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UP FRONT ED’S LETTER p8

CONTRIBUTORS p12

VISI.CO.ZA p16

VISION INSPIRATION: SITTING PRETTY p24 IDEAS: WHERE TO DO YOUR HOME WORK p30 ARCHITECTURAL INFLUENCES: GRETE VAN AS AND JOHAN WENTZEL ON ALBERTO CAMPO BAEZA AND TOM KUNDIG p36 TRAVEL DIARY: ARTIST ALICE TOICH IN PARIS p42

VOICES

FEATURES

MPHO VACKIER p46 LAUREN SHANTALL p48 TRACY LYNCH p51

MONTAGU HOME p54 PLETTENBERG BAY HOME p66 KLAASENBOSCH HOME p78 STANFORD VILLA p90 PARIS APARTMENT p102 COMPORTA HOME p114 GREEN POINT HOTEL p122

REASONS 1. Mirror, mirror, on the wall – but which style should you choose? p138 2. Tracing the trajectory of Karabo Poppy Moletsane’s rise… and rise p140 3. From jewellery to wallpaper, Gillian Fuller uses bolder-than-bold colour p142 4. All about the Nando’s Hot Young Designer competition p144 5. British-Nigerian artist Yinka Ilori launches a happy-making homeware range p146 6. We talk to Mozambique-born artist Cassi Namoda about her work p148 7. Collab cool: the Skinny laMinx x Vorster & Braye “Fortuna” vase p150 8. Get inspired by the new Flame Studios at Constitution Hill p152 9. These beautiful design books are worth a second (and third) look p154 10. Suited for sipping: autumnal spirits add sweetness to the season p155 11. Our expert’s take on the top tech trendsetters of 2021 p156 12. The VW T-Roc blends perky personality with a punchy powertrain p158 13. Discover a fresh ceramics range by Mash.T Design Studio p160 14. Add Anoqi jewellery – featuring icons of African architecture – to your wish list p162 15. Designer stays at Locke’s fast-growing group of aparthotels p164 16. Organic farming meets architectural style at Le Poirier p166 17. Celeb chef Peter Tempelhoff’s Beyond restaurant has opened in Constantia p168 18. The ultimate luxury: Reed Family Linen is now available in SA p170 19. Barrington’s Plett is a new boutique hotel and microbrewery p172 20. Fashion and decor shopping goes “omni-channel” at We Are EGG p174

SMART IDEA p176 COVER IMAGE CREDIT Courtesy of Moroso/moroso.it

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a story about a chair. It caught my eye for a couple of reasons. Its classic mid-century aesthetic was one; the other was the fact that we’re doing a piece on designer chairs for this issue (page 24). I liked it for its thin beech legs and spindle-back design, but what I loved was the story behind the chair’s origins. It’s a story that’s relevant to the world we’re living in – a story about design in adversity.

The Ercol chair – popular among design-minded homeowners in the 1960s and highly collectable now – has its roots in the austerity of post-World War II England. With much of Ercol’s manufacturing capacity taken up by the war effort, the company emerged after 1945 constrained by limited raw-materials supply and construction capabilities. And the simple, minimalist Ercol chair was the result. Like all design, it took what went before – in this case, the centuries-old Windsor chair – and created something fresh. Something sleeker and simpler; something that transformed country craft into minimalism.

It’s going to be fascinating to see how our current designers respond to these Covid-affected times. We’ve already seen some innovative re-imaginings of home spaces – our page 30 story on home-office pods is an example of that – but I’m really interested to see what kind of design comes out of what is clearly a fundamentally changed global zeitgeist.

Will commercial architecture turn away from high-rise corporate vanity projects? Will homes mirror a need to welcome the outside into the interiors we will now be spending far more time in? Will we see interior design reflect the need to simplify these spaces with a return and reinterpretation of minimalism? And will we see an enduring adoption of local design … and an African story like that of the Ercol chair?

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PORTRAIT JAN RAS

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Print Competition 2020 Congratulations to our winning designer, Glorinah Khutso Mabaso. Watch the winner and runners-up experience their prints come to life in our video.

Shop our collection in store and online

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ANNETTE KLINGER, FREELANCE WRITER & THING-MAKER What is your all-time favourite design icon?

The Morris chair. As a child, I always just knew it as my dad’s chair. When I moved into my first apartment, he gave it to me. I love its understated, timeless simplicity.

Annette is a longtime VISI contributor with years of experience in writing about design, and we regularly ask her to bring her appreciative eye and sharp insight to architectural features and house stories alike. In this issue, Annette talked to architects Grete van As and Johan Wentzel about the designers who influenced their work (page 36) and explored a new Robert Silke-designed hotel in Green Point (page 122).

EDITORIAL Editor-in-Chief Steve Smith Deputy Editor Robyn Alexander Editor-at-Large Annemarie Meintjes Creative Director Mark Serra Contributing Designer Marcus Viljoen Managing Editor Samantha Charles Content Producer Michaela Stehr Staff Writer Celeste Jacobs Contributors Adéle de Lange, Ania Rokita, Annette Klinger, Bruce Tuck, Dook, Elsa Young, Garreth van Niekerk, Greg Cox, Jamie Thom, Jan Ras, Julia Freemantle, Laurence Dougier, Lauren Shantall, Lindi Brownell Meiring, Lutendo Malatji, Mpho Vackier, Nafisa Akabor, Nicolas Mathéus, Palesa Kgasane, Paris Brummer, Phendu Kuta, Sarah de Pina, Sven Alberding, Tracy Lynch

ADVERTISING & MARKETING

P H E N D U K U TA , WRITER, SPEAKER & FOUNDER O F U N L A B E L L E D M AGA Z I N E What is your all-time favourite design icon?

This answer may change from time to time – but at the moment I’m really enjoying Australian artist Paul Milinski’s “Dreamscapes”, which are a beautiful merging of nature and architecture.

Wearing multiple hats as a writer, speaker, entrepreneur and creative director, Phendu is also the founder of local online magazine Unlabelled, which explores fashion, culture, music and more. For this edition of VISI, she talked to Mozambique-born painter and performance artist Cassi Namoda about the latter’s recent solo show at the Goodman Gallery in Johannesburg (page 148).

PUBLISHING Group Account Director Raiël le Roux Production Manager Shirley Quinlan

MANAGEMENT CEO: New Media Aileen Lamb Commercial Director Maria Tiganis Brand Strategy Director Andrew Nunneley Chief Financial Officer Venette Malone CEO: Media24 Ishmet Davidson

DISTRIBUTION & SUBSCRIPTIONS Distribution and print subscriptions On the Dot Call 087 353 1300 WhatsApp “VISI” to 087 353 1333 Email subs@media24.com Digital subscriptions zinio.com / magzter.com Reproduction New Media, a division of Media24 (Pty) Ltd Printing CTP Printers Cape Town Published by New Media, a division of Media24 (Pty) Ltd, New Media House, 19 Bree Street, Cape Town 8001 PO Box 440, Green Point, Cape Town 8051 021 417 1111 / newmedia.co.za / visi@visi.co.za

All rights reserved. Whereas precautions have been taken to ensure the accuracy of information, neither the editor, publisher nor New Media can be held liable for any inaccuracies, injury or damages that may arise. The opinions expressed in the articles may not reflect those of the publisher.

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C E L E S T E J ACO B S , CONTENT PRODUCER & PHOTOGRAPHER What is your all-time favourite design icon?

The Hawa Mahal – Palace of Winds – in Jaipur, India.

It was built in 1799 from red and pink sandstone by Maharaja Sawai Pratap Singh. From the moment I saw a photograph of it, I knew I had to visit it.

While Celeste has been a regular contributor to VISI’s pages for several years, she recently joined the team on a more permanent basis as a staff writer. You can also check out her exceptionally lovely photographs on Instagram, where her feed is @_celestejacobs.

In this issue, she wrote about a house by architect Jo Noero (page 78), as well as contributing several features to the REASONS section.

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WIN WITH CLM HOME ONE LUCKY VISI READER WILL WIN A SINGLE VELVET BISCUIT HEADBOARD IN AUBERGINE FROM CLM HOME, WORTH R4 990.

THE LUXURY HEADBOARD IS NAMED AFTER THE CLASSIC BAKERS ORIGINAL BOUDOIR BISCUITS.

WE ASKED YOU ONLINE: WHICH ARCHITECTURAL STYLE APPEALS TO YOU THE MOST? More than 600 of you took our poll to let us know. Here are the results:

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If you’re enjoying the latest issue, we’d love for you to take a pic of your mag and share it with us.

Simply tag VISI on Instagram, Facebook or Twitter with your snap.

We are so proud to have our legacy story printed in the new edition of the South African Design Bible @visi_mag @ilukuluku

Well done @visi_mag on this beautiful Kitchens magazine. Loving all the recipes, sneak peek into SA’s top chefs’ kitchens…

Not to mention the kitchen inspo.

Redecorating my kitchen in my head as I type. @chanelglass

What my VISI magazine résumé would look like // H O M E @rhysals

I love yellow, and there was “The Power of Yellow” compilation in the @visi_mag and I thought I should also contribute to the yellow conversation @lwandoscott

INSTANT INSPIRATION Follow @visi_mag on Instagram, where we share some of the best and most beautiful designs from around the globe.

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INTERNATIONAL DIRECTIONS AND LOCAL INSPIRATIONS

RESTRAINED EXAGGERATION Photographed at Moroso founder Patrizia Moroso’s enviable home in Udine, northern Italy, these lounge chairs and sofa are all by acclaimed Spanish designer Patricia Urquiola (who also designed the chair on the cover). They reflect the designer’s special affinity for combining fresh takes on making techniques – as seen in the “stocking stitch” backrest on the Biknit chair (left) – with careful attention to comfort and usability. The Gentry sofa is all about “finesse”, says Moroso, and is the culmination of “a project whose origins lie in the search for meticulous and well-balanced comfort, restrained yet with a nod to exaggeration”. These are pieces on which one can sit up and be enthroned – or simply lounge on, feeling utterly relaxed. moroso.it | patriciaurquiola.com

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THE GENTRY SOFA IS THE CULMINATION OF A SEARCH FOR METICULOUS, WELL-BALANCED COMFORT.

FROM LEFT Biknit armchair and Gentry sofa by Patricia Urquiola, Net tables by Benjamin Hubert, Fjord pouf and Fjord Relax armchair by Patricia Urquiola, all Moroso

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TAKE A SEAT

From chunky and covetable to classic and collectable – not to mention cool and contemporary – these designer lounge chairs set the scene in style.

COMPILED BY ROBYN ALEXANDER

NUAGE 2 BY ROBERTO TAPINASSI AND MAURIZIO MANZONI FOR ROCHE BOBOIS Superbly sleek and sophisticated, the Nuage 2 chair is upholstered in leather or fabric, and features a pivoting base in lacquered or chrome-plated metal – with automatic return function and memory position, too. It has a fluid and sculptural feel that will suit both minimalist and more layered interiors. roche-bobois.com

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KNITTING CHAIR BY IB KOFOD-L ARSEN FOR MENU Designed in 1951 and re-issued in 2018, the Knitting chair’s distinctive cut-outs for resting the elbows are a boon for crafters, and rather lovely for just about everyone.

Add triangular construction and an enveloping seat and back, and you’re looking at optimal comfort.

PACHA BY PIERRE PAULIN FOR GUBI Originally created in the 1970s by Pierre Paulin, and recently relaunched to much attention and acclaim, the Pacha lounge chair takes up very little floor space – yet it’s very comfortable. It’s also a highly crafted piece: achieving such an organic form is no easy feat.

menuspace.com | nest.co.uk

gubi.com | cremadesign.co.za

CITIZEN LOWBACK BY KONSTANTIN GRCIC FOR VITRA The Citizen combines a tubular steel frame with a freely suspended seat cushion that appears to float above the base. The frame is deliberately left visible, giving it a utilitarian feel. Available in various upholstery options – and in an even more comfortable highback version.

BYRON BY CORICRAFT Sporting a visually appealing woven bamboo frame, this is the perfect armchair in which to ensconce yourself poolside all afternoon, clad in a designer kaftan and sipping on G&Ts. (Gossip companion, à la Princess Margaret in The Crown, is an optional extra.)

vitra.com | cremadesign.co.za

coricraft.co.za

ROLY-POLY BY FAYE TOOGOOD There hasn’t been a new chair so perfectly designed for curling your legs up under you since the 1970s – and that’s not the only reason we love the Roly-Poly. Those four charmingly chunky legs, and its sturdy, tactile fibreglass construction, also help make this dish-shaped seat a winner. t-o-o-g-o-o-d.com

FAN BY TOM DIXON Dramatic almost to the point of being over the top, the throne-like Fan chair is worthy of a particularly stylish Bond villain. It’s also a particularly modern take on the wingback: once you’re safely seated and engrossed in a book on this seat, it’ll be crystal-clear that you should not be disturbed. tomdixon.net | cremadesign.co.za

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LOOP BY DOKTER AND MISSES Adriaan Hugo and Katy Taplin’s Loop lounger mixes materials – timber, leather and powder-coated aluminium – with their customary aplomb. It’s “designed with ergonomics and utility in mind”, they say – but it also manages to exude both serious style and effortless cool.

KENT BY YANIV CHEN FOR LEMON Local designer Yaniv Chen’s Kent chair is a thing of serious beauty – the sort of statement piece that is sure to form the focal point of an interior. Its graceful lines were inspired by Italian design of the 1950s, ranging from decor to architecture and cars.

dokterandmisses.com

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TROPICALIA B RICIA URQUIOL A OR MOROSO This take on lounge seating by Spanish designer Patricia Urquiola is all about the age-old technique of plaiting.

The Tropicalia range is available clad in multicoloured polymer threads, as a sophisticated leather option, or with elegant, simple cords in one or two colours. moroso.it

MAGIS ristic combinations of practical ease and design elegance, the Officina chair is supremely comfortable, and available in a range of fabric and leather upholstery options that make it work well in a variety of environments. magisdesign.com

FUDGE BY FAYE TOOGOOD Handmade one piece at a time, the Fudge chair is avant-garde designer Faye Toogood’s latest playful foray into seating design. Delightfully reminiscent of a child’s drawing that shows what a “grown-up” chair looks like, its asymmetrical charm will make it an instant talking point in any living room. t-o-o-g-o-o-d.com

Promotion NUUMA CUSTOM KITCHENS

Combining understated yet luxe materials with subtle colour schemes, this South African design brand creates kitchens that are minimalist, elegant and highly sophisticated. he South African-born nuuma brand is all about customised kitchen design, with a distinct aesthetic that’s focused on two areas: refined details, and ensuring that every design has the people who will be using it at its core. Because a nuuma kitchen is more than just a task area – it’s an experience of sophisticated but understated style.

