rooms AnD WiDER FoR lARgE Rooms

A stAtEmEnt WAllPAPERâ&#x20AC;&#x2122;s cEntRAl coloURs cAn bE cARRiED thRoUgh othER intERioR-DEsign AccEnts

january/february 2020 houseandgarden.Co.za

We are currently sourcing Modern, Post-War and Contemporary Art for inclusion in our forthcoming auctions 021 683 6560 | ct@straussart.co.za 011 728 8246 | jhb@straussart.co.za www.straussart.co.za Strauss & Co: The global leader in the South African art market

Athi-Patra Ruga, Touched by an Angel (detail) R700 000 â&#x20AC;&#x201C; 900 000 To be sold in Cape Town on 15 February 2020

Thinking of selling your art?

Custom pieCes meet high-glam finishes in this john jaCobdesigned interior in Cape town

p h o t o g r a p h : e l s a yo u n g

Full story overleaf

The ediT Superb homeS and StyliSh gardenS

History Repeated In Cape Town, designer John Jacob transforms a 1950s apartment into a quietly composed midcentury modern masterpiece TEXT piet smedy phoTographs elsa young

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‘

s with all my design projects, there needs to be a synergy between the interior architectural details and the actual architecture of the building,’ begins designer John Jacob on his recently completed project in a 1950s apartment building on Cape Town’s atlantic seaboard. ‘I wanted to somehow pay homage to this sense of history in the details, but reinterpret them in a modern way that was devoid of pastiche.’ his starting point would be a complete gutting of the apartment’s original interior walls, creating a more contemporary spatial composition. John further honed in on the verticality of joinery details, cupboards and curtains so that everything in the space runs from floor to ceiling, achieving not only a sense of volume but an open, overscaled luxury. he’s quick to admit one of his biggest bugbears when it comes to an apartment project: the windows. ‘They never run full height, and their proportions tend to be clunky,’ he says. But as the adage goes, where there’s a will – in this case, for a seamless, chic interior – there’s a way; and John didn’t disappoint. ‘In terms of the window treatments, everything runs full floor to ceiling, even though the windows don’t,’ he says. ‘The illusion is that they are full height, even though they aren’t.’ This is hardly John’s only deft play of design to alter perception – or emotion. There is an unmissable drama grounded in chiaroscuro that welcomes anyone crossing the threshold into the apartment’s foyer and kitchen area. ‘The whole room has been cladded – wallto-wall, floor-to-ceiling – in wire-brushed, quarter-cut veneer oak in black, so your initial arrival into the space is very dark, intense and enveloping,’ he says. ‘so the shock from the initial entry from the inside lobby into the space is already very bold. What that does is that it immediately resets your frame of mind and prepares you for the experience of the space.’ The kitchen also has black shutters over the windows, leaving illumination to a custom midcenturystyle light designed by John that hangs over the island, as well as Led lighting within the cupboards, effectively transforming them 62

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into lanterns. ‘It’s something that I do quite often as I try to avoid too many inconsequential decor items in a space,’ says John. ‘I like lighting details because they double up as both a sculptural and functional element.’ Moving into the living room, stark rectilinear lines give way to softer, curved pieces upholstered in a textured boucle fabric – another subtle nod to the home’s history – while maintaining distinctly modern silhouettes. ‘Contrast in design is essential to creating depth and excitement,’ says John, ‘so even if it’s a pale space, the different aspects need to play off each other for it to have visual excitement.’ That being said, John is quick to note the importance of cohesion, achieved here through the use of nuanced repetition. nowhere is this more apparent than in his use of materiality, particularly the White Pearl marble that has not only been used in the flooring but was also incorporated into the living room coffee table, dining room table and bathroom vanities. ‘This creates a wonderful harmony and quietness, which I love,’ he says. But leave it to John to have one last ace up his sleeve. along the entire length of the apartment’s balcony, John installed custom aluminium planters spilling over with verdant Philodendron xanadu. ‘every single one of them a sculpture in its own right, the leaves have this curvilinear shape which plays off the furniture and lighting in the space,’ he says. ‘so, whenever you look out you’re looking at a green line, a pop of natural colour that is intensified by the monochrome interiors. In this way, the planting has really become the hero.’ Well played, John, well played. John Jacob Interiors 8 johnjacobinteriors.com n

a custom server in the dining room features a standing lamp by arteriors pRevious spReAd in the living room, a ceiling light by steven gambrel, christian liaigre standing lamp and custom marble coffee table opposite pAge, fRom left designer john jacob; white-pearl, marbletopped, oversized vanities in the bathroom

