SCAPE | March 2023| The Dwelling | Vol. 90

Free Joint Multi (FJM)

The Samsung FJM is a multi-zone residential and light commercial system that offers up to five different indoor units connected to one outdoor unit and multiple control options. With minimal installation space, it’s a flexible option for homes or offices with many rooms.

Efficiency- saves energy and the environment. Save money every day with Samsung’s Digital Inverter technology. Unlike conventional fixed-speed compressors, the FJM compressor automatically adjusts its speed to maintain the set temperature without frequently switching on and off. You’re guaranteed to get powerful and quiet performance, and optimised power usage which reduces energy consumption by up to 70%, saving you money.

Optional Wi-Fi kit allows you to operate your unit from almost anywhere and at any time through the Samsung SmartThings App.

Fourways Group is the national distributor of all Samsung air conditioners. Contact your nearest branch for enquiries.

Cassette

Duct

Welcome to The Dwelling

We're thrilled to present our March issue, one of our most popular themes dedicated to the intricate and ever-evolving world of residential design.

A home is more than just a physical space; it's where cherished memories are made, unique personalities are expressed, and well-being is nurtured. That's why we believe creating a home is not just a mammoth task, but also a deeply personal one.

In this issue, we explore the many challenges and complexities architects, interior designers, and landscape architects face when taking on a residential project. From Sea Point high-rises to sprawling Boland estates, the notion of home is constantly morphing to meet the needs of discerning clients, first-time homeowners, and families alike — especially in the face of smart home and adaptive living technology.

We’ve interviewed one of the most renowned high-end residential design firms in the industry, and dipped our toes in dreamy abodes clients are lucky enough to call home, to curate an issue that has something for every trader.

Whether it’s personality-driven interiors, an ode to Miami Bauhaus, a love for circular design, or rewilding residential landscapes, and everything in between — we've got you covered!

March marks a special milestone of not only 90 volumes since our inception in 2015, but also our first anniversary of rebranding to SCAPE. Thank you for coming along on the ride.

Until next time, when we see you in April for a brand-new theme titled The Materials.

Ed’s Note. Chanel

Venticello floor mounted rimless toilet.

Introducing Sea Point’s New Kid on the Block

IN DIALOGUE WITH DESIGN MINDS

SCAPE Sits Down with Fabian Architects + Make Studio

46 STEP INTO THE UNKNOWN

Harnessing the Magic of Moon Gates

The Dwelling Collaborators

Etienne Hanekom, Etienne Hanekom Interiors | Dennis Fabian and Lauren Bolus, Fabian Architects + Make Studio | Melanie Durrheim, Wild Design | Carrie Latimer, Carrie Latimer Landscape Design | Brian Dunstan, BD Studio Architects | Robert Silke & Partners | Signatura | Malherbe Rust Architects | Anette de Jager, 360 Design | VKDB Architecture Interior Design | Red Daffodil

Photography by DOOK for Visi

WHEN FORM FOLLOWS FEELING

THE ART OF PERSONALITY-DRIVEN DESIGN

Personality-driven design is all about creating spaces that truly reflect the unique tastes and preferences of each client. Whether you're working with a free-spirited artist or a minimalist with a passion for clean lines, understanding your client's personality and incorporating their style into the design are key to creating a space that feels like an extension of who they are.

I experienced this first-hand when working with two vastly different clients on two polar opposite projects.

One was a penthouse apartment in the sleek Onyx building in Cape Town's Foreshore. A blank canvas, newly fitted with crisp joinery and monochromatic bathrooms. Its floors and tiles were minimalist, providing a clean slate for our design vision — workable. The brief was to incorporate the client's art collection and bring the interior to life.

The second project took us to a multi-level abode in Camps Bay, where a client and her son sought a fresh start. Built in the ‘90s, the house’s architecture was a patchwork of styles and struggled with some major layout issues. What began as a small renovation soon became a larger undertaking, but our brief remained steadfast (and pretty similar to the former): translate the client's style, bring out their personality, and create a home that is perfect for them using their existing art and furniture.

These two clients were worlds apart, on contrasting ends of the personality spectrum. Both were challenging, not just in the planning of the interior, but also to learn who they are, what they like, their tastes and habits, and how they live.

To begin the process, I always start at the heart of the home by asking the crucial question: Do you cook?

The one client didn’t cook at all, and the other absolutely loved cooking, so her kitchen was the most important place in the house. That’s a good starting point — either you focus your energy on that space or you don’t. It’s important to know what the clients are passionate about and start fleshing things out from there. I never try to sell a concept to a client if I’m not confident it will enhance the way they live.

Photography by Paris Brummer

Photography by Paris Brummer

Photography by Paris Brummer

After that, I always go the colour route. I love colour to start with, so I will always try and push for at least one or two strong colours — metallics included. The one client had an extremely colourful personality, a free spirit. The way he dressed and the type of art he collected told a story. The other client, on the other hand, was more ‘stable’. She is a mother and the house was not just hers but shared with her son, so the colour palette was more grounded. We decided to go for natural tones highlighted by dusty brights (what I call colours in a shadow). There’s still energy, but with a mood. The result was a much calmer interior.

I don’t do white. I rarely paint a ceiling white if I can get away with it. White belongs on paper, and what is a piece of paper with no ink on it? I think I also have a bit of a split personality: little bits and pieces of my personality are always visible in my work. That said, I think we also choose clients that we can relate to in some way. Working on an interior someone will be calling their home is very different from working on spaces that people only move through periodically.

For the Onyx apartment project, the brief was a colourful layered cake. Layers upon layers. I think it was exciting to work on, because I would never have gotten to the end result if it wasn’t for the influence from the client and his personality. Needless to say, I never presented any of those ideas to my other client! Despite their similar briefs, the final designs went in completely different directions.

Since the apartment was, in essence, a shell fitted with joinery and sanitaryware, with floors and tiles that still needed to work with everything else we threw at the interior, we had to find novel ways to keep and enhance those elements without removing or redoing anything. It can be challenging to work with fixed elements that weren’t specifically designed with that particular client in mind. Especially this one not being a cook at all! The Onyx client was almost unstable if viewed from a distance. You really had to get to know him and what he is all about. But the interior reflects him one hundred percent: bold and layered. It was a difficult project. Things changed a lot, but to doubt and panic were also inherently part of his personality.

Photography by DOOK for Visi

Photography by DOOK for Visi

The second project was a complete gut. Only the walls and the roof remained standing. The rest was a complete redesign of a space based on the client’s needs, style, and demands. This interior ended up being more timeless, with softer and gentler colours and textures. Much like the client herself. She is a very calm person with a classic dress sense, and she knew what she liked or disliked. The Camps Bay house project also ended up being more streamlined in nature. The client was involved from the start, but also trusted us in the process. I think, in a way, the end results for both projects reflect what the process was like, what the clients are all about, and how the spaces and architecture limited us while also enhancing the final design.

