BOSJES

Situated in the scenic Breedekloof Valley, an hour-and-a-half’s drive from Cape Town, BOSJES (meaning ‘small bushes’ in Dutch) is a garden paradise like no other. Brimming with Biblical imagery and an ethereal sense of beauty, the original Bosjesman’s Valley Farm dates back to 1790, and has been owned by the same family since 1831. And while the working farm has an undeniable Cape Dutch heritage, its strikingly modern Chapel does not feel out of place. In fact, known for its spectacular weddings and award-winning gardens, BOSJES has established a new take on winelands excursions. And it's a visit that will leave an indelible mark on your soul.

To call the entrance unassuming would be an understatement. As visitors make the trek to the 300-year-old farm, they are first met by the BOSJES Trust-funded Botha's Halte Primary School — a cleverly designed new community school on the outskirts of Worcester. The gravel road passes several rows of neatly planted protea bushes, their blooms still tightly closed and sure to be sublime in season, before coming to a modest security gate and being handed a pen and visitor’s book. Missing the winding road framed by towering oak trees reminiscent of the Cape Winelands’ typical grand entrances, there is little pomp and circumstance at BOSJES. But what might be perceived as cold hospitality, at least by aesthetic first impressions, has actually been orchestrated by intent.

As Tanya de Villiers, landscape architect at CNdV Landscape Architects, explains, ‘Entrances are not always about vehicles. In some developments, the vehicular entrance is deliberately downplayed in scale and importance, and the real sense of arrival only happens once you have disembarked and entered a space by foot.’ That is certainly true of BOSJES. The moment you step outside your car and onto the first path off of the parking area, the penny drops: ‘Aha! This is what it’s all about.’

Unfolding in sections, the gardens are designed to be a journey of discovery — a revelation. You can never quite see what’s next until you stumble upon it and are drawn in deeper.

DESIGN ARCHITECT

Steyn Studios

PROJECT ARCHITECT

Meyer & Associates Architects

LANDSCAPE ARCHITECTS

CNdV Landscape Architects Square One Landscape Architects

Starting at the foot of the mountain, where the Manor House is situated, and flowing back down to the entrance, where the architecturally-lauded Chapel is located, the landscape meanders in reverse chronological order of its completion. Unveiled in 2021, the second phase of the gardens reveals a forested canopy walk, with various play areas, and a pantry-style garden café and farm shop, Die Spens and Winkel.

Inspired by the ways of the San and the early Dutch settlers who first inhabited the valley, the two carefully-burrowed buildings are partially built into the hillside, the roofs overlaid with soil and planted with indigenous grasses and succulents to blend seamlessly into the landscape, leaving the panoramic mountain views untouched. The curvaceous structures were designed by architect Coetzee Steyn of Steyn Studio (who also masterminded the Chapel), and Square One Landscape Architects, with Meyer & Associates Architects appointed to assist as project architects and principal agent. Curved trellises of oak — a subtle reference to traditional cattle kraals — serve as a visual focus that twists and guides visitors inwards. Over time, these extensive trellises will be further integrated into the garden, with more than a dozen species of climbing plants — from bougainvillea and honeysuckle to star jasmine and wisteria — adding seasonal colour, texture, and aroma to these striking architectural creations.

A part of BOSJES’s ability to create staggered spatial experiences lies in the farm’s sloping topography, which was manipulated through extensive cutting and filling to create interest in the otherwise flat landscape. The gardens are spread across three terraces, connected by a curving pathway that provides universal access while creating a visual link between the wild woodland, forested play areas, spacious lawns, and conservation garden planted with endangered Renosterveld.

Awaking the inner child of toddlers and adults alike, the life-sized play areas are perfect for enjoying jovial respite. The Boombrug, a treetop canopy walkway that meanders amongst the hundreds of trees planted to create the indigenous woodland, offers panoramic views of the valley. Featuring a zip-line, a berm slide, and clamber-frames for kids (or adults — we shan’t judge), there is no shortage of fun for the adventurous at heart. Below the canopy walk, the underside subtly merges into beds planted with a wide array of indigenous grasses, succulents, and bulbs, each carefully chosen to ensure a planting palette of seasonal interest that celebrates the colourful diversity of Cape flora.

As you wander along the main processional route, you'll encounter ‘garden rooms’ that evoke a sense of intimacy and seclusion. Each room has its own distinct character, with carefully curated plantings, sculptural elements, and seating areas that invite contemplation and appreciation of nature's wonders. The gardens' unique sequence also protects the farm from severe seasonal winds. (The mountain immediately behind BOSJES is notoriously called Waaihoek Peak!)

An astounding 1600 trees, over 38 000 plants, climbers, and aquatics, and 1100 cubic metres of compost were used for the second phase of the gardens, with local boulders being craned into position to create the rockscapes, focal points, and natural river settings. Vula Environmental Services rescued over 3500 bulbs from the site during development stages, which were later relocated to the nature walk areas.