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opposite pAge, clockwise fRom top left a foscarini table lamp and flokati rug in the guest bedroom; the enveloping kitchen; the main bedroom

darker spaces have oak floorboards on the ceiling, adding texture and colour interest, as seen in this sitting area in the master bedroom

‘Contrast in design is essential in creating depth and excitement’ JoHn JaCoB

aluminium planters run the length of the apartment, filled with PHILODENDRON XANADU

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EUROLUX ‘P910B HARRINGTON’ PENDANT LAMP IN BLACK, R2 676, glo lighting

‘MELOTTI’ ABSTRACT PRINT, R4 400, la grange interiors

MICRO SHAGGY RUG, R900, mr price home

RECTANGULAR MIRROR WITH METAL EDGES (SET OF 3), R4 999, la grange interiors

‘COSTURA’ SOFA, R55 300, crÉma design

‘SOUTH BEACH’ TABLE, R11 699, kare design

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

‘HAND MACHINE’ CANDLESTICKS, FROM R2 900, okha

‘ROOT’ VASE LARGE, R1 255, vorster & braye ceramic design

‘BARNETT’ DINING CHAIR, FROM R19 350, okha

ART DECO ROUND HIGH CONCRETE POT IN GREY, R2 195, la grange interiors

january/february 2020 houseandgarden.Co.Za

colour compact

South African decorator Kim Stephenâ&#x20AC;&#x2122;s London home combines her flair for colour with a clever use of limited space TEXT Robyn AlexAndeR phoTographs elsA young/buReAux producTion sven AlbeRding/buReAux

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january/february 2020 houseandgarden.co.za

previous spread, left to right The absTracT arTwork on The far lefT of The gallery wall is from cécile and boyd and The yellow Table lamp – described by kim as ‘The find of The cenTury’ – is from ikea. The planTers are from la grange inTeriors; sTar jasmine in The garden is posiTioned jusT beyond The glass criTTallsTyle doors, iTs scenT wafTing inTo The house when in bloom; The whiTe ouTdoor raTTan couch is from sika design in denmark, The side Table is from block & chisel and The planTer is from habiTaT

s it is situated in a row of brick terraced homes that were originally built as workers’ housing for the nearby riverside factories of a century ago, the facade of this house is almost identical to those on either side of it. step inside the front door, however, and the uniquely colourful style that interior decorator Kim stephen has brought to her abode rapidly becomes evident. ‘I am naturally drawn to colour, and I’ve certainly got a very wide range of colours in this house,’ says Kim. she’s 70

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not exaggerating. From the bright blue and green ikat wallpaper in the guest cloakroom to the bright pinks and yellows in the open-plan dining, kitchen and living space, a plethora of vibrant shades meets the eye all over the house. asked where her affinity for colour comes from, Kim simply says, ‘colour makes me feel happy and brings interiors to life. My use of it feels intuitive.’ as her mother owns durban’s Walnut Interiors Fabrics, durban’s go-to interiors textiles showroom, she grew up being exposed to a huge array of interiors fabrics, ‘and I think I just found the colourful ones more exciting and interesting,’ says Kim. as anyone who has tried to put together a decor scheme using a range of bright shades knows, it’s not easy to get this sort of look right. Kim says that to make colour work in interiors, ‘it’s always important to temper with neutrals and texture’, and adds that here she made sure both of these elements were effectively used. The best example of this is the textured charcoal wallpaper that covers one long wall on the open-plan ground floor and

clockwise, from top left The arTworks in The kiTchen are a seT of four silkscreens by liTTle-known souTh african arTisT sTephanie waTson, while The palm-leaf fruiT bowl on The dining Table is from cécile and boyd; ‘TexTures VégéTales’ wallpaper by éliTis in This charcoal hue. The pair of wooden armchairs are from cécile and boyd and These haVe been reupholsTered in ‘carriacou’ fabric by pierre frey; The circle arTwork is by souTh african arTisT lyndi sales