For me, designing homes is more about the client, their needs and their likes, than a portfolio project to be published. The only way to achieve a good result is by making mistakes and trusting the organic process of getting to know the person you are creating a space for. It's not window dressing. It’s a 360-degree product that needs to deliver on more than just a visual level. Even though I try and incorporate some of my personal tastes and likes into my clients' interiors, in the end, it’s more about them than me.

Before meeting clients, I try to keep a complete open mind as to what I want, what they want, who they are, and who I think they want to be. Our spaces are extensions of our personalities and who we are, so it is important to listen to them. They will be living there. My job is to listen, analyse, and then solve the problem. Problem solving is the line art drawing: the next step is colouring in that drawing. It’s a process. To be able to start colouring in, you need that basic line drawing.

ETIENNE HANEKOM Interior Designer

Photography by DOOK for Visi

In Dialogue with Design Minds

FABIAN ARCHITECTS + MAKE STUDIO

When two founding architects with a combined experience of over four decades get together for an interview, you know there are bound to be some fascinating projects to uncover. In this case, SCAPE had the pleasure of getting to know Lauren Bolus and Dennis Fabian better, both of whom have impressive backgrounds in the detailed design and project management of high-end residential projects. Join us as we pick their brains and discover what they’re currently working on...

Give us a brief rundown of Fabian + MAKE Architects. How did you become the firm you are today and how would you describe your distinct design aesthetic and approach?

Fabian Architects has been around for over forty years and was founded by Dennis Fabian. In 2015 Lauren Bolus’ Make Architects merged with Fabian to form a full-service practice covering commercial and large-scale projects with private residential, hospitality, retail, and interior design.

Fabian and Make Architects’ design aesthetic is timeless, not fashionable, ensuring our designs have longevity. We create spaces that are elegant, contemporary, and honest in their materiality and attention to detail.

Our approach is very much rooted in our collaborative relationships with our clients. Trust and collaboration are vital... Magic happens when these form the foundation of the relationship.

In your opinion, what are the fundamentals for designing comfortable, healthy, and liveable spaces?

Orientation and site sensitivity are key contributors to a comfortable and inviting space. Natural light, connection to outside spaces, and open-plan living are always the fundamentals that inform our designs. We value the experiential factor in our houses: there needs to be a special experience curated by the design. We believe in focussing on specific features instead of trying to make everything a feature.

Kerzner Estate House, Leeukoppie, Hout Bay

Pitlochry House, Camps Bay

Photography by Greg Cox

How do you encourage experimenting with a mix of textural and visually striking combinations of finishes that seem to be a key feature within your residential portfolio and product design catalogue?

The mixing of materials has become an integral part of our practice. We bring together different architectural elements in pursuit of artistic expression and the result is architecture that is more thought provoking and memorable.

Exotic marbles are a signature in our designs. We often allow the stone selection to set the tone for the space. It’s important for us to combine texture and tone both internally and externally. There are, of course, also practical benefits to using different materials together.

Can you tell us more about a project that pushed the boundaries of your design capabilities or required you to think outside the box? Are there any notable or particularly challenging collaborations or partnerships your firm has had on a residential project?

We’ve recently been experimenting with curves — all kinds of delightful curves, including concrete curves, interior wall curves, ceiling curves, etc. The collaboration between contractor and architect can often be a challenge, specifically getting the contractor on board for out-the-box ideas. Projects always come with different challenges and these obstacles normally result in an improved design. It is also often challenging to get clients to recognise the added value of an architect.

Contrast is an important part of our design ethos, with layers of contrast elevating a design from flat and boring to powerful and provocative.

The Fynbos interiors

How does your firm approach the integration of sustainable and energy-efficient design principles in your residential projects? Can you think of any notable or particularly innovative uses of technology or materials?

We love renovating. The most sustainable principle is to maintain the existing structure. It sets parameters for the design and allows us to transform an existing building into something to celebrate. Our Aurum project in Bantry Bay is a great example of this.

Can you speak to the ways in which your firm involves and considers the needs and preferences of the end-users in the design process? How does your firm approach the balancing of aesthetic appeal and functionality?

A building should function like a well-oiled machine. Practicality is key as the functionality needs to be faced every day. The occupants need to feel the experiential factor in the design. Aesthetics are always well considered to enhance experience and add life and spirit into the space.

What or who is your muse?

Our muse is different for each project... Sometimes it’s the site and sometimes it’s materiality and often combinations thereof.

Give us a taste of what’s to come! Which of your residential projects on the verge of completion excites you the most and why?

We’re responsible for the interior architecture of Africa’s first biophilic multi-residential project called The Fynbos. Demolition of the existing site in Cape Town has begun, and we’re excited to watch the building come to life. It’s a thrill for us to see the blending of purist sustainability principles with iconic architecture and on-trend detailing.

Our other multi-residential project that we’re thrilled about is The Rose on 117 on Cape Town’s Rose Street. We’ve seized the opportunity to replace a derelict and featureless light industrial building with an edifice that injects an exuberant energy into the local streetscape. The architecture seeks to encourage hope and optimism through a colourful aluminium façade grid, presented in shades of pink that are a nod to the site’s location and the colourful houses of the surrounding De Waterkant and Bo-Kaap neighbourhoods.

We also have several single-residential projects in both Cape Town and Joburg that we’re excited to see come to life.

The Fynbos interiors

Pitlochry House, Camps Bay. Photography by Greg Cox

Pitlochry House, Camps Bay. Photography by Greg Cox

What are the unique challenges South African architects face when creating a home or multi-dwelling apartment building? What do you anticipate being the resulting trends for 2023 and beyond within the realm of residential architecture in SA?

Loadshedding is a huge challenge in South Africa and we now have to look at accommodating alternative energy sources — such as generators and solar panelling — in our projects. Other challenges include sustainability and space: we’re constantly having to look at how buildings can be built more efficiently to be more sustainable and give more square footage to the user. We’re seeing the introduction of more sustainable solutions in architecture as a trend. Materiality also remains a key contributor to future trends and we’re seeing a lot more use of materials like hemp and cork.

www.fama.co.za @fabianarchitects_makestudio

LAUREN BOLUS

DENNIS FABIAN

Aurum Residential, Bantry Bay

IN THE HOT SEAT

TOP 10

Introducing 10 of the most magnificent ‘rump-resters’ around! We’ve sourced and narrowed down a long list of SA’s finest artisans and makers to come up with the perfect selection to set the stage in your living space. Whether you are after subtle sophistication or wanting a vibrant statement piece... Try these on for size.