First conceptualised nearly a decade ago, the nuuma brand has been painstakingly developed to ensure that every detail is thought through, and that its kitchen creations always surpass expectations. A feeling of refined simplicity was key to the brand from the start – which is where the name, inspired by interior minimalism, was forged too.

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s HOME MEETS OFFICE

There’s no need to change your lifestyle or disrupt your family life: simply screen off your working space, create a room within a room, or invest in a pod or two.

Welcome to the office of the future, now.

VISUALISE IT Edge, designed by Gustavo Martini, is a sort of visual room where it is possible to pass through the walls.

The name highlights its existence on the edge – between design and installation, idea and reality. gustavomartini.com

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C O M P I L E D B Y A N N E M A R I E M E I N TJ E S

C O N N E C T E D T O N AT U R E The Livit Studypod, designed by Torstein Aa, is a prefabricated, freestanding home office in which you can work in peace and be truly focused. The ultra-minimalist design is 2m x 2m x 1,8m in size, with a large, black-tinted, one-way-glass front. livit.no

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P E AC E I N A P O D Framery O (above left) is an office “phone booth” pod that’s just 100cm x 100cm x 221cm, and 320kg – a private, echo-free and comfortable working environment for one. frameryacoustics.com SCREEN DREAM The Paravent Plus (above right) is a flexible room divider designed by Atelier Oï for Röthlisberger. Transparent and unobtrusive, it’s still opaque enough to create a sense of privacy. roethlisberger.ch | atelier-oi.ch B AC K U P Alcove Highback Sofa, designed by Ronan & Erwan Bouroullec for Vitra, shields users both visually and acoustically from the surrounds. Even better: positioning two of them face to face will create a flexible, private workspace for tasks that require privacy and concentration. cremadesign.co.za | vitra.com | bouroullec.com

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P R I VAT E S P A C E The Capsule Office Pod creates a sort of cocoon in which to work – a spot where you are protected from most distractions.

Designed by Ukrainian industrial designer Kateryna Sokolova, it won the German Design Award 2020 for office furniture. sokolova-design.com | casala.com

s The Influencers’ Influences

GRETE VAN AS & JOHAN WENTZEL Ever wondered who inspired our current generation of architects?

Partners in life and in business, the duo behind W Design Architecture Studio explain their approach, and pay homage to ALBERTO CAMPO BAEZA and TOM KUNDIG. WORDS ANNETTE KLINGER

ow long is a piece of string? It’s a refrain that has stayed with Grete van As and Johan Wentzel since their student days in the mid-90s at the University of Pretoria’s Department of Architecture, where professors Schalk le Roux and Roger Fisher would inevitably fall back on this axiom to illustrate that, in architecture, straightforward answers are often elusive. “Although it didn’t help at the time, looking back, it was the best way to realise that there is no right answer to any of our design questions - or in life generally,” reminisces Johan. “We need to find inspiration and answers not in a set of rules or a guidebook with 10 steps, but in each specific and unique project.”

Challenging as those projects often tend to be… “There is always something wrong: too little money, a limited brief, strict aesthetic guidelines and limitations, time constraints,

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skills shortages and so on,” he says. “The late American tennis player Arthur Ashe said, ‘Start where you are, use what you have, do what you can.’ This approach has allowed us to always seek the unique within the ordinary, the hidden within the obvious, and inspiration where there is none to be found - that ‘something’ that guides a project to become more.”

Each of W Design’s builds starts with a clear concept.

“Our projects are always titled based on the idea or inspiration that defines their purpose or reason for being,” says Johan. With the Planet Fitness Olympus gym in Pretoria East, for example, the idea was to fully immerse gym members in their industrial environs with an interior of unfinished concrete, wood, glass and steel, but also to consciously direct their gaze beyond the perimeter, with a rooftop running track and floor-to-ceiling glazed north

ABOVE, FROM LEFT Grete van As and Johan Wentzel are partners in business and in life; Tom Kundig of Olson Kundig Architects.

OPPOSITE, FROM TOP The Chicken Point Cabin in northern Idaho in the US, designed by Olson Kundig; with views at the heart of its design, the entire stoep of this Plettenberg Bay home is seamlessly claimed as extended living space; the luxury suites at Fifty Seven Waterberg are a viewing platform from which to observe the surrounding bush.

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ACCORDING TO ALBERTO CAMPO BAEZA, ARCHITECTURE WITHOUT IDEAS TO SUSTAIN IT IS NOTHING. IT IS ONLY FORM – AND FORMS PASS WITH TIME. platform from which to observe the sprawling expanse of the bushveld. “Essentially, we tried to create a new nature, where the building merged the landscape with the structure, the natural with the human,” says Johan.

Bringing the minimalist structure to life in the middle of the remote bushveld was no mean feat: all the various trades – masonry, metalwork, woodwork - were separated, manufactured off-site, then reassembled on-site. Keeping the building elements single-trade and unfinished resulted in a structure that reads as true to its surroundings.

“Our inspiration is often found in the natural world around us, and although it’s a dream, the hope remains to create buildings that don’t exist merely for the sake of being beautiful, but rather as a place from which to experience and interact with the world – a refinement and revelation of the land.”

TOP The densification of Johannesburg’s old suburbs has allowed W Design to develop design solutions where large freehold properties with single residential homes are converted into “condensed suburbs” – like Parks on Third in Parktown North.

ABOVE Planet Fitness Olympus features a rooftop running track and floor-to-ceiling glazed windows to connect the industrial, concrete-and-steel interior to the great outdoors.

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PHOTOS DOOK, JAMIE THOM, RHPX, GETTY IMAGES

façade allowing them to visually and emotionally connect their protected interior space to the world outside.

The couple’s idea-driven design approach is hugely informed by that of Spanish architect Alberto Campo Baeza. According to him, “Architecture without ideas to sustain it is nothing. It is only form – and forms pass with time and are destroyed. A constructed idea reveals itself, unveils in its entirety, when it is materialised.” Grete and Johan also cite American architect Tom Kundig of Olson Kundig Architects as a big inspiration, for his honest, direct use of materials and the importance he places on architectural trades.

One of W Design’s most recent projects, Fifty Seven Waterberg, has an unmistakable Kundig sensibility about it.

Set in the Welgevonden Private Game Reserve in Waterberg, the luxury game lodge is re-imagined as a sheltered viewing

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s Travel Diary

ALICE TOICH

Paris – the most romantic of cities – is where artist Alice Toich and her husband chose to spend their honeymoon.

WO R DS A L I C E TO I C H

MUSÉE D’ORSAY It’s my favourite museum, and one I always make time to visit in Paris. You’ll find it gleaming like a giant gem along the left bank of the Seine. This building doesn’t just house works of art – it is a work of art. Known for its impressive collection of French Impressionists, it has all my favourite Manet paintings on the top floor, ticking away behind the giant clock face that looks over Paris. While the collection is vast and I am always discovering new pieces to love, I can return to my favourite works with ease. And here is the real kicker: I can take friends and acquaintances there who don’t know much about art without them feeling overwhelmed.

LA MARINE BISTRO Two years ago, when I travelled to Paris for a weekend, a friend took me to La Marine – one of his favourite haunts along the Canal SaintMartin. It’s an unpretentiously elegant, quintessential French bistro, serving delicious food, crisp cocktails and endless glasses of wine behind the comfort of warm velvet curtains. If you love fish, I’d recommend the filet de bar (bass filet) in a creamy white sauce

perfectly perfumed with white wine. That first time, I was told, “You cannot leave here without ending the meal with a plate of our profiteroles” (which, by the way, are stuffed with homemade vanilla ice cream and slathered in hot chocolate sauce) – and true as Trudeau, since that moment, I never have!

MARCHÉ AUX PUCES DE SAINT-OUEN One thing I love to do on a Sunday in Paris is head up to the north edge of the city ring for a meander through the Saint-Ouen antique district. There are shops that sparkle with a hundred crystal pendants whispering of the outlying châteaux pillaged in the French Revolution, and stores crammed ceiling-high with moth-eaten posters and books from La Belle Époque. The walkways snake past permanent stores specialising in haute antiques, and through a labyrinth of market fronts crammed with enough bric-a-brac of embroidered linen, ceramic vases, brass lamps, stuffed animals, costume jewellery, marble columns and silverware to supply endless coffers in your fantasy Parisian home. I always leave with something special. My last purchase was a 19thcentury plaster bust of a nun; it travelled home to Cape Town resting on my lap like a fragile babe.

MARCHÉ DES ENFANTS ROUGES I think picnics are the best way to enjoy a place, its food and the presence of loved ones. I adore picnics along the Seine or on a bench in one of the many city parks – or, in the case of a winter honeymoon, on our living-room floor, with a bottle of red by candlelight. We were lucky to stay close to the Marché des Enfants Rouges, which meant we could easily assemble a bounty of exotic French cheeses, fresh vegetables, crusty baguettes and good bottles of wine from the market and the small food shops that surround it. alice_angela_toich | alicetoich.com

KNOWN FOR ITS COLLECTION OF FRENCH IMPRESSIONISTS, THE MUSÉE D’ORSAY HAS ALL MY FAVOURITE MANET PAINTINGS. 1. Alice Toich. 2. A graffiti mural in Le Marais. 3. Olympia by Édouard Manet (1863) is on display at the Musée d’Orsay.

4. Quaint bistros, bustling cafés and speciality shops abound in the 4th arrondissement. 5. Husband, indulging in a bit of window-shopping. 6. Marché aux Puces de Saint-Ouen (Saint-Ouen market) – one of the largest antique markets in the world – is a Paris institution. 7. Historic Le Marais is home to many buildings of architectural beauty and significance.

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PHOTOS ALICE TOICH, GETTY IMAGES

LE MARAIS ARRONDISSEMENT My husband booked an eclectic artist’s atelier in Le Marais on Rue de Temple as a surprise for our honeymoon, and I’ve been asked about it so many times that I want to leave a link for the Airbnb listing right here in print. The neighbourhood made all the difference to our experience with its bustling cafés, bistros and streets, and our apartment was crammed with beautiful art and furniture, silken throws, ambercoloured glasses, clamshell spoons and well-fingered books on aesthetic. When we left, our host gave us my favourite Bordallo Pinheiro frog jug, which we used all the time in the apartment, as a spontaneous wedding gift. I use it every morning to make coffee.

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THINK BETTER

WE CAN ALL APPLY A LITTLE DESIGN THINKING TO WHAT WE DO.

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ne of the things that continues to drive my work is the firm belief that design can, has and will continue to change the world. I am in constant awe of the farreaching tendrils of design, of its ability to influence ways of living, working, playing, loving, interacting and being. And while all modern mainstream design affects us, it is human-centred design that will change the world. A good example of this is how the smartphone – and ultimately the design thereof – continues to influence the way we interact with the world around us.

I believe that the more people can learn about one another, the closer they can get to a place of mutual respect and understanding. So design that facilitates connectivity and inclusivity, that creates a platform for the global community to come together and engage – as well as learn, collaborate and share ideas – is one of the key aspects of our work at TheUrbanative.

We create functional/multifunctional pieces of furniture that aim to connect people through storytelling. In doing so, we share African cultural stories, and bring certain aspects of the cultures that inspire us to the modern audience and conversation. While we obviously design furniture, our role is really to foster an atmosphere of authentic connections through product design. Through these connections, we continue to witness and experience inspiring change.

Moreover, I think that if design is to change the world, it is perhaps necessary to explore the employment of design thinking in everyday problems that the world faces. Applying a type of creative problem-solving to areas that are not already defined as being design-related is, perhaps, what will continue to have a positive effect on the world.

I recently had an “aha” moment about my previous career. While working as a metallurgical process engineer, my job was to try to find ways of increasing system efficiencies, and to ensure that we were constantly getting the most out of the desirable minerals found in a certain amount of raw materials.

When I decided to switch career paths, many people said that design and engineering seemed to be on opposite ends of the spectrum. But I realised that my approach to my work as a metallurgist had always included and employed design in its thinking.

I work in a very similar way still. I have always been a problem-solver, whether through mass and heat balances for a furnace or by creating a piece of functional furniture that tells the story around the power and magic of African hair.

And so I believe that we can all apply a little design thinking to whatever we’re doing – and, little by little, each in our own unique way, we can affect the world in a positive way.

The question is, how will you design for change?

Former metallurgical process engineer MPHO is a furniture designer, mom and wife. Having studied interior design in 2010, she started the award-winning company TheUrbanative in 2017. Aiming to foster global connections through design, she collaborates on projects with creatives around the world. theurbanative.com

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It’s absolutely possible to design for change, writes MPHO VACKIER, founder of South African product and furniture design company TheUrbanative. And to facilitate a truly human-centred approach to creative innovation, she says, we need to ensure we nurture authentic connections.

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We can’t expect design to save the planet, argues writer and publicist LAUREN SHANTALL. Changing the world for the better is nothing less than the key current task of human beings, she says – and what’s more, we already have all the tools we need with which to do so. carvery. An armoury. Both contain blades and invite the age-old philosophical discussion of knife as tool or knife as weapon. Design is much the same: the very problems for which Janus-like design is currently punted as saviour were generated by the other side of its coin.

Today, an architect can conceptualise a sustainable, skyscraping Smart City entirely from wood – a structural feat not possible previously – thanks to the introduction of cross-laminated timber. Yet design has also been used to modify attack drones.

In short, I don’t believe design can save the world. It is not a panacea. Such sloganeering should be saved for rousing support, championing a cause. I tenuously clutch at the belief that people can beat their swords into ploughshares. Intention is all.

The Biblical reference to Isaiah is, of course, very much intended. His call for peace and change rang out in approximately 700 BC. Yet man-made strife, warfare, wanton destruction of the environment and profiteering have continued to dog us since way, way back. At what expense came even the mighty cultural monuments we uphold? Impossibly tall pyramids triangulated by slaves; Easter Island denuded of trees to raise carved stone heads…

So is it with misguided optimism that people intend to use design as a tool for betterment?

Can they alter the course of human history? Perhaps. Nonetheless, I’ll willingly pitch my tent in this camp of beautiful fools, and no white flag will I raise. It’s more likely that we’ll be forced to change out of necessity to avert self-annihilation – indeed, a monumental shift looms in which design will play an indispensable part.