then wraps around the far end of the living space to subtly demarcate the lounge area. The wallpaper is one of Kim’s signature materials. she says, ‘It is the perfect “antidote” to my full-on colour, and the art looks amazing against it, too. It brings warmth and texture, and the light bounces off the linen-like effect of the paper.’ against this neutral backdrop, Kim has used a combination of boldly colourful pieces – the fuchsia rug, and striking abstract artworks that feature various shades of yellow – as well as a cleverly chosen hanging light fitting, to make the space come alive. But these elements all came together very intuitively and ‘organically’, says Kim. ‘I spend so much time meticulously planning interiors within my work sphere, so I quite enjoyed just letting this space develop its personality over time.’ also a boon was the fact that the house had previously been given a considered structural renovation. This meant that its ‘classic London terracehouse layout’ had been enhanced with excellent built-in storage, high-quality appliances such as the kitchen cooker and extractor hood, and skylights that give a number of the rooms a greater sense of airiness and spaciousness. The home’s location – a stone’s throw from the high street in the leafy south-west London suburb of Barnes – is another key part of its appeal to Kim, her husband graham and their two children, Jamie, 14, and anna, 7. ‘Barnes has a really village-like feel,’ says Kim, ‘with a beautiful green, a pond with ducks, and a high street with mostly traditional independent shops. When we moved here from south africa three years ago, graham loved the idea of living in a country village, but I really wanted to be in London – and to our surprise we got both boxes ticked when we arrived in Barnes.’ While the entire family very much enjoys life out and about in their ‘village’, they must all equally relish time spent in their home’s more private spaces on the first and second floors. here, Kim has created a cocooning yet contemporary master bedroom for herself and graham that features an upholstered headboard in a bold blue pattern. add more graphic pieces in the form of scatter cushions and punctuate with a mix of blue and yellow throws, and the effect is all breezy summertime – yet one can easily also imagine a more moody blue atmosphere here, created via the inclusion of velvety textured throws and decor accessories in deeper blue tones. also on the first floor is anna’s room, and Jamie’s is situated on the loft level above. Both reflect the personalities of their occupants and are a result of real collaborations between them and their mother. Jamie ‘wanted a room that felt like his little den, which it is,’ says Kim, while anna ‘seems to acquire and collect all sorts of toys, artwork and knick-knacks all the time, hence the emphasis on display in her room’. january/february 2020 houseandgarden.co.za

kim siTs aT a cusTom moorgas & sons dining Table wiTh chairs from sika design in The open-plan diningkiTchen-liVing space. The brighT pink rug is from gonsenhausers fine rugs and, aboVe, hang Two unobTrusiVe â&#x20AC;&#x2DC;VolTaâ&#x20AC;&#x2122; lighTs from esTiluz

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january/february 2020 houseandgarden.co.za

Back downstairs in Kim’s home office – situated at the front of the house – a monochrome patterned wallpaper repeats another of her regular signatures, this time the use of black and white as a ‘neutral’. The schumacher wallpaper used here is called ‘deconstructed stripe’ and, Kim says, ‘I find it jazzy and light, and it brings me joy while I work’. although working from her home office much of the time, Kim also travels back to south africa regularly to assist clients relocating to the uK, and has kept her eye on the interiors scene here. ‘I help south african families find their perfect uK home – either rented or bought,’ she says. ‘Together we look at their house in south africa, and I offer advice on what to ship over – especially given that, often, their new space will be more compact. I then fill the gaps, sourcing furnishings and accessories, so that their new residence feels like home from the minute they arrive.’ Last but very much not least in terms of the extravaganza of pattern and colour in Kim’s own London home is the guest bathroom, with its blue ikat wallpaper and large brass-framed mirror. she says that from a decorative point of view, this is ‘the place to go a little mad in – you are in there for such a short time and it’s such a great opportunity to give someone an “experience”. I want them to come out with a sense of wonder’ Which is probably a very good way to describe the effect of a visit to Kim’s effortlessly chic house in general. Kim stephen Interiors 8 kimstephen.com n

‘Colour makes me feel happy and brings interiors to life. My use of it feels intuitive’ kim stephen

above in The main bedroom, The walls are painTed in ‘cornforTh whiTe’ by farrow & ball and The mirror alongside The headboard is from block & chisel

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right in The guesT baThroom, gasTón y daniela ‘ikaT azul’ wallpaper, a round mirror from habiTaT and blackand-whiTe arTworks by cape Town arTisT kurT pio

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DESIGN NOTES

NAHTRANG STUDIO FOR ESTILUZ ‘VOLTA’ LAMP, POR, streamlight

‘SUZANI’ CUSHION IN ROYAL RED, R650, pilgrimage spaCes

PIERRE FREY ‘CARRIACOU’ FABRIC, FROM R3 990, maVromaC and gatehouse

p h o t o g r a p h s : e l s a yo u n g ; s u p p l I e D ; p r o D u C t I o n : J a n I a D e l e y l a n D M a n

‘CAROLINE’ 3-SEATER OUTDOOR SOFA IN DOVE WHITE, POR, siKa design

SOHO HOME AND ANTHROPOLOGIE ‘BARCELONA’ CERAMIC VASE, POR, anthropologie

WALTEX ‘STRESSED MEDALION’ AREA RUG IN BURGUNDY, R1 300, taKealot

‘GIOALOS’ TABLE LAMP IN WHITE, POR, oKa

GASTÓN Y DANIELA ‘AZUL’ IKAT WALLPAPER, FROM R3 197, maVromaC and gatehouse

‘ISABELL’ SIDE CHAIR IN WHITE, POR, siKa design

january/february 2020 houseandgarden.co.za

Constant

Gar d e n er

Architect-turned-landscape-designer Mary Maurel speaks to H&G about her garden, trusting your instinct and what gardening means to her text heidi bertish photographs elsa young