900 mm W x 815 mm D x 850 mm H

R 19 600

Murrmurr | www.murrmurr.co.za

Cremi Armchair

1000 mm W x 750 mm H

R 18 200

Murrmurr | www.murrmurr.co.za

Chameleon

660 mm W x 750 mm D x 700 mm H

R 6 030

Kipekee Studio | www.kipekeestudio.co.za

Full Moon Armchair

Occasional Chair

Poolhouse

Catch the rain and save

If you could save on your water bills, ensure that your plants don’t suffer during dry spells, and contribute to saving our country’s most precious natural resources, all in a simple, cost-effective way, would you be interested?

Rainwater harvesting is an easy way to re-use water that would otherwise disappear down stormwater drains. Collected natural precipitation provides a renewable supply of natural, soft, clear water, without harming the environment. In fact, harvesting rainwater can assist in preventing flooding in highly built-up urban areas, and can reduce the runoff of pollutants and pesticides into rivers and streams.

There are a variety of simple ways to collect, direct, and harvest rainwater, namely raintanks, permeable paving, gutters, and channels.

1. Raintanks

Harvest rainwater from your roof, and collect, and store it with raintanks, from where it can be distributed. There are many benefits to collecting rainwater in tanks and other storage containers, including:

• Reduction in the use of municipal water.

• Lower water bills.

• Reduced flooding and erosion.

2. Permeable paving

The increase in impermeable surfaces in urban areas has caused an increase in flooding and pollutant runoff. Stormwater flowing across streets, sidewalks and gardens picks up contaminants such as litter, spilled oil, detergents, solvents, dead leaves, pesticides, fertiliser, and bacteria.

Natural filtration of water through soil is the simplest way to control these pollutants, and is a direct advantage of permeable paving or other man-made soak-aways.

3. Gutter systems

Gutters can be used to direct rain water to storage containers, rain tanks, or specific areas in your garden. Sometimes, the force of rainwater directly onto pot plants, ponds, or garden beds from gutters can be too strong and needs to be softened. Place pebbles or gravel to break the force. Selected mulches around these areas can act like sponges that absorb water and then releases it slowly into the soil.

4.

Channelling

You can direct stormwater to specific parts of your garden using channels, culverts, or troughs. Create ‘dry riverbeds’ using a lined channel covered with a variety of pebbles, rocks, and stones in various colours and designs. Detect where the water comes from, e.g. roofs, hard surfaces, and streets and decide where you want it to go in your garden.

Save water, spend less money, and ensure that your plants always have water by harvesting rainwater.

Rewilding Residential Gardens

Photography by Babylonstoren

Rewilding is a comprehensive, often large-scale, conservation effort, focussed on restoring sustainable biodiversity and ecosystem health by preserving core wild/wilderness areas, providing connectivity between such areas, and protecting or reintroducing apex predators and highly interactive keystone species (rewilding.org).

To me, it’s about letting the wilderness back in. Not only into our gardens and living spaces, but also into our hearts and minds.

Somewhere along the way, as humans evolved, we stripped ourselves from the natural rhythms of nature. We somehow began to view ourselves as separate from nature — from biodiversity chains and links. My Master of Architecture thesis titled 'Domestic Feral' was the driving force behind what I strive to do now. It unpacks the giant chasm we as humans have created between us and the natural world — ‘us versus them' — and solutions that can be found in our daily domestic lives and designs of our living spaces.

In essence, the spaces in which we live have been designed to keep nature at bay, to be observed maybe, but never integrated, keeping the boundaries of our human comfort zones. All designs, from what we eat out of to the spaces we live in, have been designed for the species that will use them — us. This makes absolute sense, but at the same time, with architecture and landscaping, we start to tread on delicate areas as the space we are using to design is, in fact, if you look closely, already inhabited.

Ideas to bring into our city fabric. Nodes of biodiversity regeneration using traffic islands and sidewalks show how pollinators can then potentially be used for edible gardens on the side of roads to allow the homeless to utilise the produce to sell, consume, etc.

Biodiversity and its role in a holistic urban ecosystem

This design is for a client having issues with the Cape serotine bat roosting in their garage pitch. The bat box awning over the door can collect guano (their droppings) in pot beds, which is excellent for soil and certain plants tolerate it very well in high quantities.

Each owl box is custom designed for the specific species and location in question. The design is rendered according to their habitat needs and natural roosting practices. This design is for the Barn owl (Tyto alba) — a great predator to have around urban areas to manage rodent populations.

We put up our concrete walls, dig in our trenches, erect our mass glazed exteriors to max out on all those beautiful natural views without a second thought to the long-term impact this will have on other living beings. Simply placing down a wall can have multiple effects on a myriad of species that may have used that area for habitation or traversing zones.

It starts with us

Rewilding stems equally from passion as it does from science. There is so much to be said for the wellness benefits of reconnecting with nature. At the same time, biodiversity is pivotal for our planetary health and survival of the human race. The decline in bees and other pollinators is already having a drastic impact on our ability to grow food. We are on the brink of the sixth mass extinction: in 2022 alone a number of plant, insect, and animal species went extinct. But unlike previous extinction events, this is driven by human activity, primarily (though not limited to) the unsustainable use of land, water, and energy, and climate change.

Master's thesis titled 'Domestic Feral'. Allowing parts of architecture to rewild itself

Many people I talk to often say, ‘But I live in town and only have a balcony, so I cannot really give back to biodiversity.’ Yet this is exactly where you can, and should, start. Books the likes of Menno Schilthuizen’s Darwin Comes to Town: How the Urban Jungle Drives Evolution and Rambunctious Garden: Saving Nature in a Post-Wild World by Emma Marris show that in order to preserve our last remaining great wild spaces, we have to redefine how we view what is wild. This can look like allowing the new wild to be seen in the weeds popping through the tarmac and welcoming the bees. Balcony spaces are also vital to giving back to nature.

Designing for the unseen client

Biodiversity and the urban design sector have long had a contested relationship. As humans we design with purely our needs and comforts in mind, often forgetting what natural systems we may be disturbing as we lay our concrete foundations. Designs, whether in landscape or architecture, generally all start the same way: with a brief and site analysis. Both of which are generally human-orientated. What does the client want?

But what about the unseen client, the ones that are most likely already inhabiting the site or potentially could be?

Small changes, big impact

The concept of rewilding is often used in great ventures with sweeping solutions such as land bridges and species reintegration. However, as with most ‘green’ initiatives, it often becomes an overwhelming and rather impossible goal as we tend to jump to the big picture ideas. But I firmly believe rewilding can start, or rather should start, from the smallest of spaces and most miniscule design initiatives.

This is where rewilding in its basic form can begin, by asking much-needed questions in the site analysis and looking a little bit deeper, beyond the human needs and wants. Consider the species that use the area to live, traverse, and find momentary sanctuary: the birds, insects, and other animals alike — plant species too. When we bring in these observations at the outset, our site findings will deepen and enrich our designs and outcomes.