Mark Saint Põl, director of Square One Landscape Architects, shares that they set out to 'tell the tale of cultural heritage, and the tradition of living off the land, and turn that into something accessible and enjoyable.’ Their sister company, PARK, designed all the custom play equipment specifically for the BOSJES site, with the goal of merging ‘play’ with nature. Visual cues are scattered throughout, reminding visitors of the area’s rich history. A series of water furrows and channels speak to the ingenuity of farmers in taming this drought-prone wilderness, while fragrant citrus groves in front of Die Spens and Winkel are a nod to the region’s rich agricultural tradition. Circular sandpits reference traditional farm dams and reservoirs, while kidfriendly farming implements, sandpits, and splash-pads engage children with natural play systems using raw materials.

Strolling through the gardens, one cannot help but be drawn to the tranquil water features that dot the landscape. Ornamental ponds, gracefully adorned with water lilies and aquatic plants, reflect the surrounding greenery, the gentle sound of cascading water enhancing the overall ambience.

The symphony reaches a crescendo at the serene sculptural form of the Chapel. Designed by South African-born Coetzee Steyn of London-based Steyn Studio, the undulating white roof is inspired by Psalm 36:7, which reads: ‘How precious is your steadfast love, O God! The children of mankind take refuge in the shadow of your wings.’

Emulating the wings of a dove and the silhouette of the surrounding mountains, while paying tribute to traditional Cape Dutch gables, the weightless form appears to float on water. In each rising wave of the roof, the glazing of the peak adjoins at a cross. And unlike most chapels, the elegant structure lacks a spire, opting to draw from the simplicity of the Moravian Mission Stations of the 19th century vernacular instead. Looking at the breathtaking natural surroundings, one can understand why the architect chose to shift the Chapel’s sense of significance to the grandeur of God’s creation.

BOSJES incorporates Biblical references in imaginative ways. There is the Lush Garden (Garden of Eden), where four streams link to a central apple tree. The Water Garden interprets the famous parting of the Red Sea, allowing visitors to walk through a giant elevated pond with water bubbling down wet vertical walls. A serene spiral walk up the Dry Mountain (Mount Sinai) leads to a majestic coral tree and 360-degree views of the farm. This ‘koppie’ ingeniously repurposed a portion of the material excavated to house the extensive pump and filtration services for all the water features. Finally, the sunken green Oasis, with its vegetated dripping stonework, gives a glimpse of the Hanging Gardens of Babylon.

The landscape architects specially researched and propagated a variety of Biblical plants during this first phase of the project, completed in 2017. A total of 540 trees and 126 mature, fruit-bearing olive trees were planted, adding to the farm’s vibrant olive oil production. Descriptive plaques are dotted throughout the landscape, providing information about the various species, as well as relevant Scripture references to plants and trees specifically mentioned in the Bible. The gardens are bountiful with fig, almond, honey locust, lemon, pomegranate, willow, cypress, white mulberry, and thorn trees, as well as myrtle, African wormwood, and various endemic species.

BOSJES caters to all abilities — something the owner specifically requested — and uses a variety of design interventions to facilitate an encompassing garden tour. From wide, wheelchair-friendly pathways with easily trafficable surfaces to varying tactile experiences, scented planting, and braille on the plaques, the thoughtful design went a long way.

Interestingly, the Stofberg family, owners of BOSJES, share a longstanding friendship with Koos Bekker, the visionary behind Babylonstoren. While both hospitality establishments demonstrate a significant dedication to sustainability and the integration of architecture with the natural surroundings, BOSJES has carved out its own unique identity in the Winelands, embracing a distinct contemporary and modernist approach.

After savouring a scrumptious delight at Die Spens and snapping a selfie in front of the Chapel, it’s time to make the trek back to Cape Town. And if the heaviness of leaving doesn't make you spontaneously start singing ‘I hate to go and leave this pretty sight’ from The Sound of Music's ‘So Long, Farewell’ — then nothing will. BOSJES is one of those rare places that linger in your heart long after you depart.

The farm’s branding will give you an idea why. The presence of a small pineapple adorning the Manor House façade and gracing the BOSJES Instagram page is not without purpose. Throughout history, pineapples have stood as a symbol of hospitality, representing the host's extraordinary efforts to secure a ripe pineapple for guests despite the perils of sea trade routes. As BOSJES extends its warm embrace to visitors, it embodies the essence of a gracious host, creating an inviting haven on the farm. BOSJES is more than just a visit – it's a transformative experience that will replenish your inspiration, beckoning you to return whenever you need to recharge and reconnect with nature.

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A pair of serial renovators in Johannesburg bring a mid-century gem back to life with a sense of subtlety and joie de vivre!

It takes a good eye to spot potential in a fixer-upper, particularly in a city like Johannesburg. There are some real gems — almost always undervalued — but their qualities are often lost beneath the add-ons that barnacle their way onto houses over time.