OppOsite page Maryâ&#x20AC;&#x2122;s house is positioned as far back on the plot as possible, with klompieclad stairs allowing for generous access into the verdant north-facing garden

the lacebark elM tree planted into the stairs, tickey creeper and spheres of clipped dune crowberry create a harMonious transition between garden and hoMe

january/february november2020 2019 houseandgarden.co.za

77 83

ow did it all begin? I come from a long line of apple farmers and gardeners. My dad started growing roses as a hobby, which became duncan’s roses, and my mom developed a specialist range of perennials into a nursery, Fairholme Plants. as a child, I propagated african violets and avocado trees from the pips on the windowsill – and I loved to collect seeds. growing plants comes instinctively to me. I find it intensely rewarding. What does gardening mean to you? To garden is fulfilling on so many levels. creating a garden that connects with the landscape and architecture of a site, and finding the most appropriate stylistic response, is the part the architect in me values most. equally, I love layering plants – a garden is nothing without a wellconsidered planting palette. Plants breathe life into it. I love the synergy between building, garden and site. If you were to do anything else what would it be? I like the idea of continually evolving. I started as an architect, moved into landscape design, and there is a chance I’ll have a plant nursery in my lifetime. If I had more time, I would like to complete the circle and go back to architecture. When did you start creating your garden? Fifteen years ago, when I began my career in landscape design. I created the garden as an architect, got the structure right and have added many layers over the years. I chose to retain the original, sunken garden to ensure protection from the cape south-easter winds. I flipped the entrance to the south side of the house, creating an entrance courtyard where the back of the house used to be. What is the best way to learn about plants? To grow them in your own garden. I’ve simplified and refined my gardening over the years, and with access to unlimited plants from my dad’s nursery, I’ve tried many of them. I’ve stuck with those that are tough, cope with the wind, the thin Table Mountain soil and have survived the droughts. But also those that have 78 82

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interesting textures and variations in colour tone, in keeping with the surrounding mountains and views over the bay. How did you create privacy in a high-density urban environment? While our immediate surroundings are mostly urban – the city Bowl and neighbours on three sides – we are lucky to have wonderful views. I blocked out the neighbours and our boundary walls by planting anastrabe and outeniqua yellowwood hedges, and a row of Quercus ilex (holly oak), which I have pleached to create a ‘hedge on legs’. over the years, it has grown so that, from the house, one overlooks the garden with uninterrupted views beyond it. The blend is seamless. What is your favourite thing about the garden? I love that we have brought some of the garden into the house. The planters – which form the edge of the northern facade, the tree on the stairs leading into the garden, the green wall in the entrance courtyard, and the roof garden – are all intimately connected to the house. What are you most proud of ? Following my heart and creating a career for myself that I love. I took what I had learnt from architecture and taught myself much of what I know about plants. I am continually observing, reading, learning and growing, as a designer and plant person. One thing you should not be afraid to do when you’re creating a garden? Trust your gut. Instinct is one of our most powerful tools, and yet one has to train oneself to recognise it and trust oneself to believe in it. Does your garden showcase your personal style? I like to think that rather than having a style, I have an ethos. I believe gardens should suit their context – the broader landscape, the climate, and the more intimate context of a house and its owner. When one responds to these elements, one’s garden is unique. I love the elements that make up my garden’s style – the ordered structure, wild grasses – and the many shades of green. Mary Maurel Gardens 8 marymaurelgardens.co.za n

right Mary’s dappled entrance courtyard features a single celtis tree and green wall craMMed with jewellike plant species such as crassulas, african hostas (driMiopsis) and braun’s holly fern (polystichum braunii)

Go Green Living walls can be quite technical, but Mary advocates for keeping it simple. A steel structure sits in the recess, made to accommodate square, black, plastic pots that sit at an angle. The top four rows have a drip line for irrigation,

while those below it rely on the run-off. The idea was to keep some pots in reserve, and ensure pots could be removed, should tired-looking plants need to be replaced. Once a year, in July, Mary repots the plants with freshly composted soil and refines the planting combination.

january/february november2020 2019 houseandgarden.co.za

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rectangular, gravel-covered areas on either side of the lawn Mirror each other in size and surfacing detail. here, an overhead pergola shades a favourite spot for suMMer-tiMe faMily dinners