Glazing solutions for shop fronts and creating bird nesting boxes in cantilevers and overhangs.

Glazing is a good example

Designing for birds

As architects, we use it as a means to showcase nature, but ironically, it can do great harm. The material reflects birds’ natural habitat and is often placed in their flight paths. This isn’t to say one shouldn’t have windows, rather one should glaze with consideration, setting it back with a deep beautiful overhang to cast shadow over the glass, allowing birds to recognise it for what it is.

Make the most of mullions

Another simple way is using and designing more mullions to separate the glazing, which in turn creates a grid for birds to see. This ensures the spacing of the mullions doesn’t exceed the wingspan of the bird species in question. Something so simple in our design choices can have such a great impact on our fellow beings. Even a simple bug box can start a biodiversity regeneration chain on a micro scale, which can lead to a macro change in the future.

Just do the next right thing

Naturally, humans want to feel safe. We want our fences and daily comforts. So, by how much can you allow a space to be wild? Where is that perfect grey zone where all living creatures can be in one space, and does it even exist? Once again, these goals can seem big and overwhelming, so we start small.

Of course, wild design can invite some unwanted visitors, like rodents (though some rodents, like the striped grass mouse Rhabdomys, aid in the pollination of fynbos). While we cannot force nature with design, we can provide aid and give potential solutions, such as owl boxes, which are great ways to bring in owls — a predator for rats. We need to bring back the often-missing links in our biodiversity chain that keep everything in check and balance.

• Replacing blue chlorine pools for eco pools is a move I cannot suggest enough!

• Be diverse in your planting palette – it attracts a diversity of other species.

• Bug boxes, bat boxes, owl boxes (species specific), along with nesting balls for birds during their breeding months, are also great ways to get clients and their families involved. In my experience people become very committed to their garden projects, and there is a wonderful sense of joy when the owl and bat boxes become inhabited. I often supply a handbook of fun biodiversity enriching ideas for families to use when handing over a completed garden.

Landscape design has come a long way, with wild natural gardens becoming more popular. At the same time, opportunities to rewild urban spaces are few and far between, with many people still opting for sprawling lawns, monoculture plants, and boxed-in hedges.

To increase biodiversity, we have to encourage clients to see wilderness not as feral but as necessary and valuable. Our job is to allow for design solutions where both can live as harmoniously as possible.

Biodiversity corridors

Connectivity corridors are such a good example of an essential design tool for biodiversity, very much linked with urban design. Such corridors are crucial for the survival of several species – like the western leopard toad. A small design change like creating access holes in boundary walls or fences for frogs and other creatures to move through is a simple way to implement a larger biodiversity solution, allowing animals to move past our man-made restrictions. Planting trees on boundaries can create a canopy overlap with the neighbouring properties to enable creatures like chameleons to traverse.

Integrating biodiversity enriching conversation into the first phase of any design could lead to designs that truly work, not only in harmony with nature but also allowing these living spaces to be alive. Always think about what other species could benefit from a site and how this space, no matter its size or location, can regenerate biodiversity. This is where the contested relationship between the built sector and nature can potentially find new ground.

You don’t need a big garden or massive tree around to welcome these prized predators! Barn owl boxes can easily be placed on home façades and taller boundary walls. If every apartment block had 2 owl boxes plastered to the sides of the building, we may see a big difference in barn owl populations and decline in pest populations.

MELANIE DURRHEIM Architect and Landscape Designer www.wilddesign.online @wilddesign_livingspaces

Genet burrow design Wild balcony ideas

Barn owl (Tyto alba)

ROCK ’n SOUL

RETAINING AUTHENTICITY WITH NATURAL STONE WALLS

Photography by Heidi Bertish

In the face of our fast-paced, machine-made, money-driven future, today’s luxury can be defined as artisanal. It’s natural and sustainable, easygoing and unpretentious. Therefore, in terms of hard-landscaping materials, natural stone is the ultimate in contemporary luxury.

When designing with stone there really is only one ideal: authenticity. It is a simple truth that the more out of place and character stonework looks, the less sophisticated the ultimate effect and the higher the environmental footprint. So, we really should be looking to our local neighbourhood and natural landscape rather than Google and Pinterest for inspiration.

I always feel like I’ve hit the jackpot when a site I’m working on has its own stone, and I hardly ever send rock off site, but rather incorporate it into the design. In the absence of this blessing, I turn to my stone masons who always know what stone is being excavated on building sites in the area. Essentially a waste product, this is a very environmentally friendly source of stone and guaranteed to be locally appropriate.

Zwaanswyk House. Photography by Heidi Bertish

One of my favorite examples of this is how we are seeing gorgeous applications of pebbled paving emerging in areas of the Boland rich in alluvial stone. Not only does this feel in keeping with the natural landscape, but it speaks to our Cape vernacular ensuring an utterly timeless installation. Depending on where a property lies in Cape Town, where I’m based for example, the primary choices are sandstone, granite, or shale. The most enduringly elegant stonework is always that which comes from its closest natural environment.

Stone walling is where we are seeing the market’s increasing desire for authenticity most clearly. There is a distinct move away from the very static, tightly packed, dry-stone cladding that has been so prevalent over the last thirty years. Today, it’s the intangible allure and rich character of stonework that can only truly be achieved using time-honoured building techniques that capture our imagination. There is a magic to solid stone walling, which is very hard to achieve with a brick wall only clad in stone. Solid stone walls are now my first prize always and we sometimes need to push project engineers to embrace this traditional approach.

When building solid stone walls, one needs to first decide if they will be dry packed (no cement used) or held together with mortar. Dry-packed walls, as one often sees in rural settings, are incredibly charming and are essentially living walls as one can grow plants in their crevices. The design possibilities for dry-packed walls are truly endless and this application is not limited to traditional-style gardens. Dry walls constructed of flat shales or slate, for example, sit beautifully in a contemporary setting — as do dramatic retaining walls of giant stacked boulders.

"The most enduringly elegant stonework is always that which comes from its closest natural environment."

In instances where a mortar-held stone wall is more appropriate or when the only solution is to clad a brick wall in stone, the choice of grouting method is as important to the end look as the choice of stone itself. I love exploring the local neighbourhood and taking inspiration from old buildings in the area as this ensures a sense of harmony with the built environment.

There is endless room for expression and creativity within the choice of grouting, and it's astonishing how a grouting technique as traditional as monumental pointing can look absolutely smashing in a contemporary context. Gone are the days when we try to make a clad wall look like a dry-pack wall, with natural stone, it’s all about keeping it real.

CARRIE LATIMER Landscape Designer www.carrielatimer.co.za @carrielatimergardens

Grow with the people you trust

South Africa’s largest wholesale grass supplier.