Christo Vermeulen and Nico Venter are serial renovators. Inevitably, after a few years of living in a house, they find their eyes wandering. They certainly have a knack for recognising the signs that something special might be lurking beneath the surface of a nondescript exterior. Over the years, a few of the city’s houses have benefitted from their transformations. Christo is a former textile designer turned builder-renovator, with a side-line in manufacturing bespoke features, especially metalwork and ironmongery. Nico is an urban designer with a keen interest in the city’s architectural history. Together, they make a formidable team: insightful and capable, with the perfect combination of vision and respect for the innate qualities of a good find.

They recognised that they were looking at something special when they walked into this early 1940s double-storey house in the suburb of Greenside. The perfection of the sensuously curved, Art Deco-inflected balustrade on the stair was the first clue that highly skilled builders had been at work here. ‘There’s not a nick on it,’ says Nico, adding that there were other details, particularly in the cast concrete, which were ‘impeccable’. He also recognised the fine workmanship of the rounded edges where the walls meet the ceiling.

The fluted panelling, called the ‘Majoni’ range was designed by Nico and Christo and manufactured by Muse Designs, their design company. This fluted finish has been restricted to the unaltered areas of the house, while areas they changed or updated were kept smooth.

Christo soon realised that there were timber floors — parquet upstairs — and terrazzo beneath the layers of carpeting and glue. There were other ‘beautiful features of the era’, as he puts it. They were both particularly pleased with the brass fittings sprinkled throughout and the long, narrow planters outside.

The overall design suggested a thoughtful architect. Its orientation was perfect and other details such as the cantilevered concrete overhangs above the windows, were precisely designed to keep the hot sun out in summer and let it in during winter.

‘This house begged to be reborn,’ says Christo. He and Nico answered its plea.

‘The bones of the original house were absolutely perfect,’ says Christo. All was structurally sound, which, he says, is testimony to the quality of the workmanship of the era. ‘Probably Italian,’ he muses, in reference to the excellent reputation of the immigrant builders of the time.

His and Nico’s alteration brought those features decisively into the twenty-first century, so you could, as Nico puts it, live a ‘modern lifestyle’ (and use more efficient power and water sources) while still having the luxury of being surrounded by ‘the feel of the old walls’. Nico says that there’s no slavishly applied ideology or principle at work in their approach. Rather, they allowed themselves to be inventive, creative, and playful as they went along. They’ve clearly been respectful, taking joy in celebrating the finer historical features, but never becoming precious or pretentious.

Details like the wooden floors and parquet — which turned out to be the local, darker, reddish hardwood kiaat (sometimes called ‘African teak’), rather than the more conventional teak — could be revived. They were less lucky with the light green terrazzo, which had been damaged beyond repair. They replaced it with terrazzo tiles, to update it with a nod to the original finish. While the ceilings throughout the house have been kept white, the walls are darker, creating a cosy, painterly atmosphere. They also replaced the rickety old steel windows with modern aluminium frames, but Nico had noticed an intricate rhythm of proportions throughout the house.

‘All of the windows are broken down into three sections,’ he explains. On the lower floor, there was a little portion at the bottom, above it, another section double the height, and above that, the top section was double the middle one. A similar pattern was repeated on the upper level, but in reverse. The windows, in turn, become part of a larger geometric game. The composition of the front façade follows the same proportions: the height up to the flower box is doubled in the next section up to the sunshades and doubled again above it to the soffits. He and Christo replicated it in the modern material, so the integrity of the overall design remained intact.

Many of the alterations they’ve made draw attention to original architectural features of the house. They’ve widened doors, for example, to improve the lines of sight between rooms. One door between the living room and entrance hall now perfectly frames the staircase. They’ve subtly distinguished the original features from the areas they’ve altered, but it comes across as a feeling rather than an overt signal. Christo and Nico designed fluted wall panelling that runs up to waist height, which is restricted to the original areas. Where the kitchen, dining room, TV room, and study have been switched around, the walls remain smooth.

Similarly, Nico points out, that wherever they’ve included new doors, they’ve used reeded glass, which has a kind of vintage feeling, but also signals a change (and complements the fluted panelling beautifully). They’ve picked up on other little details that belonged to the original house, such as the brass fittings — the door handles for example — and found ways to emphasise them. From the brass strip inlay in the terrazzo in the entrance hall and master bathroom to little brass details like nuts and bolts in the ironmongery and furniture, there’s a glimmer of brass at play throughout the house.

All the light fittings are spherical, which almost unconsciously harmonises with the curves in the architecture. Christo paid homage to the curves in the design of new features, such as the bathroom mirrors and other fittings, recognising and emphasising this aspect of the original design. In other instances — such as the covered patio — they’ve tried to create continuity. Its PVC strips mimic the timber soffits on the original house, as Nico says, ‘in a contemporary way’. In contrast to the bright white exterior, the interiors are dark, playing with a kind of chiaroscuro hinted at in the chocolatey floors. Christo says that he found himself studying paintings by the Dutch Old Masters, and carefully selected what might superficially look like black paint for the walls, but with undertones of brown to give it a kind of variation and warmth.

It’s not just light, but lightness that he and Nico have brought in. Their home’s mid-century features have been given a second lease of life, celebrated in the context of a contemporary lifestyle, with as much joy as reverence.