Radical re-visioning is required to change how societies and industries are allowed to function, and the responsibility for this cannot be laid solely at design’s feet. Design artefacts and design thinking cannot be applied in isolation. A concept for a Smart City is reduced to mere musing unless there is a political, logistical, commercial, civic and legislative framework to usher it into existence. The juncture of all these is what will change the world. Design is one tine in a many-pronged fork – although many will argue it is design itself that will allow us to re-vision our outmoded systems in the first place.

Faced with the prospect of dwindling resources, overpopulation and pollution, we’re looking to extreme, mission-critical environmentalism and futurism. Environmentalism seeks to repair, conserve and introduce non-harmful modes of preserving life on – and for – the planet. The possibly unintended consequence of futurist attempts to design life-support systems that aid in colonising other planets (Mars being foremost in mind) is that these designs are opening up new paths for life on Earth itself – such as closed-circuit ways to farm food, conserve and generate energy, and produce clean air. Ironically, we’re birthing the very solutions that can help avert an exodus spawned by desperation and greed.

At this precise moment,it is already feasible to address the ills that plague our contemporary world with the alternative solutions we have at hand.Yes, design was woven into the creation of these answers, but it’s not the answer to implementation. It is we who are the agents of change.

DESIGN IS ONE TINE IN A MANY - PRONGED FORK.

LAUREN writes a weekly newsletter for Design Indaba that highlights new frontiers of creativity contributing towards a better world. She is the founder of award-winning agency Scout PR & Social Media, which was named South Africa’s PR & Social Media Agency of the Year at the 2020 Media Innovator Awards. scoutpr.co.za

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PLACE OF RENEWAL

A remarkable characteristic of an evolved society is its ability to look critically at itself and suggest new ways of seeing – without dictating or smothering the diversity of ideas and individual perspectives on the journey, writes designer and creative facilitator TRACY LYNCH.

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IT IS AN OPPORTUNITY TO FIND OUR VOICES AND TELL BEAUTIFUL STORIES.

o say Constitution Hill is a powerful and complex site would be an understatement. It is both a place where South African freedom fighters were imprisoned and the current seat of our Constitutional Court. The Old Fort, with its intimidating architecture, has heart-wrenching stories of thousands of South Africa’s brave citizens etched into its ether. In its current incarnation, however, it also holds the hopes and dreams of all South Africans in a space designed to inspire, uplift and unite the many cultures that make up our complex society.

Hence it was with great excitement and care that I approached a new project, which allowed me the privilege of being part of a team that would add yet another chapter to the story of Constitution Hill, by directing the interior design of a new meeting space called “Truth to Power” at the site of the women’s jail. We asked three emerging young interior designers to each submit a design proposal, briefing them to curate a space that would inspire young South Africans – the “born-frees”, a generation who should not be burdened by our country’s struggle for freedom, but still live through its consequences.

The preamble to our Constitution served as a building block for the design direction: “We, the people of South Africa, recognise the injustices of our past, honour those who suffered for justice and freedom in our land, respect those who have worked to build and develop our country, and believe that South Africa belongs to all who live in it, united in our diversity.”

Sifiso Shange, Glorinah Mabaso and Siyanda Mbele were the three chosen designers.

Their process started with a tour of Constitution Hill, where they were immersed in the architecture and history of the buildings, and the stories of those who had passed through their chambers. It was a moving experience that revealed many truths and offered a space for accessing the deep layers that we as South Africans are so good at suppressing.

Their responses were powerful and poetic; their proposed designs food for the soul.

They spoke a language of rebirth and transformation, and found new ways of expressing our South African heritage, of making creative connections and building community.

Storytelling was their focus, art and design their chosen tools. They channelled the emerging South African design language into decorative and functional elements, from lighting and patterning to woven elements and the spatial design itself. Their approach brought new life and layers to the extraordinary spaces at the site, ultimately bringing to life what Constitution Hill aims to signify now: unity in our diversity.

Projects such as this go beyond the conventional ways of sharing history: they provide an opportunity to creatively delve deeper into aspects of identity, to resurrect and amplify the crafted poetry of our past. It is an opportunity to find our voices and tell the beautiful stories we need to remember, so that we can all see the future differently. Design can change the way we experience the past so we can craft the future with intention. What a privilege to be part of this creative journey.

TRACY has worked in interior design, branding, visual communications, magazines and art direction, and is currently the curator of Nando’s long-term collaboration with South African designers and makers, which includes the introduction of South African design into the brand’s restaurants across the globe.

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HOMEOWNERS MARTLY AND HANNO CALITZ COLLABORATED WITH INTERIOR DESIGNER HENDRE BLOEM TO CREATE THEIR DREAM PROJECT: A TRANQUIL GETAWAY IN THE QUAINT WESTERN CAPE TOWN OF MONTAGU.

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Each architectural detail flows seamlessly into the next – like the curved black outdoor chimney on the roof that’s sinuously inserted into the interior of the home where the fireplace is located.

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to the Klein Karoo unfolds into vivid pictures of rolling rocky mountains and lush vineyards, followed by a slow ascent as you head into the historic town of Montagu, as well-known for its beautifully preserved buildings as it is for its hiking trails. The old town might seem an unusual location for this modern and minimalist home, but it turns out to be ideal for a hideaway in which time stands still.

“Hendre transformed the design into something we love,”says homeowner Martly Calitz of the interior designer who pieced together the significant details that make this home unique – including the decision to paint it mostly white with touches of black, which sets off the warm, earthy terracotta floors beautifully. Hendre Bloem is known for his clean and modern yet luxurious aesthetic, and he very much shared the couple’s vision of creating a home that embodies the maxim “less is more”.

On first arriving at STIL – as the house has been named – you are struck by the feeling that the building might have multiple functions. It could easily be a gallery or an artist’s studio, for example. But it turns out to have just one key purpose: to be a serene escape, surrounded by a landscape of wild grasses, with a developing sculpture garden in which world-renowned artist Anton Smit’s works line up against the sky and the perfect backdrop of the mountains. “When I told Anton we were undertaking this project,” says Martly, “he offered to have his art on display here. The idea of the sculpture garden grew from there.”

Hanno, Martly and Hendre decided the key was to build a contemporary house that is timeless, while also encompassing the most important features of an exclusive getaway space. “In the kitchen and living area, I wanted to work with the green view,” says Hendre. “Whatever I did with the interior had to complement that, maintaining the black-and-white theme, then adding touches of colour – such as the reds and blush-pink, which you see with the coffee table and the art.”

These thoughtful decor touches abound; you also cannot help but notice the ingenuity of the door screens in the living area, which echo the gate at the home’s entrance with their “cutout” shapes. These were another of Hendre’s ideas, and they cleverly combine functionality with style. “The door screens were initially wooden slats, but we soon realised maintenance would be a nightmare,” he says. “We decided on lightweight aluminium screens that allow for light and airflow while ensuring privacy.” He adds that creating the shapes was a fun artistic experiment, reminiscent of the abstract paintings that line the floating shelf in the bedroom.

A continuous thread of minimalism runs through the home. In every room, space is maximised, and each architectural detail flows seamlessly into the next, from the curved black outdoor chimney on the roof, sinuously inserted into the interior where the fireplace is located, to the light wood used in the foyer, bathroom and bedroom. “There is so much going on in people’s lives, and STIL was envisioned to be the opposite of that,” says Martly. The couple certainly succeeded in creating a space imbued with a lingering atmosphere of peace and harmony – a place where guests and visitors can simply be. stil.co.za | hendrebloem.com

OPPOSITE Hendre Bloem’s (pictured centre) contemporary design forms the perfect backdrop for the intricate sculptural works by internationally acclaimed South African artist Anton Smit that are dotted around the property. The back yard has been transformed into a sculpture garden, and plays beautifully off the home’s white-painted walls, terracotta floors and wooden accents.

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“THERE IS SO MUCH GOING ON IN PEOPLE’S LIVES, AND STIL WAS ENVISIONED TO BE THE OPPOSITE OF THAT.” – HOMEOWNER MARTLY CALITZ

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THIS PAGE The cutouts on the lightweight aluminium door screens in the living area were a spontaneous design feature suggested

by Hendre as a way of letting light in while keeping the space cool. OPPOSITE A thread of minimalism weaves through the home, with pops of colour that are subtle enough to complement rather than detract from the earthy terracotta floors.

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The exterior of the home was given the same colour treatment as the interior – minimal, stark white with black accents. The flooring, which continues smoothly across all patio spaces, further blurs the boundaries between indoors and out.

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THIS PAGE A rooftop terrace was added from which the views can be enjoyed.

OPPOSITE, FROM TOP Surrounded by vegetation and largely untouched land, STIL is the epitome of a serene escape; the home exudes an aura of timeless sophistication.

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THIS PAGE Considered lighting brings the building to life in the evenings.

OPPOSITE Consistent use of light-wood accents contributes another layer of warmth and texture to the overall design.

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Bold rhythmic patterns transcend ordinary concrete, brick and steel, creating an enigmatic portal to another world, where the eye is drawn towards uninterrupted views of the ocean beyond.

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“WE DESIGNED THE HOUSE WITH ABSOLUTE FOCUS ON THE NATURAL WORLD OUTSIDE.” – ARCHITECT JOHAN WENTZEL

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With breathtaking beaches, pristine nature reserves and adventure-packed amenities,it’s no surprise that Plettenberg Bay is one of the most popular holiday destinations in the country. And it’s where architects Johan Wentzel and Grete van As of W Design Architecture Studio set out to create a private haven of tranquillity for their clients – a place where the natural beauty of the bay would be an undeniable focal point throughout the house.

“For us, architecture is not about the physical building; it’s about the spirit that creates the space,” Johan explains.

“The building is just a sheltered platform from which you experience the world – space and place should be perceived by the spirit.” With direct beach access and views stretching across the bay and towards Robberg Nature Reserve for as far as the eye can see, the site is a gem. “We designed the house with absolute focus on the natural world outside – the ocean, the waves, Robberg, the bay, the wind and the limitless sky,” Johan says.

These key design features are evident the minute you enter the sheltered inner courtyard through a dramatic steel door. “It’s like crossing a portal into another world,” Grete explains. A dense canopy of water pear trees casts dappled sunlight over the courtyard and walkway that leads to the main living area, where floor-to-ceiling glazed doors slide away to let the endless sights and sounds of ocean and sky envelop your senses.

The beautifully crafted steel-and-wood stairwell both connects and separates various spaces vertically to give everyone exactly what they need: the teenagers, an area to bunk in downstairs, with quick access to the beach; communal spaces in the middle for shared family time; and the master suite tucked away upstairs for well-deserved quiet time.

Outside, sleek aluminium cladding, smooth concrete and rugged face brick create a juxtaposition in texture and form that is carried through to within, turning into clever privacy screens that blur the edges between interior and exterior spaces. Inside, the off-shutter concrete, black face brick and natural white oak provide a subtle monochrome backdrop to the main feature of the house – the view. With impeccable attention to detail, both the construction elements and the architecture allow the wonder of the natural context to take centre stage.“We were thankful to ABOVE The tiered local contractors SGB Construction and their team platforms allow each of artisans and sub-contractors for their dedication, level of the house to patience and enthusiasm to get the details right,” seamlessly connect with Grete recalls. the views and the natural beauty of the bay.

Interior designer Adéle van der Merwe ensured BELOW, FROM LEFT that the central design concept was carried through Wrapping around the top into the final touches. Furnishings in neutral tones floor, a semi-permeable complement the architectural style, with a subtle aluminium screen mixture of warm and intimate, playful and practical creates privacy from the street while allowing setting the tone as one room flows into the next. natural light to filter into “I take inspiration from my clients’ way of living, the house; the terraces so the interiors become an intuitive reflection of offer breathtaking views. their lifestyle,” she explains.

OPPOSITE A work of art With understated simplicity, the bold use of in its own right, the steel and white oak materials and textures in their natural form adds a stairwell screen was splash of glamour to this easy-going family home, manufactured by Jireh in which there’s infinite room to breathe, reset and Custom Interiors and deep-dive into the rich bounty of Mother Nature. spans across all three

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Limestone tops and wall cladding add a splash of natural earthy glamour to the monochrome palette in the open-plan kitchen/dining area that seamlessly extends to the terrace. The kitchen was manufactured by local carpenters Wooden Wonders.

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The giant hearth manufactured by Real Fires creates a cosy corner to ensure the family enjoys the house all year round. The oversized couches are purpose-made, and the cork side tables are by Wiid Design.

ABOVE The entire central living space becomes the stoep, with all the doors sliding away to allow the interiors to become a seamless part of the outdoors. BELOW Plush sofas in richly textured fabric by Weylandts create an intimate atmosphere in the television room.

When opened, the sliding doors disappear completely to connect the space to the central courtyard garden.

ABOVE Sheltered from the elements, the lush courtyard garden provides tranquillity while remaining connected to the ocean views.

The table was manufactured by Quick-Step Instant Staircases; the benches are from Igneous Concrete. BELOW The infinite extension of space is at the heart of this home, as is evident from the cantilevering concrete slab that blurs the boundaries between inside and out.

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| Plettenberg Bay Home THIS PAGE A visit to the beach culminates in an invigorating cleanse under the Eurotrend Shower Column leading into a transitional mudroom, ensuring sand and sea remain outside.

OPPOSITE, FROM TOP A leisurely soak in the Crystallite bath while breathing in the fresh ocean air recuperates mind, body and spirit; the master bedroom suite features full-height sliding doors and glazed balustrades to optimise the views, with fold-away shutters to control the morning sunlight.

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THIS PRIVATE SANCTUARY IN CAPE TOWN’S SUBURBS, BY ARCHITECT JO NOERO, IS GEARED TO CULTIVATE AND NURTURE FAMILY LIFE, WITH PARTICULAR CONSIDERATION FOR SIMPLICITY, NATURAL LIGHT, FUNCTIONAL DESIGN AND MOUNTAIN VIEWS.

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The access staircase to the first-floor bedrooms is illuminated by a generous roof light.

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enter the front door, the large double-volume living area that extends to a backyard with Table Mountain as the backdrop is revealed. As you get closer to the heart of the home, you begin to understand it more: the various layers express the age-old need for a sense of community and connection with those we love. This is a home created to build bonds and nurture the very nature of family life – the comfort of closeness and our attachment to it.

You can’t look at this home without picturing Samantha, who loves cooking, running the kitchen as it sits in the command centre of the house. From there, she’s got a feel of where everyone is – and there’s a sense of certainty that, in return, everyone knows what’s cooking too.