A cut above the rest.

South Africa’s largest stockist of speciality timbers. We are proud suppliers to the finest residential, commercial and leisure projects across South Africa and neighbouring countries. We love to get involved early in your project and be on hand to offer expert advice as your vision unfolds.

We’ve been preparing your landscape for years.

We’ve been growing, relocating, delivering, planting and maintaining mature trees for over 30 years. Our expertise and range of over 15 000 ready-to-plant mature trees make us perfect for any domestic or commercial instant landscape transformation.

the mature tree expert

Architect: MFS Drew

Photographer: Adam Letch / Architect: Malan Vorster

Photographer: Adam Letch / Architect: G-Squared

Step into the Unknown

HARNESSING THE MAGIC OF MOON GATES

2

Photography by Elsa Young

Adding hardscape elements like walls, terraces, and paved walkways to your garden design will bring a welcome dash of whimsy, intrigue, and visual interest. One such oriental, Tolkien-esque addition is the famous moon gate. These circular or semi-circular entryways have been around for centuries, originating in China during the Tang dynasty and later being incorporated into Japanese and English gardens as a popular landscaping architecture style.

While these round structures are traditionally built into a wall and made from natural materials like stone, brick, wood, or bamboo, they can also follow a more contemporary freestanding design constructed using steel or concrete. The shape symbolises harmony and unity, and is traditionally thought to bring good luck and fortune to those who pass through them.

The moon gate is often used to encircle a stunning view, whether it be a distant mountain range or a nearby pond. Its symmetrical shape creates a natural frame for the landscape, drawing attention to the beauty beyond. This effect can be further enhanced by placing plants or other elements that complement the view, creating a stunning backdrop.

Moon gates can also be used to direct the flow of traffic through the garden. For example, a moon gate strategically placed at the entrance of a garden can create a dramatic sense of anticipation and mystery, drawing visitors into the space. Alternatively, a moon gate can be used to mark the transition from one area of the garden to another, especially when placed at the end of a path or garden section.

Favoured for more than just its aesthetic value, the moon gate can create a sense of enclosure, bringing a feeling of privacy and seclusion. It can also provide shade and shelter from the elements, making it an ideal spot for relaxation or meditation.

Imagine walking through a magical portal that transports you to a world of beauty and wonder. That's what a moon gate can bring to your garden design. So, why not take a leap into the mystical world of moon gates and make your garden an even more beautiful and captivating place?

1. Brief Garden

Kirantidiya, Sri Lanka

Bevis Bawa

Surrounded by lush planting, this verdant moon gate takes a uniquely tropical slant.

2. Brahman Hills

Midlands, KwaZulu-Natal

Tim Steyn Landscaping

Diverging from the normal use of brick or stone, this statement straw structure becomes a portal to different parts of the garden, while also paying tribute to the area's agricultural past.

3. The Long Garden

Bedford, Eastern Cape

Franchesca Watson

This moon gate cleverly connects the main garden area with a raised vegetable garden, creating a sense of harmony and flow. The shape mirrors that of the fish pond whilst framing different perspectives, welcoming visitors to explore.

FULL CIRCLE

INSTALLATION STEPS TO STAY AHEAD OF THE CURVE

The circular window at House 111A was a minor intervention to a home we passionately designed a decade ago.

Our strategy was to create a ‘concise’ opening in a gracefully weathered concrete wall, with no patching of concrete after the fact, at a scale sympathetic to the proportions of the existing façade.

For the concrete coring and cutting specialist, we dimensioned the minimum and maximum diameters of the core drills to scale the opening. When three quarters of the circumference were drilled, the pie was cut into manageable quarters, each carefully supported and lowered to the ground.

The last core drill completed the circumference and freed the final concrete quarter to be lowered to the ground where it was jackhammered into rubble and carted away.

The window frame was conceived as a circular steel tube which could be pushed through the concrete opening. It was fitted with laser cut flanges on the outside to locate the frame into position, seal between the concrete, and hide the untidy jagged profile left by the core drilling. A rebate flange was added to fit the glazing and a hidden weather step to mitigate the ingress of moisture.

We matched the colour of the window frame to the concrete, reducing the visual impact of the circular geometry to a gentle intervention in sympathy with the patina of the weathered façade. A hooded overhang designed into the profile of the rolled tube adds visual interest beyond just a circular window and functionally regulates exposure to the summer sun. The real prize, however, is a stunning framed view from within of the ever-changing seasons reflected in the indigenous garden beyond.

The glazing contractor sealed the gap between the new steel frame and the concrete, making sure to leave an opening at the bottom for the egress of moisture forced out by the weather step. He installed the circular pane of glass into the rebate provided using double-sided tape and structural silicone.

A circular steel tube seals and smooths the opening, whilst also providing an overhang to regulate temperatures during summer.

The window frame seamlessly blends into the weathered concrete, complementing the earthern landscape.

BRYAN DUNSTAN Director and Professional Architect www.bdsa.co.za

@bdstudioarchitects

FLAMBOYANT FUTURISM at the Flamingo

Photography by Wayne Muller

Size: 3000 m²

Cost: R76.5 million

Completed: December 2022

Location: 6 Regent Road, Sea Point, Cape Town, Western Cape

Flamingo, the new curvaceous nine-storey building in Cape Town's Fresnaye, is a striking fusion of twentieth-century avant-garde and coastal-city modernism. Designed by Robert Silke & Partners for Signatura, the structure is sculpted to frame its scenic surroundings, replete with nautical porthole windows capturing Lion’s Head and the hustle and bustle of Sea Point’s vibrant streets.

Project preparation

At the beginning of the project, the original FNB branch on Regent Road was demolished and the entire site was graded and cleared by Ross Demolition. After the building was brought down and the excess rubble cleared, the earthworks phase of the project commenced. This process included the drilling of piles to serve as anchors for the new building’s strong structural base, laying the critical foundation for the subsequent construction phase.

Bauhaus on heat

As the architects behind The Onyx on Cape Town’s Foreshore and the celebrated Tuynhuys apartments opposite the Cape High Court, Robert Silke & Partners is known for statement, sculpturally curvaceous buildings that transcend the ascetic functionalism of the developer norm. A far cry from your typical grey montage, the firm’s portfolio is truly iconic, which is why it was a no-brainer for Signatura to approach Robert Silke to make a grand statement in such a focal point in Sea Point.

The driving force behind the development was the desire to create a unique contemporary offering of micro-apartments for travellers in search of a self-catering experience. Essentially tapping into the Airbnb and vacation rental market.

The Flamingo’s quirky name is a deliberate reference to the upbeat tropical Modernism that marries serious European design of the 1920s and 1930s with the flamboyant grandeur of the great coastal resort cities of Miami, Rio de Janeiro, and Honolulu. The result is a fun and compact luxury apartment block that is playfully and frivolously sculpted — like Bauhaus on heat.