Planting Artistry ‘I love plants that self-seed,’ says Mary of her Chlorophytum saundersiae, Euphorbia wulfenii, echinops and eryngium. Whilst her garden is structured, she has a painterly style of planting because of her genuine passion for plants. ‘I love the tension between the structure and the unpredictability of planting,’ she says. The seasonal variations in the garden are many, whether it is the celtis tree coming into leaf, the irises and Cape chincherinchee bulbs pushing through in spring, or the aristida grasses turning gold in autumn. With a hands-on approach to nurturing the garden, Mary enjoys composting and topdressing in the spring, cutting back to stimulate new growth and feeding the garden. ‘One gets out what one puts in,’ she says.

anthericuM (chlorophytum saundersiae)

leMon-scented pelargoniuM (pelargonium citronellum)

teucrium fruticans

salvia leucantha

bougainvillea and suMMer vegetables

rock roses (echeverias)

braunâ&#x20AC;&#x2122;s holly fern (polystichum braunii)

potato creeper

salvia officinalis

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a Mosaic-clad dipping pool extends froM the open-plan living area of the hoMe right a Majestic jacaranda tree salvaged froM the original garden now adds a splash of suMMer colour above the builtin seating on the one side of the lawn

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â&#x20AC;&#x2DC;A garden is nothing without a well-considered planting palette. Plants breathe life into itâ&#x20AC;&#x2122; mary maurel

Finders keepers

With a major renovation and design overhaul, this family home exudes the same eclectic charm as the busy streets outside text edwain steenkamp photographer ingrid rasmussen

among the features in the living room are vintage market finds

vintage items, such as the italian pendant light and wall lights, add undeniable charm

January/february 2020 houseandgarden.co.za

his was a project very close to my heart,’ says interior designer hubert zandberg about this family home on Portobello road in notting hill, West London. having spent a large part of his life living in the area, he understands this unique borough – and the people living in it – better than most. ‘I would call it an extreme melting pot of cultures and nationalities,’ he says, ‘where you will find every type of person imaginable, from young and rising hollywood stars to immigrants from around the world – and all of them are drawn to the particular eccentricity of these streets.’ With the added array of markets, retro and thrift stores and the annual notting hill carnival, this rather small borough attracts throngs of people, both visitors and would-be residents. so finding a family home big enough for five people is not only challenging, it’s almost impossible. ‘and my team made the impossible happen,’ says hubert. To realise the brief of creating a functional home for a young family, the inside of the house, all the way up into the attic, had to be redone entirely. ‘and not just redone,’ he adds, ‘but broken down, reconfigured and rebuilt completely, from the floors and ceilings to the walls.’ This was to ensure that each one of the rooms remains completely functional for the daily activities of a family while remaining spacious and comfortable. all that remains of the original structure, hubert adds, are pieces of the stairwell, which was eventually extended to go all the way into the attic. The hubert zandberg Interiors team used clever techniques throughout the house to further maximise on space. a strategically placed shelf, for instance, helps divide the living areas, without enclosing any part of them, or obstructing the precious natural light coming in through the windows, while the placement in the master bedroom saw the bed moved to the centre of the room to allow for a narrow dressing room behind it. The inclusion of some of the more 86

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fixed features, such as the corner sofa and the kitchen table, can be both intimate and familial, while also being suitable for many guests to congregate. For these features to be as dynamic and impactful as they are, everything needed to be custom made for the space. ‘no corner could be left to chance,’ says hubert. ‘so taking the restraints into consideration, and what we needed to achieve, we custom made almost every piece in the house.’ With the new layout of the house complete, hubert was able to breathe a new visual identity into the space, which was as considered and curated as the architectural renovation. Taking a visual cue from the markets outside, the team paid special attention to the different cultural and international influences prevalent in the area. ‘Knowing the area as well as I do,’ he adds, ‘and just experiencing what happens out on the streets, it was almost inevitable that all of that would express itself in the interior design.’ While the homeowner came with several pieces of furniture and art – which were carefully incorporated into the new layout – most of the decor was sourced at notting hill’s markets. ‘and in doing so,’ says hubert, ‘I hope that I was able to capture something special: a feeling of stepping off the street and into a home’s interior that reflects the colourful world outside.’ ‘It was easy to arrive at this eclectic style because of the homeowner,’ says hubert. ‘she’s fearless in her style choices, and has an avant-garde taste and a playful sense of humour. I was really able to play around with different styles and epochs, and that also spoke to her unique taste.’ he’s quick to admit what a pleasure it was. ‘I am a collector at heart and I love finding unique items from around the world. Bringing them all together in a home as special as this was a remarkable experience.’ Hubert Zandberg Interiors 8 hzinteriors.com n

clockwise, from top left small sofa upholstered in mÉtaphores ‘panama creme’ from abbott & boyd; carpet runner by sinclair till; curtains in dominique kieffer ‘patchwork’ fabric from rubelli; custom sofa by hubert zandberg interiors

custom designed kitchen with kitchen sink mixer by bert & may in a brass finish

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jean prouvÉ for vitra ‘standard’ dining chairs, zinc top table by andrew nebbett and accessories by hubert zandberg interiors