Ryan is a bit of a techy geek, who admittedly had to have a smart home. You can imagine the joy he took in automating everything he could think of, with understated subtlety meeting the perks of convenience.

“We wanted something that was beautiful in a timeless way,” says the couple, “something that fits our lifestyle.” They’ve done exactly that by creating a home that serves as an ode to a closely knit family unit and the bonds that keep them together – regardless of distance and time. noeroarchitects.com

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“THE CENTRAL IDEA THAT GOVERNED THE DESIGN WAS A DISTINCTION BETWEEN LUXURY AND NECESSITY.” – ARCHITECT JO NOERO

In 1984, just starting his practice as an architect, Jo Noero designed his first large house in Johannesburg for a client by the name of Val. Some 35 years later, he received a phone call from Val’s son Ryan – whom Jo remembers as a little child playing at the building site – asking him to look at transforming a house that he and his wife Samantha had bought. “This was a project I had to take up,” says Jo, “and it turned out to be a real pleasure, working for a very nice family.

Perhaps if I live long enough, I might be fortunate to be able to create a house for Ryan and Samantha’s daughter or son – who knows?”

From the outside, it isn’t clear how vast and well thought-out the home is. It’s intentional, of course; the exterior maintains a sense of privacy, creating a sanctuary where family life can thrive.

But, as is the case with all of Jo’s work, there’s depth in the design beyond just functionality.

“The central ideas that governed the design were discussed and agreed upon right from the beginning, before we put pen to paper,” says Jo. “Most importantly, a distinction between luxury and necessity was drawn, and it was agreed that this distinction should shape all our decisions.”

Built on the footprint of the previous house that had its focus around a central living area, Ryan and Samantha’s new home is a double-volume space. Jo’s design reinforces this centrality by placing the bedrooms on the first floor; the access to these rooms happens along a circulation space adjacent to the double-volume and overlooking this space. The volume is illuminated from the top by a large roof light.

The home may have an understated and clearly modernist look, but it has a warm heart that clinically clean minimalism often lacks. What makes the space so special is the fact that it is fundamentally designed to be a home, away from the public gaze. Once you leave the street and

THIS PAGE Climate-controlled wine storage, cleverly tucked in next to the staircase, is an example of the functional decor.

OPPOSITE Owners Ryan and Samantha wanted a home that was beautiful in a “timeless” way.

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THIS PAGE The central kitchen was designed as the “command centre” of the home.

OPPOSITE The art on the walls includes pieces acquired by the homeowners’ in Italy, as well as works by Max Wolpe and Galia Gluckman – two local artists they adore.

Timber flooring by Florstore OnTrend adds warmth.

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THIS PAGE AND OPPOSITE Ryan and Samantha’s light-filled home fits their lifestyle: they have a closeknit family and they entertain often, so the open-plan design was right for them.

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CLOCKWISE FROM ABOVE A minimalist approach to materials provides a fresh take on simplistic luxury; the staircase connects the open-plan ground floor to the bedroom level; light floods the home from above courtesy of several strategically placed skylights; the private deck is an extension of the living spaces.

CLOCKWISE FROM ABOVE Clean lines are celebrated throughout the house; considered detailing blends function with style; the white geometry of the interior further enhances the voluminous feeling of each space; sunny spots aren’t hard to come by, no matter the time of day.

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by Florstore OnTrend is complemented by Hansgrohe chromeware. OPPOSITE, CLOCKWISE FROM TOP LEFT A sleek passage connects the main bedroom to its en suite and walk-in closet; the deck can be accessed directly from the room; a sun-bathed window seat is the perfect spot to get lost in the views; the bay window overlooks the garden.

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BLENDING INTO ITS SURROUNDS, THIS ULTRA-CONTEMPORARY VILLA EXUDES AFRICAN FLAIR WITH UNINTERRUPTED VIEWS OF THE KLEIN RIVER LAGOON AND THE NEIGHBOURING MOUNTAINS. W O R D S

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The undulating roof of the Perivoli Lagoon House near Stanford is designed to mirror the local mountain range and blend with its natural surroundings.

A“SENSE F ARRIVAL”

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IS THE FEELING YOU GET WHEN YOU STEP INSIDE PERIVOLI LAGOON HOUSE,

LEFT The heavy wooden front door opens into a striking vestibule. OPPOSITE The view from the deck through the villa. The spacious open-plan common area is divided into a lounge and dining space, leading into the kitchen beyond.

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THE CURVED CONCRETE ROOF MIMICS THE SKYLINE OF THE KLEIN RIVER MOUNTAINS AND LIMESTONE HILLS.

says architect Gregg Goddard about this contemporary villa. Designed as an exclusive retreat available for rent, the villa features four double suites with private bathrooms and individual terraces, connected by large living spaces.

“The approach route was carefully selected and cut through the forest, and very much intended to add to the mystique and expectancy associated with a winding narrow road that leads to an unfamiliar destination,” Gregg explains. “Breaking out of the imposing forest, and being confronted by the splendour of the building against a dramatic backdrop of mountains and wide expanse of inland water, heightens that exhilarating sense of arrival.”

As the structure is set in 140 hectares of indigenous fynbos, maintaining a low impact and integrating it into the landscape was front of mind during design and construction between 2018 and late 2019. Gregg’s brief was a building that would not draw attention to itself or stand out from the surrounding environment. Being prominently placed, and in full view of the mostly developed northern lagoon coastline, the challenge was to create a building with an architecture and style that would respond positively to its context and visually blend into the background.

Gregg achieved this with attention to both architectural form and sympathetic use of materials, as well as detailing nd a muted colour scheme.

“We placed the emphasis on providing a low-slung, horizontal structure, grounded on a slightly elevated and sensitively landscaped platform,” he says. “We paid special attention to the forested backdrop in the selection of charcoal-coloured timber cladding elements and movable screening devices in the make-up of the façades and the carefully selected final colouring of the roofscape. The undulating roof was floated over the building, and intended as a free-form element that picked up on the distant skyline of the hills to the south.”

The curved concrete roof mimics the Klein River mountains and limestone hills that are visible from almost every point in the majestic villa. A wrap-around deck was raised by two metres to preserve the life underneath and create an elevated vantage point for guests to enjoy the breathtaking scenery. Integrating the outside areas with the inside living spaces was also front of mind when building, with expansive stacking doors allowing a divide or release into the outdoors.

Described by interior designer Simone Henckert as “understated African luxury”, the interiors are notably African-chic yet unpretentious, making use of wood, concrete, leather and textiles throughout the space, with rugs, tables, shelving and lights made by local designers exclusively for Perivoli. All art in the house is by South African artists, including Daniel Naudé, Deborah Bell and Zara Cassim. “The idea was to create a warm, inviting and tranquil space,” says Simone, “so it was important to use materials and products that are ethically sourced, and to support local craftsmen and designers.”

The communal deck and heated infinity pool invite lazy-day lounging with a book, or a gin and tonic made in-house by the attentive yet discreet staff. The villa is booked on an exclusive-use basis for up to eight people, with flexible options that include housekeeping, as well as a choice of all-inclusive or self-catering stays.

Not only nature-conscious but socially-minded as well, the Lagoon House is owned by the philanthropic Perivoli Trust, with all profits going to conservation and nursery-school children’s education in sub-Saharan Africa. perivoliafrica.com | ggarch.co.za

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THIS PAGE A traditional mokoro canoe from the Okavango region is mounted on the wall as a work of art.

OPPOSITE The dining room features a custom-made table. A subtle cattle theme was inspired by papier-mâché finds, and is reflected in the artworks by Daniel Naudé. Patchwork leather carpets are a prominent feature throughout.

ABOVE Designed as a refuge, the lounge is a relaxing space, with spots of colour warming the room. BELOW The infinity pool is the perfect place to relax and soak up the beauty of the surroundings. OPPOSITE The generous wrap-around deck includes areas for alfresco dining and lazing outdoors. The curved roof provides all-weather protection.

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THIS PAGE AND OPPOSITE The sleek kitchen features a custom-made breakfast bar. The passageway that links the two wings of the villa runs through the centre of this communal space, and is a showcase of African art.

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ABOVE Each of the four bedrooms has its own colour palette, complemented by carefully selected art. BELOW There are two bedrooms per wing, each with a private deck and expansive views. OPPOSITE The en-suite bathrooms were designed in neutral tones, with tons of windows to continue the connection to the outdoors. Repeating the cattle theme, the towel hooks are inspired by cow horns.

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AN URBANE AND INTIMATE PARISIAN PIED-À-TERRE IS FILLED WITH COLLECTABLE MID-CENTURY MODERN FURNITURE, AS WELL AS CONTEMPORARY DESIGN AND ART. WORDS

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Elegant glass-and-wood interior doors separate the hallway from the living room while allowing light to stream through the entire apartment.

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MMANUEL DE BAYSER IS LUCKY ENOUGH

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LEFT Owner Emmanuel de Bayser at his Berlin fashion and design store, The Corner.

OPPOSITE, CLOCKWISE FROM TOP LEFT Emmanuel’s Paris apartment is located in a neoclassical building typical of the structures created under the guidance of city planner Georges-Eugène Haussmann, whose famous “renovation” of the city took place in the middle of the 19th century; classic Paris views along the Seine; the building’s original lift is clad in ornate cast-iron detailing; an imposing bust in the hallway of Emmanuel’s apartment.

“FRENCH MID-CENTURY DESIGN IS TIMELESS, AND MIXES SO WELL WITH ARCHITECTURE FROM PERIODS BEFORE IT WAS CREATED.” – OWNER EMMANUEL DE BAYSER

to divide his time between two of Europe’s great locales: Berlin and Paris. In Berlin, he runs his fashion and design store, The Corner Berlin – and when in residence in his Paris apartment, he works intensely on selecting the very best in current fashion, design and decor for The Corner.

Emmanuel’s Paris pied-à-terre is situated in a building that’s typical of the neoclassical style in which Parisian dwellings were constructed during the time of Georges-Eugène Haussmann’s famous “renovation” of the city in the 19th century – even though it was actually built a number of years after the legendary city planner’s death in 1891.

It’s a small space – just 70m2 in total – but it feels spacious and expansive. This is the result of the building’s elegant “bones”, which include high ceilings that make for light-filled rooms, and interconnecting doors with original glazed panels that open up the space and allow light to move through. Accentuating the feeling of luxurious roominess is wall-towall carpeting in cream wool, and all of the apartment’s rooms look out over an elegant Parisian park, which means that fresh air and views of manicured greenery abound.

As a collector of French mid-century design, furniture and collectables for the past 20 years, Emmanuel describes that genre of design as “timeless – it also mixes so well with the architecture from periods before it was created. It has a patina and a lively character that somehow both contrast and fit other styles.”

His Paris home is proof of these assertions: in the neoclassical apartment, pieces by iconic mid-century designers Jean Prouvé, Pierre Jeanneret and Serge Mouille seem perfectly at home, while items by contemporary French designer India Mahdavi add sophistication to the mix. And then there are colourful ceramics by Georges Jouve, a collection of African tribal art figurines, and a final layer of contemporary artworks and books.

The tribal figurines are part of a relatively small collection, but a special one. For Emmanuel, these artworks link back to the history of modern art in France, with their influence on artists such as Constantin Brâncusi and Pablo Picasso having been well documented. Like his ceramics collections and his books, these works bring a unique and personal feel to the apartment that is very important to him.

A born collector, Emmanuel readily confesses to being continuously in pursuit of pieces by his favourite designers and artists. He also tends to need new points of focus now and then: his large collection of ceramics by French mid-century ceramicist Georges Jouve was begun in part, he says, because “I had no space for any more furniture.”

Emmanuel also masterfully articulates what makes a variety of mid-century modern designs special. For example, speaking of French lighting designer Serge Mouille, who created the wall-mounted and standing lamps that feature in the apartment’s interiors, he explains that Mouille’s work has a very industrial feel (it is made of cast metal and features angular supporting arms), yet the shapes of the lampshades are subtly curved and have a softer touch than many other industrial-style pieces. The result is “something much more sensual and interesting”, says Emmanuel.

This petite and perfectly considered Paris apartment is a true pied-à-terre – a “foot on the ground” second home in which its owner spends a limited amount of time. And it’s an ideal base from which to savour some of the finest things that the City of Light has to offer.

THIS PAGE AND OPPOSITE In the living room, tall arched windows flood the space with light. A grey sofa and round wooden Starr table by India Mahdavi complement both the original fireplace and the wall-mounted mid-century modern light fitting by Serge Mouille.

The lounge suite and wooden shelving unit are by Pierre Jeanneret, the coffee table is by industrial designer Ron Arad, and the colourful ceramics are by Georges Jouve.

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IT’S A SMALL SPACE BUT IT FEELS SPACIOUS AND EXPANSIVE – THE RESULT OF THE BUILDING’S ELEGANT “BONES”.

THIS PAGE Reflective surfaces throughout the apartment maximise the natural light.

OPPOSITE Emmanuel designed the built-in bookshelf himself.

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THIS PAGE A space for work or dining is tucked away on one side of the living room. The table and Standard chairs are by Jean Prouvé, and the stool is by Charlotte Perriand. The artwork is by German artist Frauke Eigen.

OPPOSITE, CLOCKWISE FROM TOP LEFT A rare vintage Visiteur chair

by Jean Prouvé; an artwork by German artist Bernd Berner forms the backdrop for Georges Jouve ceramics and an African figurine; a lamp and ceramics by Georges Jouve complement a small wooden sculpture by Alexandre Noll (far right); a view from the living room towards the petite hallway.

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THIS PAGE AND OPPOSITE Neoclassical and midcentury modern elements combine in the bedroom.

A sofa by Pierre Jeanneret and a 1950s standing lamp

by Pierre Guariche are offset by an India Mahdavi quilt and cushions and bright Georges Jouve ceramics. The dramatic artwork above the bed is by sculptor Aldo Chaparro.

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| Comporta Home

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AMONG THE TRIPTYCH OF THE OCEAN, DUNES AND RICE FIELDS IN COMPORTA, PORTUGAL IS A HOME OF LUXURY AND SIMPLICITY, INSPIRED BY THE HUTS OF LOCAL FISHERMEN AND FARMERS.

With its feet in the sand, and sheltered by a pine forest, the main house benefits from a huge terrace, which overlooks a unique panorama of dunes and ocean. Clad in rice straw and topped by a thatched roof, it retains the style of traditional houses of the Portuguese coast.

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CONNECTED TO EACH OTHER BY A SET OF WOODEN TERRACES, THE SMALLER “HOUSES” FORM AUTONOMOUS SPACES.