"The Flamingo’s quirky name is a deliberate reference to the upbeat tropical modernism that marries serious European design of the 1920s and 1930s with the flamboyant grandeur of the great coastal resort cities of Miami, Rio de Janeiro, and Honolulu."

Photography by Wayne Muller

Architectural intervention

A stellar addition to Sea Point’s skyline, The Flamingo's plaster-smooth silos rise like masts on a ship, the five cylindrical shapes becoming a defining feature of the development.

Decidedly dissimilar to the surrounding dilapidated flats and mediocre modern buillds, The Flamingo stands proud as a peacock in the seaboard's dense urban grid. Signatura's chosen site is wide and shallow, offering full-frontage to virtually all of the apartments in the building. From the first floor through to the eight, the apartments share the same panoramic views.

In a celebration of the orientation of the site, 55 out of the 71 apartments face the front, all of which command dramatic views across Fresnaye, up the slopes of Signal Hill, and culminating over Lion’s Head — Cape Town’s very own Sugarloaf Mountain. The front-facing units are all cleverly cranked at a 45-degree angle, with most of the 16 sea-facing units enjoying sights of the Atlantic Ocean.

Few people understand mountain views in the Atlantic Seaboard require tall windows to maximise blue sky and sunlight above the mountain silhouettes. As such, The Flamingo’s sliding doors generously stretch all the way from floor to ceiling to capture the mountain views, whilst balconies are architecturally staggered away from the next apartment to promote personal privacy. It is this level of detail that has been considered in all aspects of the unique design.

The studio apartments cleverly harness smart design solutions to optimise every inch of the 25 square metres of space. A handful of one-bedroom apartments are corner units, each with their own individual design quirks and idiosyncrasies.

The nautical theme can be seen throughout, from gantries to silos and decks. Some units even sport supersized circular porthole windows framing Lion’s Head, with other windows featuring frameless corners facing the sea.

The overall design style can be described as modern, sculptural, and optimistic. Futuristic even.

Photography by Veloz Photos

Photography by Veloz Photos

MEET THE TEAM

Client: Signatura

Architect: Robert Silke & Partners

Contractor: Alpha Omega

Quantity surveyor: Kahts & Sparks

Structural engineer: S&T Consulting

Interior designer: Robert Silke & Partners

Interior furniture: Weylandtstudio

Interior stylist: Anna Correia Interiors

Mechanical, electrical, drainage, and fire engineers: Solution Station

Plumber: PPEW

Electrician: Valley Electrical

Installer: Sangengalo Marble & Granite

Photography by Paris Brummer

Back to the future

Futurism succeeded the Art Deco style in Europe and the USA, but never made it to South Africa, where it was sadly eclipsed by austere and ascetic architectural Modernism, which (largely due to cheapness of construction) became the dominant force in generic blocks of flats across the country.

Futurism was, in contrast to Modernism, sculptural and decorative, playful and optimistic. First pioneered in Italy by Filippo Marinetti, Futurism was kept alive in the 1960s by John Lautner’s flying saucer houses in California, and is today best represented in the work of Zaha Hadid Architects.

The design style is synonymous with bespoke, premium properties in forward-thinking global centres. In pursuit of an aesthetic system in which to frame a new, state-of-the-art apartment building, the Futurist architectural aesthetic was the perfect fit for Flamingo.

the inspiration

Upbeat and upscale pallette

The apartments have been designed to maximise space and light, and feature quirky internal curves that mirror the rippling flamingo-shaped rhythm of the façade.

Gleaming solid white floors (also tilted at a quirky 45-degree angle) are a sophisticated and understated design feature melding seamlessly into the warm white walls and matte white joinery with elegant black metal handles, edgings, and trims — cleverly bouncing the ample natural light around the rooms. The bright white floors extend right into the bathrooms, where traditional ‘Johnsons White’ small-format walltiles evoke the clean and sophisticated metropolitan apartments of upscale Berlin or Tokyo.

As a remarkable and unprecedented standard feature, The Flamingo’s kitchens offer the subtle ostentation of solid Sardo granite countertops, which fold-up and wrap into matching granite splashbacks. All of this sophisticated monochromatic restraint is joyfully juxtaposed against a pastel flamingo pink feature wall — simply because why not?

Flamboyant furnishings

Signatura commissioned Weylandtstudio to custom design a bespoke range of furniture to complement the building’s beautifully articulated and highly functional living spaces. Integrating the furnishings with the architecture allowed them to maximise the efficiency of a compact living area, which can be hard to do when owners bring in their own pieces.

An ode to Miami Bauhaus comes full circle in the Mother City.

SUPPLIERS

Windows and doors

World of Windows 021 551 3235

Furniture Weylandts 086 010 3400

Sanware Flush Bathrooms 021 511 7888

Joinery Malco 021 981 5290

Countertops

International Slab Sales 021 511 2353

Appliances

SMEG South Africa 021 418 9934

Samsung South Africa 0860 726 7864

Air-conditioning systems

Maclaren South Africa 011 315 4348

Embracing the Art Deco aesthetic of Miami’s South Beach, Chris Weylandt’s team opted for elegant proportions and a restrained palette, while ingeniously embracing multi-functionality to maximise living space. Think black accents, clever storage, and subtle nods to the graceful curves of the flamingo. Paying further homage to the building's feathery fellow namesake, the soft furnishings and painted walls fuse together in a pastel sea of pink.

Common areas

The building’s public areas are well-finished and compact, with solid stone floors in all lift lobbies, as well as the main entrance lobby. What’s more, there’s a dramatic and generous rooftop sundowner terrace for the use and enjoyment of all residents.

Photography by Wayne Muller

exceptional outdoor living

COUNTRY CALM

HOUSE OOSTHUYSEN

Photography by Greg Cox, styling by Sanri Pienaar, and interiors by 360 Design

Size: 535 m2

Construction cost: R10 million

Landscaping cost: R800 000

Location: Val de Vie Estate, Paarl, Western Cape

Nestled between mountains and biodiversity corridors lies Val de Vie Estate, where Malherbe Rust Architects created a contemporary farmhouse for a family in search of country convergence. With minimalistic interiors by 360 Design championing the natural landscape, vintage furniture, and honest materials, every detail was carefully crafted to tell the story of the family who calls it home.

Site context

Val de Vie Estate is located between the Paarl and Franschhoek Valleys, alongside the Berg River and between the Drakenstein and Simonsberg mountains. The estate is situated on old farmland, with the soil showing characteristics of clay and river stones. Therefore, proper soil tests and foundation reinforcement were necessary to avoid excessive settling cracks after construction.