â&#x20AC;&#x2DC;I was really able to play around with different styles and epochsâ&#x20AC;&#x2122; hubert zandberg

small moments of glamour were added in the form of textural elements

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S ‘EL LOUISE’ GLASS PENDANT IN AMBER, R3 995, eleVenpast

SISI WAM ‘TROPHY’ TERRACOTTA VASE, R5 100, bielle bellingham

PLASCON PAINT IN MISTED AQUA G7-B2-1, FROM R279, builders warehouse ‘RICCI’ VASE IN GREEN, R6 400, la grange interiors

‘CHALK LIMA’ GLAZED CERAMIC WALL TILE, FROM R199, italtile

‘ORBIT’ ROUND MIRROR, R299, deCofurn furniture CARA DAVIDE FOR UNIQKA ‘ROTONDA’ DECORATIVE OBJETS IN TAN BROWN, 2019, POR, Cara daVide

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

SIXTH FLOOR ‘REED’ WOVEN RUG, R1 299, superbalist

‘NIGEEN’ HAND EMBROIDERED CUSHION, R695, weYlandts

‘HASKELL’ UPHOLSTERED 4-SEATER COUCH, R11 999, CoriCraft

‘CRUDO RUSTIC’ WOODEN FLOORING IN CHOCOLATE BROWN OIL, FROM R675, oggie

January/february 2020 houseandgarden.co.za

A custom pAir of stone-Andperspex coffee tAbles Add A pop of colour to the pAtternfilled living room of this joburg home

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Boy Meets World

Designer Donald Nxumalo champions pattern, texture and nature in this Joburg home text piet smedy photographs annalize nel

january/february 2020 houseandgarden.co.za

hen Joburg-based designer donald nxumalo first stepped foot onto his recently completed project, it was nothing more than a construction site. a ‘ s such, we configured the interiors around the orientation of the various rooms, especially in terms of their views over the surrounding landscape,’ he explains. The house, which is situated on a golf course, certainly boasts an impressive outlook over the greens, especially from the voluminous living room, which served as donald’s starting point. ‘It’s a room that really invites the outdoors in so effortlessly, especially when you consider its window proportions,’ he explains, ‘so we approached it from the viewpoint of, how can we maximise this? how can we create a room for all seasons?’ The answer to these questions was a matter of tone and texture that were both deeply rooted in nature. ‘If you look at any landscape there’s always a lot of texture on texture, so this internal layering was important not only for its visual effect but because it creates a more tactile environment that fully engages the senses,’ he says of his use of mixed materials, from animal hide and fabric to timber, glass and steel. he points out the living room table, a combination of stone and Perspex, as an example of this exploration. he also opted for a profusion of greenery throughout the house, often in quite sculptural shapes. Tonally, donald took the route of a more reserved, monochromatic palette – with the odd pop of colour – that would complement rather than compete with the verdant surrounds. however, where the interiors show restraint in colour, they proudly champion bold, clashing patterns in all their glory. ‘We wanted to create pieces that sparked conversation, really caught the eye and were highly graphic,’ he says. ‘In a space like this, with its high volumes and openness, pieces that were quite plain could easily disappear, so we needed them to really stand on their own.’ donald is quick to add that the process was heavily influenced by the homeowners, a couple he describes as having a ‘carefree, playful’ approach to how they wanted their home expressed. ‘My definition of design has evolved to becoming more about collaboration rather than simply selling a style,’ he says. a ‘ s such, you need to guide the homeowners on this design journey but ensure that these spaces reflect every aspect of their personalities.’ This included reframing artworks that the owners had purchased in nigeria (‘They were sitting in a cupboard,’ says donald) and placing them front and centre throughout the home. Meanwhile, in the living room, a sculptural flock of birds makes for a wonderfully three-dimensional, and quite unusual, addition to the space. It’s these nuanced yet personal moments that elevate a design from a simple roomscape to, as donald puts it, ‘a visual fantasy’. Donald Nxumalo 8 donaldnxumalo.com n

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clockwise, from top A muted pAlette meets A striking florAl ArrAngement in the dining room; A custom steel chAir by donAld is softened by florAl cushions; decorAtor donAld nxumAlo

â&#x20AC;&#x2DC;My definition of design has evolved to become more about collaboration rather than simply selling a styleâ&#x20AC;&#x2122; donald nxumalo