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lmost everywhere at the seaside, regulars have their unmissable spots – places to which they return year after year, never tiring or ceasing to be amazed. With its golden sand with golden reflections, trails of foam and broken seashells, and iodised perfumes intermingled with the woody scent of pines, this corner of Praia do Pego is a refuge for those lucky enough to be able to acquire land here.

The owners of this particular property – French by way of a lengthy sojourn in Mexico – fell in love with this corner of Portugal, which reminded them of the Mexican coast and its palm-thatched palapa huts. And there’s a certain purity in the way their home respects the spirit of the place – of its origins, essence and authenticity.

Lisbon interior architect Rita Andringa of Andringa Studio worked on this project with architect Nuno Lopes, the creator of many of the beautiful houses of Comporta.

“We share a great love for the vernacular architecture of the Alentejo coastline,” she says. “The proportions here certainly have little to do with traditional fishermen’s huts – but as to the rest, we are connected by the materials and ancient techniques of local architecture.”

Under the thatched roofs are wooden and reed walls. The ceilings are also a combination of wood, cane and thatch.

And there is no distinction between the architecture and the decor – they are two parts of a whole. Function and beauty go hand in hand, and the furniture is often integrated into the masonry – as is the case with the walls that extend into sofas, and the headboards that become bookcases.

The surface area – 300m2 – allows for different scenarios and views to emerge from different parts of the home. A larger hut, perched near the top of the site, contains the kitchen, dining room and living space, as well as the master bedroom. From here, forest views unfold through large windows and sliders in every direction. On the lower level, the guest-bedroom and children’s area wrap around an orchard and an aromatic herb garden, the brainchild of the founder of luxury garden brand Le Prince Jardinier, Louis-Albert de Broglie. The swimming pool is more secluded, with the surrounding dunes ensuring privacy.

Connected to each other by a set of wooden terraces, the smaller “houses” are autonomous spaces that still allow for soft mobility. Highlighting the contribution of the owners in the success of the project, Rita says they were very hands-on.

“I’d even say that we carried out collaborative work with the landscaper and the craftsmen,” she adds. “It’s essential to harness the power of teamwork in a project of this kind – because the human aspect is crucial in anything that’s ‘made in Comporta’.” andringastudio.com

THIS PAGE Spacious and bright, the living room combines soft colours with natural materials. Plaster and cane on the walls create a graphic effect that skilfully responds to the framework dressed in straw and cane. On the wide custom-made benches, cushions and mattresses are made up in Larsen and Aldeco fabrics. The rattan marquetry coffee tables and 1960s armchairs were sourced at Barracuda in Carvalhal, while the 1970s palm-tree lamp is a Paris market find. OPPOSITE Interior architect Rita Andringa (top left) created waxed-concrete terraces around the property to accommodate large tables and comfortable benches made for lounging and entertaining in the shade of the thatched roof. The pool is finished in ceramic tiles and bordered by a “beach” made of pine slats.

The deckchairs are by Lona, and the poolside benches were custom-made in cotton fabrics from Rice by Marta Mantero in Comporta.

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THIS PAGE The kitchen is a study in concrete, from the solid island to the floors and waxed countertops. The dining set was sourced from Rice by Marta Mantero. OPPOSITE To one side of the main house, Rita created an outdoor dining space under a pine-slat pergola.

The table and benches were made by the construction team’s carpenters.

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| Comporta Home CLOCKWISE FROM ABOVE Crisp and immaculate, the bathrooms combine waxed concrete and zellige tiles on the floor and counters with cupboards dressed in straw by local artisans; in one of the children’s bedrooms, a headboard extends seamlessly into a full-height bookcase; the headboard in the main bedroom also serves as a bookcase, framed by two windows that open onto the pine forest; inspired by the fountains of Alentejo, Rita is behind the design of the white limed concrete headboards and bedside tables in the guest rooms. OPPOSITE Clever mezzanines in the kids’ bedrooms provide space for overnighting friends.

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A ROOFTOP POOL SUSPENDED 25 METRES ABOVE GROUND IS BUT ONE OF MANY STRIKING ELEMENTS OF THE RECENTLY COMPLETED VīB BOUTIQUE HOTEL IN CAPE TOWN.

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Designed by Robert Silke & Partners and constructed by JLK Construction, Vīb Cape Town boasts a captivating façade, featuring a cantilevered rooftop pool with glass portholes by Shaluza Projects, and curved glass curtainwalls by Eurostyle.

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ABOVE At night, Vīb Cape Town’s red “scarf” lights up, along with its rooftop pool.

LEFT Robert Silke in the hotel’s lift, customised by JV Lift Interiors and framed by granite architraves by Sangengalo. OPPOSITE, CLOCKWISE FROM TOP The lobby features granite floors by Mazista, ceilings by Ceil Wall Interiors, specialist lighting design by QDP, an arched bar by Kitchen City, highback chairs by Supreme Upholstery, dining chairs by Woodbender, tables by Tabletops and planters by Styler and Vorster & Braye, with greenery curated by The Green Zone; a Styler planter is offset by Cara Saven’s Missing The Point wallpaper; the lobby’s reception pods pop against a geometric mirrorscape by C&G Fine Art.

GUESTS ARE SHUTTLED UPSTAIRS IN AN UNDENIABLY SEXY, RED-LIT LIFT THAT READS LIKE SOMETHING STRAIGHT OUT OF 2001: A SPACE ODYSSEY.

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otels are tricky things to design; trickier still to design beautifully.” It’s one of the first things Robert Silke of Robert Silke & Partners says when talking about his latest creation. “When you build a hotel, you’re essentially making it out of Lego blocks – and those blocks are rectangular rooms.”

In the case of Vīb, a brand extension of the international hotel group Best Western aimed at young, urban travellers, Robert lucked out. The parameters were set, but because Vīb was still a relatively new brand, there was a bit of give. It also didn’t hurt that Robert’s clients Muslim and Shafina Jaffer,a property-development power couple from Tanzania, had a sense of adventure – not to mention a flair for the dramatic.

For Vīb, which also has hotels in Bangkok, Antalya, and Springfield in Missouri, the hardwired design DNA includes a rectilinear format, a white façade and a signature red “scarf ” emblazoned with the hotel’s logo. Each six-by-threemetre room accommodates a full-size bathroom, king-sized bed and study area – always in the same configuration.

In the hands of Robert and fellow architect Alex Geh, this template was continuously finessed over the five years it took to bring the hotel to completion. Rigid seams softened into curves, unimaginative fixtures were injected with a sense of playfulness, and the one-size-fits-all ethos became undeniably localised. “There’s an exuberant Durban-MiamiHonolulu kind of tropical modernism about it,” says Robert. “Think Bauhaus meets Tropical Heat.”

The most obvious expression of the hotel’s vibe is the glass rooftop pool, which cantilevers five metres over Somerset Road below. If passersby were to time it right and look up, they might see the dangling legs of hotel guests through its three glass portholes. “The client wanted the hotel pool to be visible for miles around, and we just amped it up,” says Robert. As dusk descends, the pool turns pink and then blood-red, casting a fiery glow through the half-moon of glass that Robert fondly calls the building’s smile.

Inside, a more feverish New Orleans-slash-East African interpretation of modernism awaits. The lobby’s reception desk is framed by a jagged, geometric mirrorscape reflecting a refreshingly uncluttered white space that’s accented by graphic black lines and pops of high-gloss red. Guests are shuttled upstairs in an undeniably sexy, red-lit lift that reads like something straight out of 2001: A Space Odyssey. Equally Kubrick-esque – although leaning more towards The Shining – are the moody, narrow hallways that lead guests to their rooms.

While the original brief was for an 84-room hotel, Vīb Cape Town houses only 76. The answer to the missingroom mystery lies on the top floor where, right towards the end of the build, Shafina – an artist herself – decided that the hotel needed an African art gallery.

Oh, and there was one more specification: the walls couldn’t touch the floor. The execution is nothing short of spectacular. Walls were built in front of the existing windows, curving voluptuously downwards from a bulkhead in the ceiling, which allowed them to stop short half a metre above ground. “When the sun comes through those hidden windows, it creates this indirect, ethereal light, even in the deepest parts of the gallery,” says Robert. “I mean, it’s a dream. Every architect wants to do a cathedral and a museum, so it’s a tick off the bucket list. Again, how many clients are going to commission a bespoke, purpose-built art gallery?”

Lucky for some, hey Robert… vibcapetown.com | robertsilke.com

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THIS PAGE Robert and the team localised the hotel rooms by creating feature walls adorned with a hand-drawn map of Green Point by Wayne Muller, turned into wallpaper by Cara Saven. The bed-and-desk units are by Kitchen City, the vinyl flooring is by MacNeil, and the office chair is a collab between Herman Miller and Yves Béhar.

OPPOSITE Ceramic pendant lights by Mood Lighting & Decor, Paul Smith-inspired feature blinds (designed by the architects and sourced from Hotel Pro) and light switches by Lumen8 complete the bedroom mood, while bathroom highlights include a vanity unit by Hammonds and aluminium-framed shower screens by Showerline.

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THIS PAGE The roomy suite includes a dining area, furnished courtesy of Woodbender and Tabletops, as well as a sleeper couch by Sofaworx, vintage red Kartell stacking chairs sourced from Ride A White Swan, a glossy red storage canister

by Chair Crazy, and original artworks by Shafina Jaffer. OPPOSITE, CLOCKWISE FROM TOP LEFT In the narrow hallways, stony-grey carpet tiles by Interface were sourced from KBAC Flooring; all bathroom mirrors are by C&G Fine Art, with signage by Ultra Signs; the pool area is kitted out in Garapa decking by Freestyle Decking; additional accessories were procured for the rooms by Hotel Pro.

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THIS PAGE Polished granite floors by Mazista and mirrored ceilings by C&G Fine Art create the illusion of height, while hanging walls and feature bulkheads

by Ceil Wall Interiors let the art shine. Artworks (from left) are

by Peter Clarke, Parker Laird, Cecil Skotnes, Daniel Matshidiso and Broderick Somana. OPPOSITE, CLOCKWISE FROM TOP LEFT Jaffer Modern keeps external embellishment to a minimum, starting with clean-lined signage by Ultra Signs and a glass pivot door by Eurostyle; one bit of whimsy is this mustard viewing bench

by Block & Chisel, here looking onto work by (from top left) Clare Menck, Lauren Shantall, Kaloki Nyamai and Dominic Tshabangu; the windows in the gallery flood the space with natural light, illuminating a self-portrait by Shafina Jaffer and a work by Thando Ntombela.

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“THE CLIENT WANTED THE HOTEL POOL TO BE VISIBLE FOR MILES

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Pool Designs, Brite Pools and Shaluza Projects all collaborated in bringing the cantilevered glazed rooftop pool into being.

AROUND, AND WE JUST AMPED IT UP.” – ARCHITECT ROBERT SILKE

an expression of our local terroir www.vilafonte.com/purchase

BIBA MIRROR

PHOTO SUPPLIED

R14 995 | weylandts.co.za

Designed by Kenneth Cobonpue, the eye-catching Biba mirror is made from rattan vines that are hand-dyed, painted, and tied to a metal frame. For more reflective inspiration, see page 138.

DESIGN, ART, ARCHITECTURE, HERITAGE, TECH, BOOKS, FOOD & BOOZE

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TRUE REFLECTION

Looking for a quick, easy way to lift, brighten or refresh a room in your home? Just add a framed wall mirror – from glamorous to playful, there’s one to suit the style of every space.

1 1. For unashamed glamour in an entrance hall, look no further than the Geneva mirror, which features 12 circles in a gold-toned frame. R3 895 | blockandchisel.co.za 2. This Dark Horse mirror features a genuineleather hanging strap, and is available in two sizes and various frame colours. Perfect for rustic, layered spaces.

From R3 350 | dark-horse.co.za 3. With just the right amount of decorative appeal, this wire-framed mirror by Sixth Floor will look great combined with mid-century modern furniture pieces. R2 499 | superbalist.com 4. The sculptural Arizona mirrors by Portuguese designer Joana Santos Barbosa are inspired by the curves of desert dunes, and feature luxe materials. From R74 000 | insidherland.com

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8 5. The Lick mirror combines colour and function to witty effect. Kids will love it – and it’s a great choice for casual living spaces and bathrooms too. R2 790 | arkivio.co.za 6. The fish-inspired shape of La Grange Interiors’ Pescatore mirror is eye-catching, attractive and beautifully understated. From R4 895 | lagrangeinteriors.co.za 7. A very grown-up piece that blends minimalism with clever use of contrasting materials, the Lunar Eclipse mirror by Emerging Creatives will add contemporary cool to any decor scheme. R2 899 | superbalist.com 8. With elegant echoes of Art Deco, Studio 19’s mirror brackets (available in matte-black or mottled-bronze finish) are a smart alternative take on a frame.

From R1 400 per pair | studio19.co

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DESIGN JOURNEY

Karabo Poppy Moletsane combines her design skills with an aesthetic that celebrates Africa – then, now and in the future. In her work, timelessness and futurism merge to form globally recognised, locally inspired collaborations.

2017 B E R K E L E Y A R T M U S E U M A N D PAC I F I C F I L M A R C H I V E M U R A L I was commissioned by the University of California, in Berkeley, to collaborate with the Berkeley Art Museum and Pacific Film Archive on this Afrofuturist mural, which is 21m by 7m. It’s a portrait series of South Africans who embody a contemporary South African aesthetic, looking at where our country has been and where it is headed, as well as how a hybridisation of tradition and future thought will inform our growth. Celebrating this on the walls of the Berkeley Art Museum and Pacific Film Archive was a memorable experience. There were plenty of “firsts” on this project: it was my first overseas commission, the first mural of this size that I created, and my first visit to the US.

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PHOTOS SUPPLIED WORDS CELESTE JACOBS

2019 NIKE X K AR ABO POPPY AIR FORCE 1 In creating this collection of three Air Force 1 designs, I was inspired by the diverse visual aesthetic of parts of Africa, both contemporary and traditional. Our aesthetic has a long, rich heritage rooted in constant innovation – something that every African carries with them. It’s in the everyday, seemingly mundane events that this aesthetic is at its most beautiful to me.

Through Nike By You, people could customise my designs too, so this became more than just a collaboration. Each design made use of a completely new technique on the Air Force 1, from raised embroidery to embroidered patches over the swoosh. This sold-out collection has been seen on the feet of LeBron James, Offset, Rhapsody and Conceited.