The property is fronted towards a biodiversity corridor to the east, in the direction of which the main view, living spaces, and patios are all faced to take full advantage of the breath-taking panoramas — continuing the ethos of country living. The building form is a response to shielding the living areas against the predominant southeastern wind.

Client brief

Malherbe Rust Architects was commissioned to oversee all work stages of the project. From initial concept through design development, local authorities and Val de Vie HOA approval stages, and tendering and preparation of detailed documentation for a well-managed project on site.

The design brief included a contemporary open-plan farmhouse with a minimalistic aesthetic to accommodate four bedrooms with en-suites, a double garage, open-plan living room, dining room, and kitchen, a scullery and laundry room, formal lounge area, staff quarters, and outside entertainment patios.

The garden was a key element, and therefore the design response incorporated landscaped spaces as part of the building.

Photography by Greg Cox

Photography by Greg Cox

MEET THE TEAM

Architect: Malherbe Rust Architects

Interior designer: Anette de Jager, 360 Design

Landscape designer: Josephine Noyce

Landscape contractor: Heimo Schulzer Gardens

Contractor: Landman Clift

Quantity surveyor: Hennie Kleynhans Quantity Surveyors

Structural engineer: De Villiers & Hulme Engineers

Photographers: Riaan West and Greg Cox

SERVAAS DE KOCK

JACQUES LA COCK

FRANCOIS DE WAAL

www.mrarch.co.za

@malherberustarchitects

ANETTE DE JAGER

www.360design.co.za

@anette360design

Photography by Greg Cox

Design concept

The dwelling is split into barn forms with pitched ceilings within which private, public, and service functions are located. Ancillary functions reside in the lowered, flat-roofed linking spaces. The west street-facing façades of the barns are enclosed for privacy and to mitigate heat gain. The east façades are open to capitalise on the views and biodiversity corridor.

Low level walls, typically found on a Cape Dutch ‘plaas werf’, contain separate garden spaces to the street, while fencing to the back blurs the property’s edge along the biodiversity corridor. The pool is seen as an object in nature, while courtyard spaces between the barns become landscaped sanctuaries.

Clean lines, concealed detailing, and a limited palette of materials and colours all contribute to the timeless and minimalistic aesthetic in this contemporary home.

Sourcing materials

The client, Mrs Oosthuysen, has an interior design background, which made the sourcing and selection of materials easier. We could then focus on the finer construction details and oversee installation processes. The joinery was a joint effort by Mrs Oosthuysen, Joos Joiners, and Malherbe Rust Architects. The interior design compliments the architectural aesthetic of the building and enhances the cohesion of interior and exterior spaces.

Photography by Riaan West

Interior insight

Somehow serendipity played its part in my crossing paths with the client in cyber space through the platform called Instagram. I was working on a project in Paarl Valley when I received a message from Claire asking for an appointment to come and see the house they had just recently built. Our journey together started after the meeting.

My design approach is firmly rooted in the principles captured by Victor Papanek: ‘Design must dedicate itself to nature’s principle of least effort. Maximum diversity with minimum inventory. Consume less. Use things longer. Be frugal about recycling materials.’

SUPPLIERS

Flooring

Oggie Hardwood Flooring 021 510 2846

World of Decorative Concrete 061 450 6760

Carpet

Fibre Design Rug Gallery 021 418 1054

Tiling

Akashic Tiles 081 366 3310

Home automation system

Smart Spaces Home Automation and Theatre 021 510 0891

Internal steel doors

Palmer Exclusive Metals 021 951 1140

Aluminium doors, windows, and shutters

New Approach

Architectural Aluminium 021 868 0148

Frameless stacking patio doors

Frameless Glass 021 982 4641

External steel structures

Paarlberg Sweisdienste 021 868 0555

Shower glass and fixings

Frameless Studio 074 408 4332

Sanware

Flush Bathrooms 021 511 7888

Photography by Greg Cox

SUPPLIERS

Tapware

Vado, available at Victorian Side Bathrooms 021 982 0461

Joinery

Joos 021 949 1776

Ironmongery Handles Inc. 021 422 2322

Marble countertops

Granite Works 021 551 6600

Oak dining table, travertine coffee table, and artwork

Lemon Collection 011 262 4116

Carpet Herringbone 021 286 5005

Lighting

Créma Design 021 448 7775

Eagle Lighting 021 511 2640

Ceramics Jade Paton, available at AKJP Studio 079 490 9492

Applying my proclivity for vintage furniture mixed in a modern contemporary narrative was the starting point, and eventually, after more than a year, the rooms started taking shape.

The process of sourcing specific vintage items with the goal to recycle them can be arduous, but the benefits are so much more rewarding and soulful. Collecting timeless pieces and curating furniture and objects made by human hands and honest materials were our main objectives in the sourcing process.

The possibilities in creating the interiors for this family home — their story narrative, setting the stage for their newly built dream home, and how each space unfolded — were far from only ‘wants and desires’. A deeper need to create by embarking on a journey where the intangibles became as much part of the essence of the home was required. 360 Design feels honoured and privileged to have played a part in creating this home with a sense of belonging and a country convergence for city folk.

"Design must dedicate itself to nature’s principle of least effort. Maximum diversity with minimum inventory. Consume less. Use things longer. Be frugal about recycling materials."

Photography by Greg Cox

Photography by Riaan West

Photography by Greg Cox, styling by Sanri Pienaar, and interiors by 360 Design

ROCK CLIMBING RETREAT

HOUSE WELGEMOED

Size: 640 m²

Location: Welgemoed, Cape Town, Western Cape

Nestled in the tree-lined suburb of Welgemoed, this modern renovation project showcases the transformation of a tired house into a beautiful and functional family home that takes full advantage of its beautiful surroundings. The design perfectly merges indoor and outdoor living spaces with the client’s active lifestyle, replete with a motorised climbing wall and a range of comfortable entertainment areas.

Brief

The original house was constructed during the 1980s and had already seen a number of renovations. As such, the need arose for us (VKDB) to review the floorplan and re-organise the flow of the house. Our client, a young family with four children, wanted an optimally-functioning family home with six bedrooms and a practical flow. They are an active family who loves spending time in nature and they are all keen rock climbers. Therefore, it was a requirement to find a decent location for a proper climbing wall they could regularly use for training.

The existing house already had a beautiful garden with a number of oak trees. We had to plan an energyefficient home making use of the latest technologies. During our initial site visit we were inspired by the stunning garden and aimed to incorporate as much as possible of the outside views into the home.

Timeline

Aided by our client’s input, we came to a design conclusion fairly quickly in the project. Since it was a renovation to a home where they stayed for years prior to the revamp, they were well-informed of their needs and ready with their wish list. Planning took approximately six months, including the design, cost estimates, and municipal approval processes, after which construction started and lasted approximately 12 months.