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one of the homeoWners’ ArtWorks, sourced in nigeriA, Above A hound’s-tooth check upholstered sofA

EUROLUX ‘P647 FABIANA 1’ PENDANT WITH FIVE LIGHTS IN CLEAR GLASS AND CHROME, R4 884, glo lighting COW HIDE IN BLACK AND WHITE, R5 995, WeylAndts

‘CROSSROADS’ CUSHION, R120, mr price home

KRAVET ‘SMART – 31214-5’ FABRIC, R2 322, st leger & viney

GLASSWARE, POR, okhA

‘VIVO’ SIDEBOARD, R39 889, kAre design

january/february 2020 houseandgarden.co.za

on tap, fresh until the last drop!

info@RioLargo.co.za www.RioLargo.co.za Breede River Valley, Western Cape

inspiring cuisine, tasteful travel

t e x t: a n dy b a r ag h a n i ; p h o t o g r a p h s : a l e x l a u

tomato salad with waRm basil dRessing

Ripe & Ready

Filling your tote with farmstand tomatoes still warm from the sun is a late-summer rite of passage. Weâ&#x20AC;&#x2122;re taking our haul home to melt into a creamy risotto, layer in a stunning galette, and roast with cheese and herbs

january/february2020 houseandgarden.co.za

TomaTo salad wiTh warm basil dressing

1/2 lemon Flaky sea salt METHOD 1. cook oil, shallot, garlic, and

4 servings

not just for salads: drizzle this savoury infused oil over everything, from grilled vegetables to steak or roast chicken. 1/2 cup extra-virgin olive oil 1 large shallot, thinly sliced into rings 3 garlic cloves, thinly sliced 3/4t crushed red pepper flakes 3 oil-packed anchovy fillets, chopped (optional) 1 cup basil leaves (purple or green) 700g heirloom tomatoes, some sliced, some cut into wedges 2T red-wine vinegar Kosher salt

red pepper flakes in a small saucepan over medium heat, stirring occasionally until shallots and garlic start to turn golden, seven to nine minutes. 2. remove from heat and mix in anchovies, if using (they’ll dissolve in the oil quickly), and basil. 3. Toss tomatoes with vinegar and a pinch of kosher salt in a medium bowl. 4. Transfer to a platter and pour warm dressing over the top. 5. Finely grate lemon zest on top and sprinkle with sea salt.

new-andimproved

greek salad 4 servings

The method for marinating the feta in this salad is also a good trick for other fresh cheeses – try goat’s, mozzarella or paneer. 3/4 cup extra-virgin olive oil, divided 1 small lemon, thinly sliced into rounds, seeds removed 250g feta 1T chopped oregano Kosher salt Freshly ground black pepper 4 sweet Italian frying peppers 1 small red onion, very thinly sliced 1 large cucumber, peeled and cut into 4cm pieces 450g small tomatoes (such as cherry), some halved, some left whole 2T red-wine vinegar METHOD 1. heat 1/4 cup oil in a large

tomato and paRmesan Risotto

skillet over medium to high heat. 2. add lemon slices and cook until lightly charred around the edges, about two minutes per side. 3. Transfer lemon slices to a medium bowl. 4. set aside skillet with oil. 5. Break feta into large pieces and add to bowl with charred lemons, along with oregano and remaining 1/2 cup oil; season mixture lightly with salt and generously with black pepper. 6. Toss very gently to coat and set aside. 7. set reserved skillet over medium to high heat and add frying peppers. 8. cook, shaking pan occasionally until skins are lightly charred and flesh is tender, six to eight minutes. 9. Transfer peppers to a cutting board and allow to cool slightly, then cut in half lengthwise. 10. Toss onion, cucumber, tomatoes,

vinegar, and a large pinch of salt in a large bowl. 11. add frying peppers and lightly toss again to combine. 12. Transfer salad to a platter and scatter marinated feta with lemon slices and oil over the top of it.

TomaTo and parmesan risoTTo 4 servings

use the smallest tomatoes you can find at the market for this dish. They’ll be extra sweet and have thin skins. 5 cups low-sodium chicken broth 2T extra-virgin olive oil, plus more for drizzling 1 medium onion, finely chopped 3 garlic cloves, thinly sliced 1T tomato paste 2 cups cherry tomatoes 1/4t freshly grated nutmeg (optional) 1 cup arborio rice Kosher salt 2T unsalted butter 60g finely grated Parmesan (about 1 cup), plus more shaved for serving Freshly ground black pepper METHOD 1. Bring broth to a simmer in