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AFROPUNK Early in 2020,I created an illustration inspired by the West African Adinkra symbol, Kwatakye Atiko – said to be a special hairstyle of Kwatakye, a war captain of old Asante – for Afropunk. It represents bravery and fearlessness, and is given as an earned title to any brave son of an Akan community. The piece is about being unapologetic, having a sense of self and owning who you are, especially when that becomes life-threatening and requires an enormous amount of courage. This illustration serves to honour and celebrate those who are showing up as they truly are, and encourage a sense of owning your identity no matter what.

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COCA-COL A This collaboration showcased where I believe kindness starts – and I believe it begins by celebrating diversity.

As a young black woman living in South Africa, I (together with the rest of the country) have been tasked with finding harmony after conflict. Reaching this goal has relied on all of us showing kindness to one another by celebrating our diversity. Part of this project was the creation of a “Kindness Starts with Celebrating Diversity” billboard in Times Square, New York.

2020 RICH MNISI X K AR ABO POPPY The Running Errands capsule collection combines different styles intersecting multiple identities, indicating movement, energy and constant growth – just as complex as our country, with its diverse people and cultures puzzle-pieced together. karabo_poppy

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GEOMETRY RULES

From wallpaper to jewellery and one-off prints, Cape Town designer Gillian Fuller’s geometric designs adapt and transform to different modes of expression while still maintaining her signature style.

illian Fuller’s bright, instantly arresting work is largely geometric, and inspired by man-made structures. “Nevertheless,” she says, “inspiration is also to be found in microscopic components of nature, as seen when magnified. At a cellular level, there are endless ideas for design.”

Gillian’s signature style translates well into a range of expressions, including beadwork, fabrics and wallpaper.

In fact, she says, “Most of my surface designs emanate from beadwork designs. Repeats are easy to create, with some adjustments.”

The scale of use of the designs also plays a big part in their boldness, whether it be one repeat enlarged to the width of a fabric, or several repeats to create an entirely different effect, explains Gillian. “In other

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words, my beadwork designs are interchangeable as fabric, wallpaper and one-off prints, with the latter being something I want to concentrate on.”

In 2016, Gillian collaborated with interior designer Robert Sherwood to produce two large Diasec prints, which were exhibited in his Cape Town showroom. “From these two prints arose an awareness of the potential of my designs, and a collaboration with Robin Sprong to design wallpaper,” says Gillian. She was also invited to participate in Cape Town’s 100% Design event, in association with Platform Creative, to exhibit some of her designs as fabrics.

Whether you opt for her beadwork or wall treatments, any of Gillian’s pieces will add a strong, confident energy to your space. You can shop Gillian’s collection for Robin Sprong online, and contact her directly on Instagram for jewellery. fuller.gillian | robinsprong.com

PHOTOS JAN RAS, SUPPLIED WORDS CELESTE JACOBS

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BENCHMARK DESIGN

Conceptual designer Katlego Tshuma is the winner of the 2020 Nando’s Hot Young Designer talent search – and there were so many talented designers on the shortlist, we decided to showcase some of our favourite runners-up.

n its third iteration, the Nando’s Hot Young Designer competition drew a plethora of entries from across South Africa, all responding to a brief to design a seating bench that encourages social distancing and is adaptable for life after the pandemic.

“Throughout the research process and the design of the bench, I kept true to the brief by creating areas that allow two people to sit and still maintain social distance,” says winner Katlego Tshuma. “I created isolated areas on the bench by incorporating the traditional mat as a divider and back support.”

“We embarked on a thorough judging process, which included an initial round of judging by local design industry specialists and senior Nando’s design-focused

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team members,” says Tracy Lynch, creative director of the Nando’s Design Programme. “From my perspective, Katlego won because his design was one of the most unique, jaw-droppingly beautiful, brave pieces entered.”

The local panel of judges included Thabisa Mjo of Mash.T Design Studio and Mpho Vackier of TheUrbanative; VISI editor-in-chief Steve Smith; VISI editor-at-large Annemarie Meintjes; Tracy Lynch of Studio Leelynch and the Nando’s Design Programme; editor Malibongwe Tyilo of the Nando’s Design Programme; art director Jo Skelton of the Nando’s Design Programme; and Michael Spinks, property and development director for Nando’s; as well as the international heads of design for Nando’s UK, US, Canada and Australia.

For more information, visit clout-sadesign.co.za.

PHOTOS COURTESY OF CLOUT WORDS MICHAELA STEHR

Katlego Tshuma’s winning design – the Sangu Bench – is a reinterpretation of traditional African grass mats.

The bench is inspired by “the organic forms found in the movement and shape of the traditional grass mats that have been used across various African cultures as carpets, screens and room dividers,” he says.

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V I S I E D I T O R - I N - C H I E F S T E V E S M I T H ’ S F I V E O T H E R F AV E S

B E B E D O N N O L LY ’ S F L U I D S P I N E B E N C H

CHRISTIAN BOTHA’S SHONGOLOLO BENC

JAN DE WET & JEANNE S C H O LT Z ’ S T H R E A D B E N C H

S I P H O T WA L A ’ S B O N I B E N C H

DA R R E N M Y B U R G H ’ S B E N C H

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HAPPINESS IS...

…the brilliantly bold and uplifting colours and patterns created by British-Nigerian artist Yinka Ilori, who’s launched a range of homeware that will bring a burst of Ilori-inspired joy into your space.

My first homeware collection is a continuation of design work inspired by my British-Nigerian heritage and childhood,” says artist Yinka Ilori.

“It’s a colourful celebration of two cultures, d through abstract, technicolour pattern and orary craft.” long admired Yinka’s work – since graduating don Metropolitan University, where he studied and furniture design, he has created public s and installations around the world, and any set and exhibition designs. Now, his exuberant patterns and colours can be brought right into your home with the launch of a homeware range that’s pretty much guaranteed to make you smile.

This first range is “focused on tabletop and textiles”, he says, and features “a mixture of accent pieces to inject positive and vibrant colour into the home”.

Although it’s not easy to pick favourites, we love

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the cushions, which feature Yinka’s Ere pattern, originally designed “as part of an installation that was all about tapping into inner childhood”, he says; and the trays, which “act as mini canvases that can be left around the kitchen and become an artwork in their own right”.

Also on our wish list are the enamel mugs, with playful patterns inspired by African textiles.

Suppliers for the range were carefully chosen for their expertise and attention to detail, so the stoneware comes from Portugal, along with the table linens and cushions; the enamelware is handmade in Poland; the hand-knotted wool rugs are crafted in Nepal; and the tableware is made in the UK. Creating a homeware range has been an uplifting and fascinating project to work on, says Yinka – and there’s no arguing with the fact that we could all do with some optimism and positivity in our lives and homes right now. shop.yinkailori.com

PHOTOS ANDY STAGG WORDS ROBYN ALEXANDER

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Contact us t:+27 (0) 12 803 9431 e:support@destinkt.com w w w.j e e o afr i ca.co. za

Centurion Unit 5 Jurg Business Park, c/o Jurg & Jakaranda Street, Hennopspark Cape Town Unit 4, 16 Wallflower Street, Paarden Eiland

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ART OF EXPLORATION

African artist Cassi Namoda’s work reflects her multinational upbringing, and examines the complexities of identity and social dynamics.

ainter and performance artist Cassi Namoda was born in Mozambique, and now splits her time between Los Angeles and New York. She was raised in Benin, Uganda, Haiti, her native Mozambique and the US, so it’s not surprising that her work explores the intricacies of social dynamics and mixed cultural and racial identity. In April 2020, Goodman Gallery announced that Namoda had been newly signed to the gallery, and in late November unveiled her debut exhibition, “To Live Long Is To See Much”, under their representation.

This also marked her first show on the African continent.

The characters depicted in “To Live Long Is To See Much” bring together a blend of the artist’s personal experiences with broader fictional narratives, exploring themes such as the origin of life, the nature of time, history, symbolism and mysticism. An especially interesting ongoing theme in the artist’s past and present work is a depiction of conjoined twins, which reflects Cassi’s identity as a twin, but also signals duality. This duality is found in African spirituality’s perceptions of twins – they are revered in certain societies, but are seen an as a negative omen in others. Meaning in Cassi’s work is intentionally and intricately woven to allow the viewer to create their own interpretation.

We asked her to tell us more about the origins of the work on show in “To Live Long Is To See Much”.

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Your artist statement, written by your research collaborator Wesley Hardin, narrates some of the artworks. Does each piece have an intricate story?

It will if we create one. I left the cinematic quality up to the viewer, so they can navigate and create some sort of story. Interpretation can be engaging; it always enhances the overall experience of the show if you fancy letting your imagination go. I like that!

“To Live Long Is To See Much” was created during lockdown, and during the protests for Black Lives Matter. What was it like to create at that time?

It was like going to a temple or a place of prayer – a sanctuary for sanctity. It grounded me, and gave me purpose and perspective in my mission.

Your work focuses primarily on your birthplace, Mozambique, although you were brought up in several countries. As you continue to explore the country and its narratives, what are you discovering?

Mozambique is the root, but then it branches out. It’s not so much about identity – more so about the quality and state of curiosity and exploration. Culture influences me.

Mysticism is a strong theme in this body of work, with dual spiritual references. Are there any specific life experiences that you drew inspiration from?

I think I have some sort of mystic spirit, but I’m also inspired by John Mbiti’s writings on African spirituality.

Tell us more about Tchaubo Land, which features in “To Live Long Is To See Much” as well as in your previous body of work, “You’ll Be Old Too One Day. Life Isn’t Always Young And Sweet”.

My Mozambican family is mainly Tchaubo, a form of Bantu. I think it’s a regionalism I’m exploring, together with the customs and cultures of that land, which have been examined through a colonial lens – and then taking ownership of that. This is a process of decolonisation; we all have to do this work.

“To live long is to see much” is a Swahili proverb, which essentially means that with age comes experience. You show a range of experiences and emotions with diverse themes – were these woven together for the viewer “to see much”?

What was your process of bringing them together?

The process comes through me. There’s really no rhyme or reason to it. It could have easily been another set of experiences, another range of scenes – but these, in particular, were honest to the moment, so I had to realise them. Honesty is a huge part of my work. I hope to never make anything contrived. cas_namoda | goodman-gallery.com

PHOTOS COURTESY OF GOODMAN GALLERY WORDS PHENDU KUTA

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2 1. The peculiar love life of Vania & Velma. 2. Zambeziana remembers Tchaubo tongue. 3. Womb. 4. Bountiful Beast you are a feast. 5. Cassi Namoda’s “To Live Long Is To See Much” at Goodman Gallery in Joburg was her first exhibition in Africa.

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VERY GOOD FORTUNA

As part of Skinny laMinx’s collaborative Promenade collection, ceramicists Vorster & Braye have developed the new Fortuna vase – an homage to an iconic apartment block in Cape Town’s Sea Point.

At Vorster & Braye, we have always been big fans of Skinny laMinx – so we were excited when Heather Moore approached us to create the vase she designed based on the Fortuna façade,” says Colin Braye, one half of the Cape Town-based ceramics brand.

“Heather knows we love a good challenge, and that we’d be willing to coax the clay into sharp corners and straight sides, where it doesn’t usually like to go!”

Heather’s clever design includes a recess in the base of the vase that allows it to be stacked over the lip of another; each vase also features one protruding and one recessed side. The result is a uniquely tactile and subtly eye-catching vessel with which you can build up, Lego-like, a wall of facets and smooth sides that play in the light.

The faceted geometric sides of a stack of Fortuna vases create a visual effect that reflects the midcentury façade of the well-known apartment building – situated on Sea Point’s Beach Road – for which they are named. “The Fortuna vase works well on its own with a single stem flower or dry grasses, or stacked as an architectural statement, playing with pattern and repetition,” says Colin.

These vases make a charming gift, too: each one comes carefully, individually boxed in a nest of shredded paper, and wrapped in risograph-printed paper that’s been stamped with the Fortuna design and story. skinnylaminx.com | vorsterandbraye.co.za

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PHOTOS MANESHA CALDI, SUPPLIED WORDS MICHAELA STEHR

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MUSIC BY DESIGN

In a boost to Constitution Hill’s status as a showcase of South African positivity and creativity, a new music recording studio, Flame Studios, has officially opened its doors on the site.

onstitution Hill is home to South Africa’s Constitutional Court, as well as the Flame of Democracy, which burns permanently on the site to remind all its visitors of the democratic ideals of our society. And now, it’s also the home of the Creative Uprising – a movement that will see the heritage site become a symbol of talent development through various venues and programmes.

The latest element in this nascent creative mix is the space pictured on these pages: Constitution Hill’s new recording studio, Flame Studios. Here, music meets

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South African design, architecture and art in an inspiring showcase of local excellence.

The vibrant and authentic South African aesthetic was designed and implemented by Tracy Lynch, creative director of the Nando’s design programme, and is a cool mix of original elements and pieces created by some of the country’s leading established and emerging designers.

“Constitution Hill was a space that detained South African struggle heroes – but things have changed, and this project profoundly reflects the principle of change,” Tracy says. “My intention was to create a dynamic space

PHOTOS ELSA YOUNG WORDS ROBYN ALEXANDER

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HERE, MUSIC MEETS SOUTH AFRICAN DESIGN, ARCHITECTURE AND ART.

that shares pieces by local designers. The collaborative approach means that South African design literally becomes part of the furniture. A celebration of remarkable contemporary design, the space embodies our belief in investing in the people of South Africa and showcasing their creativity to the world.”

Among the first artists to record at Flame Studios was MXO, who created his debut EP there in front of a media audience in late 2020. This followed his participation in the Nando’s Music Exchange in London last year, after he had impressed curators on Nando’s in-restaurant station, Heatwave Radio, during a countrywide talent search.

Lance McCormack, music manager at Flame Studios, says that the aim of the venture is to amplify the voices of South Africa’s next generation of musicians, artists and storytellers. “We hope that Flame Studios will encourage more visitors to this inspiring precinct, and mark a new era of atmosphere at Constitution Hill,” he adds.

In short, Flame Studios is a confidently executed step towards building a talent hub at one the country’s premier heritage sites that not only honours our past, but also fuels our future – an ideal that’s brilliantly reflected in this creative space.

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IN PRINT

We think 2021 is going to be all about taking the time to enjoy quiet, simple pleasures, including spending quality time paging slowly through an inspirational design book. Here are six new titles to start with.

1. RADICAL ARCHITECTURE OF THE FUTURE

by Beatrice Galilee Phaidon | R949 Architecture isn’t about mere buildings any more, as this compilation of boundary-breaking projects amply demonstrates. From the surprising to the outrageous and even the slightly scary, this is a great overview of contemporary spatial design at its most radical and intriguing. An essential read for everyone interested in the avant-garde.