Design

The planning of the house was organised to provide a separation between the more public living spaces positioned on the western side of the home and the more private bedroom spaces on the eastern side. We added a first-floor storey on the original one-level house to accommodate for a new main bedroom with a home study. Acoustic timber ceilings were integrated as part of the design to ensure living spaces absorb any echoing sounds and to provide a calm interior.

We also created a garden pavilion — which we called ‘the solarium’ — to house the climbing wall. However, this required additional height. Making use of the natural sloping site we were able to nestle the building into the garden and provide a spot for the table tennis table and an informal lounge in close proximity to the swimming pool. Interesting fact: the climbing wall was designed to be motorised to adjust the climbing angle from zero to 40 degrees inclination, increasing the difficulty of the climb.

"Acoustic timber ceilings were integrated as part of the design to ensure living spaces absorb any echoing sounds and to provide a calm interior."

Large parts of the house open up unto the garden through big sliding doors. We further added a new undercover terrace, the roof of which was tilted towards the existing house, both to allow as much northern light into the deeper laying lounge and to incorporate the view of the closely-positioned oak tree.

Solar PV panels with an inverter and battery back were installed to provide electricity to the home. Borehole water is utilised for the garden and filtered to the house, while energy-efficient systems provide warm water to the house.

Materials

Our material palette consisted of Rheinzink as metal roof covering and part wall cladding. We found this material to provide a long-lasting roofing solution when installed correctly. In addition, some of the walls were also cladded in this material, which helped to scale the height and massing of the building as the upper floor starts to integrate in the roof of the house. The material also provides the opportunity to create sculptural architectural shapes.

We used off-shutter concrete for structural retaining walls and left it exposed as part of the material palette. Western red cedar was used for timber wall cladding and shading pergolas as it assisted well with nestling the house into the garden.

Architect and interior designer: VKDB Architecture Interior Design

Landscape designer: Red Daffodil

Contractor: CS Property Group

Roofing installer: G-Tech Roofing

Photographer: Andrea van der Spuy

MEET THE TEAM www.vkdb.co.za @vkdb_design

CHRIS MADDAMS

Landscape Designer www.reddaffodil.co.za @reddaffodilgardens

/

PORTFOLIO /

SUPPLIERS

Roofing

Rheinzink

021 671 2600

Acoustic timber ceiling

Vintage Projects

082 381 8820

Timber flooring

HAKWOOD, available at Bestwood 021 465 1035

Fireplace

Fire and Gas Lifestyles

021 852 7173

Rock climbing wall

NACO Engineering

021 883 8531

Joinery

Versfeld 082 327 3619

Loubser Wood Components

082 376 6268

Sanitaryware

CP&B Stellenbosch

021 886 6840

Tapware Still Bathrooms

021 421 9970

Lighting Bathrooms 4U 021 883 9861

Wallpaper St Leger & Viney 011 444 6722

Aluminium doors and windows

Alutech 021 981 1550

Timber front door

Versfeld

082 327 3619

Site challenges

Our biggest design challenge was to fit the larger solarium (due to the space/height required by the climbing wall) neatly on site. We shaped the building triangularly to minimise the elevation facing the house, giving maximum view to the large oak tree and aligning the one side with the pool. As explained above, the solarium was then also partly recessed into the sloping garden to reduce the visible height of the building.

Landscaping

We (Red Daffodil) previously worked with the family on this garden a few years before, creating a shade garden of colour on the banks and establishing the trees and hedges. Coming back to a project is always a thrill, and we had the wonderful opportunity to update the space with new ideas.

VKDB transformed the area around the mature oak that centres the garden. The hardscaping changes united the levels and formalised it with more walls and pathways, successfully taking what was a bunch of different, small spaces and simplifying them — something we tried to carry through in our plant selection. The client briefed us on wanting more colour, especially mature flowering trees. So, we brought in two huge mature trees: a massive soft pink Camellia for the verge, plus a magnificent Magnolia in the new entrance courtyard. In the back garden, we planted swathes of hydrangeas and flowering cherry trees. With the increased hardscaping and the fact that our original trees were now much larger, meaning more shade, we used indigenous Chlorophytum sandersaie grass in lush swathes. These long grasses sprawl over path edges, giving the garden movement in the breeze. An added benefit is the white star flowers beautifully dancing in the low light all year round.

STEP INTO A WORLD OF LIGHTING

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GEBERIT SMYLE

SUBTLE SHAPES, MAXIMUM FUNCTION.

With its contemporary design and ornate lines, the Geberit Smyle bathroom series creates a relaxing and positive ambience, bringing harmony and lightness into family and guest bathrooms. With a clear sense of order and efficient use of a room, Geberit Smyle achieves the highest level of convenience in the bathroom for any structural situation.

SMYLE WASHBASINS

Captivating lightweight appearance

Clean lines, harmonious shapes, and narrow rims characterise the washbasins of the Geberit Smyle complete bathroom series. The range provides an exciting contrast to the functional design of the inner basin and the generous shelf surfaces at the rear of the washbasins. The profile handles of the washbasin cabinets mirror the design of the washbasins, underlining the harmonious appearance. Geberit Smyle washbasins are available in two designs and many different sizes, from hand-rinse basins to comfortable, double washbasins.

SMYLE BATHROOM FURNITURE

More design freedom in the bathroom

As part of the facelift given to the Smyle bathroom series, Geberit adapted the furniture to the form of the ceramic washbasins. To achieve this, the furniture concept features thin washbasin contours using high-quality materials, coated surfaces, and modular elements. The washbasin cabinets, low cabinets, medium cabinets, and wall shelf with towel hook can be mixed and matched to create a wide range of furniture combinations that optimally use the space in the bathroom and meet diverse furnishing wishes.

Depending on requirements, open cabinets can also be combined with closed ones. Additionally, available drawer inserts give the storage space a clear structure. Glass shelves and an internal mirror give the medium cabinets a touch of premium class. Colouradapted glass tops protect the shelf surfaces on the low cabinet. The integrated profile handles have the same colour as the fronts of the furniture with their matte surface, forming a subtle contrast.

Cosmetic products can neatly be stored in the SoftClosing drawers, while the hand-rinse basins with matching washbasin cabinets are suitable for the furnishing of small bathrooms and guest toilets. The Smyle bathroom furniture's ground clearance makes cleaning the floor easier, and magnetic boards with movable shelves offer a high degree of flexibility.

SMYLE WCS AND BIDETS

Harmonious mix

www.geberit.co.za

WCs and bidets continue the characteristically light Geberit Smyle design language with a similar form to the design of the washbasins. The Smyle series offers standard and premium design solutions for wall-hung and floor-standing WCs and bidets. The WCs are also available as a Rimfree option. Slim WC seats are available in two design versions: overlapping or sandwich.

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