a medium saucepan; keep warm over medium to low heat until ready to use. 2. Meanwhile, heat 2T oil in a large saucepan over medium heat. add onion and cook, stirring often, until golden and very soft, eight to 10 minutes. 3. add garlic and cook, stirring, until softened, about one minute. 4. add tomato paste and cook, stirring often, until it darkens slightly and begins to stick to the pan, about two minutes. 5. add tomatoes and nutmeg, if using, and cook, stirring occasionally until some of

new-and-impRoved gReek salad

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101

the tomatoes begin to burst, about two minutes. 6. stir in rice, season with salt, and reduce heat to medium to low. 7. cook, stirring until some grains are translucent, about three minutes. 8. Ladle in 2 cups broth and simmer, stirring frequently until completely absorbed, eight to 10 minutes. 9. Ladle in another 2 cups broth and continue to cook, stirring frequently, until rice is cooked through and the broth is absorbed, 12 to 15 minutes. 10. add butter, 60g Parmesan, and remaining 1 cup broth. cook, stirring constantly until risotto is very creamy looking, about four minutes. 11. Taste and season with more salt if needed. divide risotto among bowls. 12. Top with shaved Parmesan and lots of pepper, and drizzle with more oil.

spagheTTi wiTh no-cook puTTanesca 4 servings

Tomato seeds and membranes can be a bit bitter, which is why we remove them from this uncooked preparation â&#x20AC;&#x201C; it also prevents the sauce from being watery. 2 beefsteak tomatoes (about 450g), halved, seeds removed 2 garlic cloves, finely grated 1t crushed red pepper flakes 2t kosher salt, plus more 1 1/2 cups cherry tomatoes, halved 1 cup green olives, crushed, pits removed 2T drained capers 1/4 cup extra-virgin olive oil, plus more for drizzling 340g spaghetti 1/4 cup finely chopped parsley 3T unsalted butter, cut into pieces 102

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METHOD 1. Pulse beefsteak tomatoes,

garlic, red pepper flakes, and 2t salt in a food processor until smooth; transfer sauce to a large bowl and mix in cherry tomatoes, olives, capers, and 1/4 cup oil. 2. cook spaghetti in a large pot of boiling salted water, stirring occasionally until al dente. 3. drain pasta, reserving 1/4 cup pasta cooking liquid. 4. add pasta, parsley, and butter to the sauce. 5. Toss vigorously using tongs, adding a splash of pasta cooking liquid or more as needed to create an emulsified sauce that coats the pasta. 6. divide among bowls and drizzle with more oil.

tomato galette

TomaTo galeTTe 4 servings

salting the tomatoes ahead of time and letting them release some of their liquid is essential. It will allow the tomatoes to caramelise and ensures that the bottom of the crust stays flaky. 2 cups all-purpose flour, plus more for dusting 2 1/4t kosher salt, divided 3/4 cup chilled unsalted butter, cut into pieces 1T apple-cider vinegar 680g heirloom tomatoes, sliced 1cm thick 2 garlic cloves, thinly sliced 120g firm cheese (such as cheddar, or Gouda), finely grated (about 1 1/2 cups) 1 large egg, beaten to blend Flaky sea salt Freshly ground black pepper 1/2 lemon 1T finely chopped chives METHOD 1. Pulse 2 cups flour and 1

1/4t kosher salt in a food processor to combine. 2. add butter and pulse until

garden january/february 2020

mixture resembles coarse meal with a few pea-size pieces of butter remaining. 3. Transfer mixture to a large bowl; drizzle with vinegar and 1/4 cup ice water. 4. Mix with a fork, adding more ice water by the tablespoonful as needed, just until a shaggy dough comes together. 5. Lightly knead the dough on a work surface until no dry spots remain (be careful not to overwork it). 6. Pat into a disk and wrap in cling wrap. 7. chill at least two hours. Preheat oven to 200Â°c. 8. gently toss tomatoes, garlic, and remaining 1t kosher salt in a large bowl. 9. Let it sit for five minutes (tomatoes will start releasing some liquid). 10. drain tomato mixture and transfer to paper towels. 11. unwrap dough and roll out on a lightly floured sheet

of parchment paper to 35cm round, about 2cm thick. Transfer on parchment to a baking sheet. 11. scatter cheese over the dough, leaving a 4cm border. 12. arrange tomatoes and garlic over cheese. 13. Bring edges of dough up and over filling, overlapping as needed to create about a 4cm border; brush dough with egg. sprinkle tomatoes with sea salt and pepper. 14. chill in freezer, 10 minutes. 15. Bake galette, rotating once, until crust is golden brown and cooked through, 55 to 65 minutes. 16. allow to cool slightly on baking sheet. 17. Finely grate zest from lemon over galette; sprinkle with chives. DO AHEAD:

dough can be made two days ahead. Keep chilled.

spaghetti with no-cook puttanesca

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