4. DESIGNING HOLLYWOOD HOMES

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2. EVERYTHING: A MAXIMALIST STYLE GUIDE

by Abigail Ahern Pavilion | R712 If you think of yourself as forever a Scandi-inspired minimalist, this book might just change your mind. Abigail Ahern’s moody, layered, “more is more” aesthetic has brought her huge success as an interior designer and retailer, and her use of bold colour palettes, luxurious textiles, patterns and embellishment is shown off here to brilliant effect.

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by Design Leadership Network Assouline | R1 723 With travel restrictions keeping so many of us at home, this book is a reminder of the beauty and importance of travel. It features more than 350 inspirational photographs that will take you on a global journey through cityscapes, ancient civilisations, luxurious resorts and natural wonders, all seen through the discerning eyes of today’s leading creative talents.

6. HOW WE LIVE NOW: MAKING YOUR SPACE WORK HARD FOR YOU

3. POLAROID NOW: THE HISTORY AND FUTURE OF POLAROID PHOTOGRAPHY

by Steve Crist Chronicle Chroma | R730 My goddaughter just turned 12, and what did she request for her birthday? You guessed it: a Polaroid camera. This inspiring book – which celebrates new work created by contemporary artists working with Polaroid today, and discusses the history of the brand’s provision of instant gratification in photographic form – will make the perfect companion gift.

by Stephen Shadley Rizzoli | R1 137 Interior designer Stephen Shadley has created homes for Hollywood stars such as Diane Keaton and Jennifer Aniston, and this is the first book-length showcase of his work. Originally a set designer, Shadley has a fine-tuned sense of scale, and his interiors combine understated beauty with refined materials to create warm, inviting, serene spaces.

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by Rebecca Winward Ryland, Peters & Small | R404 Interiors journalist Rebecca Winward brings her insider knowledge to this very practical book, which demonstrates how to make the most of every room – even every corner – of your house. Whether you’re trying to accommodate a growing family or wondering where you can squeeze in a home office, this has a smart idea that will help make your home work harder for you.

IMAGES SUPPLIED WORDS ROBYN ALEXANDER

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GOLDEN RULES

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When the first hints of autumn arrive, we’re stocking up on after-dinner sipping spirits that combine smooth taste with subtle sophistication – and a dash of much-needed sweetness, too.

1. JACK DANIEL’S TENNESSEE HONEY Combining Jack Daniel’s whiskey with the unique honey liqueur also

made by the Tennessee distillery, this smooth, honey-infused blend is at its best served simply, on the rocks.

It’s the ideal post-dinner tipple for Jack fans.

From R280 | jackdaniels.com

2. SUNCAMINO FLORAL RUM Suncamino means “journey to the sun”, and was the inspiration for three

South African friends who worked with a Barbados distiller to develop this eight-year-old rum blend.

Back in Cape Town, a bouquet of floral botanicals was added.

R319 | suncaminorum.com

3. ELEPHANTOM AFRICAN DARK RUM It’s named after the fabled bull elephant of the Knysna Forest, known to

appear to those who seek the last remaining elephants (and then magically disappear again). Just as magically, Elephantom’s initial caramel notes fade to reveal cooked peach, light spice, vanilla and hints of apple.

R399 | capebrewing.co.za

PHOTOS JAN RAS, SUPPLIED WORDS ROBYN ALEXANDER

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4. KARO BRANDY Double distilled in copper pots, matured in French oak barrels for 13 years and blended

by master distiller Kobus Gelderblom, Karo is smooth, with an aftertaste of vanilla and apricot that lingers after the initial flavours of dried peach, litchi and a hint of Karoo herbs.

R499 | capebrewing.co.za

5. LADISMITH CAPE BRANDY This award-winning, limited-edition, eight-year-old brandy is produced from Klein Karoo grapes. Expect a nose of dried fruit, apricot and citrus, with flavours of tropical fruit on the palate, subtle floral notes and a hint of red berries.

R559 | ladismithcapebrandy.co.za

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TECH TRENDS 2021

The world’s largest annual consumer electronics show, CES, was an all-digital affair this year – but as always, it delivered an intriguing mix of prototypes, innovations and items that will make it to production.

wned and produced by the Consumer Technology Association (CTA), CES is an annual showcase event that features every aspect of the tech sector. Unsurprisingly, key trends at this year’s event, held in January, included ways to fight Covid-19 – such as UV robots for disinfection; body sensors to detect flu symptoms; toilets that flush with a wave of the hand; various air filters and purifiers;

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L G I N S T AV I E W F R I D G E S LG updated its door-in-door InstaView fridges, which allow you to peek inside with two quick knocks – without opening the door. The 2021 version features 23% larger glass panels, LG’s new UVnano tech to reduce bacteria from the water dispenser (which operates once every hour to remove up to 99.99% of bacteria), and voice-recognition support for hands-free convenience while opening the door. The new fridges also have the brand’s spherical Craft Ice feature: at-home barkeepers will seriously love this…

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touchless video doorbells; and a mask with integrated earbuds and microphone to take calls.

But there was plenty more on offer. Other products showcased included rollable mobile screens, smart AR glasses (including wearable displays), pet trackers, transparent televisions and next-gen OLED screens, among others. And so, here are our top five products from CES 2021.

ASUS ZENBOOK DUO LAPTOP If you’re a power user who needs a dual-screen setup, Asus released an updated laptop computer called the ZenBook Duo at CES. It’s a 14-inch laptop with a second 12.6-inch display situated in the top half of the keyboard panel. Both screens can be used with touch, and support the Asus active stylus.

The ZenBook Duo also promises an impressive 10-hour battery life, making it suitable for working from anywhere, not just home.

PHOTOS SUPPLIED WORDS NAFISA AKABO

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CO L DS N A P I C E - C R E A M M A K E R Sigma Phase unveiled an ice-creammaking gadget called the ColdSnap, which, as its name suggests, dishes out ice cream and frozen drinks fast – in 90 seconds, to be precise!

The pod-based system rapidly freezes smoothies, ice cream, protein shakes, non-dairy options or alcoholic beverages in singleserving portions. The pods don’t need to be stored in a freezer, are recyclable, and last up to a year.

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S O N Y B R AV I A X R M A S T E R S E R I E S T V S Sony’s 2021 TV lineup has a host of new features, including a Cognitive Processor XR chip that goes beyond traditional AI to “cross-analyse an array of elements at once, just as our brains do”; 4K at a 120Hz screen refresh rate; and, along with HDMI 2.1, full PlayStation 5 compatibility. Sony is also the first manufacturer to support Google TV, the successor to Android TV that has built-in features similar to the Chromecast dongle.

SAMSUNG JETBOT 90 AI+ VA C U U M C L E A N E R Samsung has come up with the world’s first smart robot vacuum to be powered by Intel’s AI. It will use 3D LiDAR sensors – typically found in self-driving cars – to navigate the home, enabling it to avoid both large objects like furniture and small items such as cables. Once the vacuum returns to its Clean Station, it automatically empties the dustbin, which traps 99.99% of pollutants.

The bin only needs to be changed every two to three months – and you’ll be prompted to do so via an LED notification alert.

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COUPÉ DE GRACE

The stylish new T-Roc both turns heads and administers last rites as it ushers in a new era at Volkswagen.

he sporty crossover SUV – initially poo-poo’d as a neither-fish-nor-fowl for those who can’t make up their minds – has proved something of a global success. From the purveyors of automotive exotica, Lamborghini, to “the people’s car” brand, VW, all now boast an aggressively styled, lowroof-silhouetted SUV in their model lineup. And with the rise of one segment has come the death of another.

Much like SUVs sent the sedan into retirement, so has this sports SUV signalled the end of the road for the sedan’s flashier sibling: RIP the coupé. In fact, the vehicle you see here is as much an example of current tastes as it is a dynamically styled and aerodynamically tuned tombstone – its launch in Europe three years ago coincided with the announcement that VW was ending production of its only coupé, the Scirocco.

Now available in South Africa, the T-Roc has settled between the T-Cross and the Tiguan in the T-flavoured Volkswagen SUV range (topped by the Touareg). An urbansophisticate athlete whose proportions persuade your

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eye more to the performance than the practical, this is the GTI of the Volkswagen SUV lineup. It even shares a chassis with the Golf.

DESIGN A high-sculpted waistline is met by a descending roofline and muscular shoulders that bunch over large, 19-inch wheels in the top-spec R-Line model. The elongated grille, narrowed further by headlamp-to-headlamp slats, accentuates the sleek profile, while the raked windscreen encourages your gaze along sharp creases and swooping chrome detailing along the roofline and roof racks.

Complementing those racks, it’s the dark plastic cladding around the wheel arches and side sills, along with faux scratch plates and a mildly raised ride height, that nod to the T-Roc’s off-road crossover credentials.

But it’s highly unlikely that new owners will be looking for any ability beyond the asphalt – and that’s a good thing: the adapted Golf chassis means responsive onroad dynamics and, for the most part, a supple ride.

PHOTOS SUPPLIED WORDS STEVE SMITH

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ITS PROPORTIONS PERSUADE YOUR EYE MORE TO THE PERFORMANCE THAN THE PRACTICAL.

The T-Roc feels sure-footed through corners, although road imperfections do jolt a little through the thin 19-inch rubber.

(I’d look to spec 18- or even 17-inch wheels.)

INTERIOR Inside, the T-Roc has received criticism for what feels like hard, cheap plastic on some of the interior trim, but it’s made up for by a crisp, modern aesthetic that proves good design doesn’t necessarily mean you need expensive materials.

Appropriate for the young, savvy urban market, the T-Roc makes a strong digital play with an interactive cockpit that includes a standard 8-inch touchscreen infotainment system and an optional 11.7-inch screen. VW’s WeConnect Go app is also standard in the range; it allows you to pair your T-Roc to your smartphone and get access to vehicle data, the nearest or preferred VW dealer, and a digital tax logbook.

If you’re looking for a statement SUV crossover that complements your modern, curated lifestyle, the T-Roc is your bag. While it may be lacking refinement in a couple of areas, its stylish looks, perky personality and punchy

powertrain options make it very appealing in a competitive market segment.

THE T-ROC RANGE • 1.4 TSI 110kW Design | R489 400 • 2.0 TSI 140kW 4MOTION DSG Design | R548 300 • 2.0 TSI 140kW 4MOTION DSG | R593 600 (Including 3 year/120 000km warranty, 5 year/90 000km VW service plan, and 12-year anti-corrosion warranty)

TOP App-Connect links your smartphone to the radio system, so you can operate selected apps from the touchscreen. IQ Drive systems aid in parking, driving and security. They include Park Assist, Emergency Assist, Front Assist, Traffic Jam Assist, Adaptive Cruise Control and Lane Assist. ABOVE The T-Roc is the first VW SUV that can be ordered in two-tone paintwork with a visually contrasting roof section. This means up to 26 exterior colour options. When it comes to the interior, the Design derivative has a further three dashboard colours to choose from in addition to the standard Limestone Grey.

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JOBURG GEMS

A contemporary look at traditional forms comes to life in the new line of smaller goods by award-winning Joburg-based design house, Mash.T.

ash.T Design Studio, founded by Thabisa Mjo, recently launched its first line of ceramics, taking the brand into the world of smaller (and, we predict, hugely collectable) home goods. The colourful Presents From Joburg range of vases, planters, platters, fruit bowls, shakers, side plates, dip bowls and candleholders has been spun, in true Thabisa fashion, in a contemporary language that showcases the designer’s expressive use of colour, pattern and shape.

Presents From Joburg came about at a quiet time for the studio, while operating during the pandemic, and now stands as another testament to Mash.T’s ongoing collaborative approach to design. After initial design work on the range, Mash.T began a partnership with Cape Town-based ceramic artist Aleri Odendaal, who worked from her home studio during the lockdown.

“Most of our communication with Aleri took place on WhatsApp,” says Thabisa. “A similar thing happened with our new Bright Light sculpture, also created during the peak of the lockdown. The beader who worked on the sculpture – Neliswa Sigwela of Qaqambile Bead Studio – told us that working on the Bright Light gave her family the opportunity to see, for the first time, what she actually does!”

Mash.T recently made headlines after the studio’s Tutu 2.0 light, a woven and beaded pendant lampshade inspired by the xibelani skirts worn by Xitsonga women, was acquired by the Louvre Museum in Paris for its permanent collection. The light, which was voted the Most Beautiful Object in South Africa in 2018, has since been installed in restaurants all over the world.

But Thabisa hopes the more affordable ceramic items will open the studio’s offerings to new audiences, who might not be able to acquire her larger pieces just yet, but who still want to own a piece of the Mash.T brand.

“Not everyone can get our pendants, even though they might share our values and identify with our design language,” says Thabisa. “So we want to make Mash.T products more accessible. And it’s why Presents From Joburg is launching with items centred around serving tools. We want to foster the idea of community, and of coming together at the end of the day to share a meal.

It’s about treasuring the moments spent together around the dinner table.” mashtdesignstudio | mashtdesignstudio.co.za

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PHOTO SARAH DE PINA WORDS GARRETH VAN NIEKERK

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WEARABLE ARCHITECTURE A new jewellery line by a Johannesburg-based designer explores the African continent’s architectural marvels in the ancient medium of cast brass.

ou can now wear a piece of Africa’s architecture with the new Anoqi line by Johannesburg-based jeweller and urban planner Anokhi Parikh – a celebration of the continent’s architectural marvels and legacy of extraordinary adornment. Anoqi’s #Antiquity range consists of a series of cast-brass rings that pay a shimmering tribute to the designers of the past in wonderfully detailed miniature: think wearable expressions of the Church of Lalibela in Ethiopia, the Great Mosque of Djenné in Mali and the toolittle-celebrated Pyramids of Meroe.

The Anoqi brand was born when Anokhi found herself looking for a more satisfying creative outlet while doing her urban planning doctorate. “While I was working on my doctorate in London, I learnt the hard way that one of the things about writing a dissertation is that the end is never in sight. I felt like I needed a creative outlet that was a little more immediate,” she explains. “I took a short course in jewellery design at Central Saint Martins, and loved it. Then, over time, I started making pieces for friends and family, which was really therapeutic. I’ve long had a love for jewellery and adornment, which came from spending a large part of my life between India and South Africa – two cultures that are very serious about adornment. Recently, I took the steps to turn this love into a sellable line.”

During the design process, Anokhi became aware that she could explore the concepts underlying her research in urban planning through jewellery design.

“During my PhD, I started reading about histories of the Global South and found that much urban planning theory largely concerns itself with cities of the Global North,” she says. “I ended up talking to my teacher about jewellery made by architects, and found that this also focused on the architecture of Global North.

I’ve been to some of Africa’s great architectural sites; some of my best travel memories are of visiting them, especially the mosque in Djenné.”

As well as being available via her Instagram feed, Anokhi’s pieces can be purchased from the Africa Rise stores in Sandton, Menlyn and the Anderson Street branch in the Joburg CBD. a.noqi | africariseonline.co.za

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LOCKE & ROLL

The Locke Group’s smart accommodation offering – a blend of rental apartment and hotel, with the added dimension of great design and buzzy social options – is expanding its footprint in the UK and beyond.

ombining work and leisure travel is one of those long-term trends that has led to a myriad new accommodation offerings springing up around the globe. Whether heading off to Bali for a few months of combined remote work and surfing lessons, or adding a week onto the end of a trip to a conference in Berlin, people around the world tend to look for something other than a regular hotel room in which to stay.

Enter the Locke Group – a hospitality brand that combines the practicality of a rental apartment with the hotel amenities that add ease and convenience to the travel experience. “Locke aims to liberate guests from the confines of a typical hotel room by creating beautiful apartments that are designed to be lived in,” says Stephen McCall, CEO of Edyn, the group behind the developments.

Leman Locke – the first Locke property – opened in 2016 in the booming East End of London, in Aldgate. Staying there in early 2018, I was impressed by our perfectly formed room:

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there was a kitchen you genuinely could cook a meal in, a small dining table that doubled as a working spot, and a petite living area with a sectional sofa that easily accommodated two lounging travellers putting their feet up after exploring nearby Hackney all day.

Locke apartments aren’t big by South African standards: their average size in London is about 30m2. However, that’s still significantly larger than the average hotel room in the same city, and at a similar price point. And what they may lack in size is made up for via brilliant design: not only does every element fit neatly into its own perfect place, the use of custom-designed furniture and the careful deployment of colour also helps to make the rooms seem spacious.

Also part of the Locke experience is a recognition that, as McCall says, “the type of guest we’re accommodating wants to explore life as a local”. As a result, each hotel includes food and drink options that reflect the tastes of the area in which they are located, and these venues are usually created in partnership with local entrepreneurs.

Which, in turn, means that each offering is unique to that property. Many of the hotels’ social spaces also include co-working areas, and all offer a locally inflected cultural programme spanning wellness, fitness, art and music.

Just over a year after my Leman Locke experience, I was at Eden Locke in Edinburgh, and it was great too: shoutout to the concierge who recommended we see the local band, which turned out to be one of the highlights of our stay.

I’ll now check to see whether a city has a Locke property before considering any other accommodation.

And clearly, plenty of other travellers feel just as I do: the brand is expanding fast. In 2020, Locke launched two new properties in London, including Bermonds Locke and Locke at Broken Wharf. And the doors of Kingsland Locke, also in London, opened in January 2021. There are now Locke properties in Manchester, Dublin and Munich too, with Cambridge, Berlin and Lisbon next on the list for 2021 and 2022. They’re certainly all on my list. lockeliving.com

LEFT The communal area at Bermonds Locke in London doubles as a co-working space. OPPOSITE, CLOCKWISE FROM TOP LEFT The bar and dining offerings reflect the tastes of the area; the apartments are not huge, but clever design and decor make the most of the dimensions; bedrooms are beautifully appointed; each apartment features a kitchen spacious enough to cook in.

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GREENS GAMBIT

Situated in picturesque Franschhoek, Le Poirier is taking a particularly wholesome approach to farming by using principles of permaculture and regenerative agriculture.

estled between oak trees, surrounded by mountains and overlooking a river, the architecture, interiors and landscaping at Le Poirier (aka “the place of pears”) were designed to sing from the same sheet, and are completely integrated.

“The south-facing entrance references the Cape Dutch manor house, wrapped around a farmyard with a vineyard,” says architect Martin Kruger. “From here, the house has all the charm of Cape vernacular style, with a sleek-lined, contemporary twist. On the opposite side, facing the river, it opens up so that you can see the view of the mountain – which is quite spectacular.”

Landscaper Danie Steenkamp worked closely with Martin and owner Paula Disberry to ensure that the courtyard and gardens spoke the same design language as the surrounding landscape and the architecture.

Of Le Poirier’s landscaping and growing process, Paula says, “We use pear trees as a framework – as they die, they are replaced with other species of fruit and nut trees to create a food forest.”

Alpacas have taken on the role of adorable lawnmowers: their grazing not only manages the grasslands, it also increases biodiversity and soil health.

At nature’s pace, hens control aphids on crops until more predatory insects return and the farm finds its equilibrium.

And the worm farms are supported by organic food waste from local restaurants as well as the farm’s neighbours, which is proving to be both environmentally friendly and cost-effective.

The flavoursome organic treasures grown of Le Poirier are available to restaurants and individual consumers, who enjoy the added benefit of knowing exactly how they were produced. lepoirierfranschhoek

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THE SIMPLE PLEASURES

We sample Beyond, celebrated chef Peter Tempelhoff’s new restaurant at Buitenverwachting wine farm in Cape Town.

ustainable, seasonal produce cooked simply is how Peter Tempelhoff describes the philosophy of his latest restaurant.

That said, anyone who has experienced Peter’s sublime Japanese-fusion fare at FYN will take that with just the tiniest pinch of salt. Simpler, yes – but Beyond is more about a fresh take on tradition than “cooked simply”.

“We’re going back to the roots of the restaurant,” Peter says, “and simultaneously redefining the meaning of ‘restaurant’ as a place of restauration.” That, for the linguists, is the archaic form of “restoration” – a feeling you’re likely to experience just sitting in this restaurant

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with glass walls that overlook Buitenverwachting’s vineyards on the slopes of the Constantiaberg.

We arrived just as the sun was setting, the floor-toceiling glass casting a soft light over an interior designed

by Tristan du Plessis. He was behind the interior at FYN that perfectly mirrored the innovative Japanese/African menu – the beautiful Japanese abacus-inspired ceiling installation being the standout. And once again, his treatment here is sympathetic to the subject matter.

Far from the sumptuous decadence of his awardwinning Alice & Fifth in Sandton, Beyond sees Tristan applying a lighter touch. Raw umber, green and rich olive-upholstered seating works with patinaed brass

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ABOVE LEFT Game-fish tartare with tomato ponzu, furikake and vegetable ceviche. ABOVE RIGHT Dark berries and consommé with spiced cherry sorbet and roast white chocolate namelaka. OPPOSITE (top left) Head chef Julia du Toit, Peter Tempelhoff, executive chef Ashley Moss, and service and beverage manager Jennifer Hugé; (bottom left) Durban prawns with tandoori cauliflower steak, sultanas, almonds and coconut bisque; (centre) roast pear cream choux bun, elderflower honeycomb and coconut-blossom ice cream; (bottom right) garden green salad with tomatoes, cucumber, radish and courgette.

detailing and light woods to create an ambience of simple elegance that changes to a cosier mood as twilight turns to night.

Turning our attention to an ingredient-centric menu that revolves around free-range, extra-matured rarebreed cattle, site-specific Karoo lamb, heirloom organic vegetables and sustainable small fish, we chose the trufflefilled burrata cheese (R147) and the Durban prawns (R140) as our two starters. Both were light and intensely flavourful; the burrata cheese was served with organic beets, charred peach and hazelnut crumble, while the prawns came on a bed of tandoori cauliflower steak, sultanas and almonds, with a coconut bisque.

The main course of ancient-grain risotto with woodfired butternut, pumpkin oil, crispy sesame kale, romesco sauce and pickled Cape May honey (R175) lost me at kale – but my veggie-fan partner loved it. I went for the 60-dayaged Limousin beef (R250). The tender cut was perfectly cooked and enhanced by the accompanying brandy cream mushrooms, ponzu onions and a sourdough crouton jus.

“Ingredients are the soul of this restaurant,” says Peter.

“If I could choose a quote to sum up the philosophy behind the food at Beyond, it would be something Marco Pierre White said: ‘Mother Nature is the true artist; we are just cooks.’”

I reckon you’re underselling yourself a little there, Pete. beyondrestaurant.co.za

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IN THE WEAVE

There’s nothing quite as luxe as seriously good bed linen – which is why the fact that Reed Family Linen is now available locally is such pleasing news.

stablished in England in 1852, Reed Family Linen has a long-standing reputation for creating luxurious linen products. And, unusually these days, this family business – now a global brand – is still owned and managed by the descendants of the original founder, John Moorby Reed.

Reed’s chief claim to fame is the remarkable quality of their sheeting fabrics. As the brand explains, a highquality fabric is measured not only in “thread count” or the number of threads used, but “by the number of intersections between the warp and weft threads. Each intersection creates friction that holds the fabric together, so the more intersections, the more durable the fabric.”

Reed Family Linen’s plain-weave cotton “has equal numbers of warp and weft threads woven in each direction, producing the maximum number of intersections. The cloth is held together by each intersection and the friction created by each overlap. The more intersections and overlaps, the more pliable and durable the cloth.” So in addition to having luxuriously high thread counts, Reed sheets, duvet covers and pillowcases are also incredibly durable.

Reed Family Linen is now available at South African online store NetDécor.

“We carry a range of designs from the current Reed Family Linen collection, available in a variety of colours and embroidery combinations, as well as a range specifically for the hospitality industry,” says Miranda Reeder, founder and owner of NetDécor. “This unique offering enables our local clients to source bedding from one of the world’s leading makers of fine linens.” netdecor.co.za | miranda@netdecor.co.za

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CRAFTED COOL

Combining a craft brewery, a restaurant and a boutique hotel, Barrington’s is the latest good reason to escape to Plettenberg Bay.

he closed-circuit concept is one that hospitality brands have increasingly embraced. A hotel with dining on site; a restaurant with somewhere to stay and live entertainment on tap – everything you need to be able to drop your bags and stay put.

Barrington’s in Plettenberg Bay is a case in point. Started

by Simon Ash and Hilton Nagel – who also own The Fat Fish restaurant in town – it’s the first craft brewery in Plett, and the largest operation of its kind on the Garden Route.

It’s also a one-stop destination that brilliantly combines a seamless stay with sustainable principles and a 360degree offering. A kitchen garden, restaurant and small hotel in one, Barrington’s is the stay-and-play concept writ (stylishly) large.

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Designed with the brewery as its starting point – an impressive, triple-volume space currently producing a lager, a weiss, an English ale and an American rye ale – the building was engineered by architect Chris de Villiers to wrap around an old coral tree. Petrus Maree’s interiors were inspired by the industrial nature of the brewery itself and, while simple, are warm and elegant, with a white-onwhite palette, black accents and plenty of natural textures.

The boutique hotel’s rooms are minimally and stylishly equipped with the essentials. “The concept is geared towards a modern traveller who doesn’t live a wasteful life,” says general manager Anelle van der Vyver. Two types of rooms – six standard and four deluxe – mean that the property works equally well for quick and more leisurely

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THE INTERIORS WERE INSPIRED BY THE INDUSTRIAL NATURE OF THE BREWERY. stays. All rooms can be converted to twins – great for groups on the golf circuit – and hotel guests have access to a private dining area should they want to eat away from the fray.

The restaurant is supplied by the magnificent 1 000m2 kitchen garden, and focuses on generous and unfussy food, with an emphasis on freshness, flavour and local ingredients.

Much of what is served is made on site, including the baked goods, and there’s a pleasing South African slant to some of the dishes – expect to see ingredients such as naartjie,

buchu and spekboom on the menu. Any surplus from the garden is sold in the on-site deli, which also stocks a well-curated selection of wine.

Sustainability is a core principle of the Barrington’s operation: green products are used throughout, grey water is saved in a 120 000-litre tank underground and used for irrigation, there’s a no-plastic policy, solar panels are in the pipeline, and all amenities are local and organic. barringtonsplett.co.za

THIS PAGE, CLOCKWISE FROM TOP LEFT The Barrington’s brewery features a state-of-the-art brewhouse and 10 000 litres of fermentation tanks; a diverse selection of beers is available; the minimalist rooms at Barrington’s Small Hotel are equipped with stylish essentials; glass “growlers” can be filled with your favourite draught and taken home to enjoy. OPPOSITE, FROM LEFT The restaurant is supplied by an on-site kitchen garden; the brewery and tasting room are housed in an impressive triple-volume space.

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TOP OF THE SHOPS

Designed to create, collaborate and co-evolve, We Are EGG is an omni-channel shopping experience set to shake things up in South African retail.

ocated in Cavendish Square in Cape Town, We Are EGG is a one-stop shopping experience for those who love local and think global.

About 250 South African and international brands line the shelves of Paul Simon and Arie Fabian’s new flagship store, which opened its doors in late 2020.

Durban and Johannesburg rollouts are on the cards too –which seems fitting, given that We Are EGG is a place where many local brands are getting a real opportunity to shine. “We haven’t done an exact calculation yet, but between 75% and 80% of the products in the store are local – which is amazing,” says Paul.

From clothing to decor, and even a customisation station and beauty bars, We Are EGG has it all – and Paul and Arie have curated it beautifully. By identifying a conscious shift in the needs of consumers, they set out to shape the way we shop by amplifying and re-imagining the retail experience

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“It’s similar to a department store in that it has a broad range of departments. Where I think it differs is in the business model,” says Paul.

In essence, We Are EGG has created a platform for brands, products and services to gain access to retail space in places from which they may have previously been excluded, purely based on the logistics and risks involved in opening standalone stores in premium malls.

As a result, what you get to experience in the store is a collaboration and partnership in the truest sense.

It’s mutually beneficial – and everyone shares the vision of not just meeting consumer needs but of actively delighting the shoppers. “For an entrepreneur like me, this is a dream,” Paul says. “To birth something as innovative and creative as this in these times…

Gratitude is the overriding feeling.” weareegg.co.za

PHOTOS CHELSEA BARTZ WORDS CELESTE JACOBS

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dea

You don’t have to be desk-bound for your next Zoom meeting: turn any space into an office with an egg tray that doubles up as a smart iPad stand.

Alternative shopping always pays off: we found this Poltek vented egg tray (55mm x 300mm x 300mm) for just R24 at Agra – a farm-equipment store – in Windhoek. poltek.co.za

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PHOTO STUDIO MIRU WORDS AND PRODUCTION ANNEMARIE MEINTJES

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