*C H O PA R D
– O ARTESÃO DAS EMOÇÕES – DESDE 1860
HAPPY SPORT
SOUTH AFRICA
Celebrating 23 years
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FROM THE EDITOR Editor-in-
Chief Piet Smedy reflects on past influences – and the exciting times ahead INSIDER Artist Robyn Denny and designer Laurie Wiid van Heerden collaborate on a Cape Town exhibition with history STYLISH Julia Roberts teams up with Chopard on its iconic Happy Sport timepieces SHOPPING Bring home DanishJapanese hybrid interiors and Spanish surrealist pieces CREATIVES Meet the most important voices that are changing the future of the industry HOUSE
GARDEN MAY 2021
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DESIGN SOLUTIONS From muted
and monochrome to bursting with plants and colour, show your bathroom some design love with key looks and hard-working pieces that elevate this functional space to a style-savvy experience SHOWROOM From clever flooring solutions to countertops and wall applications, good surfaces can make or break a room
GA R DE N 45
ROSE GOLD
Ludwig’s Roses, South Africa’s leading cultivator of fine blooms, celebrates 50 years of beauty
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KNOW-HOW
Franchesca Watson’s guide to embracing nature
P H O T O G R A P H S : G R E G C OX , S U P P L I E D
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CANDY CRUSH
Using organic forms and gem tones, designer Yasmine Saleh Ghoniem has created a striking home in Sydney
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TALKIN’ ABOUT A REVOLUTION Designer Agnes
Rudzite’s keen eye has established a home in Moscow that is both classic and contemporary THAT ’70S SHOW In Cape Town, actress Rolanda Marais restores a mid-century family home filled with light, art and an enviable collection of local design pieces TRUE COLOURS
La Cotte, one of Franschhoek’s most renowned gardens, is a master class in delicate, blousy blooms
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NEW ORDER
Following the complete transformation of her Cape Town apartment, Sara Colley filled the space with some of the boldest names in SA design
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RETRO DIZZY
Poodle and Blonde founder Whinnie Williams’s Margate home oozes old school cool
ON THE COVER: That ’70s Show pg 72. Photographed by Greg Cox. Interiors photographed by Greg Cox.
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PIET SMEDY
EDITOR-IN-CHIEF ART ART DIRECTOR THEA PHEIFFER GRAPHIC DESIGNER KEENAN JEPPE COPY SENIOR COPY EDITOR LISA ABDELLAH INTERIORS & GARDENS GARDENS EDITOR DECOR ASSISTANT
HEIDI BERTISH JANI ADELEY LANDMAN
EDITORIAL GROUP MANAGING AND LESLEY MATHYS SYNDICATION EDITOR MANAGING AND WALTER HAYWARD SYNDICATION EDITOR FEATURES SENIOR CONTENT PRODUCER SHANNON MANUEL CONTENT PRODUCER THOBEKA PHANYEKO CONTRIBUTING EDITORS MARNUS NIEUWOUDT FRANCHESCA WATSON KAREN NEWMAN CONTENT NATION MEDIA (PTY) LTD CEO MBUSO KHOZA HEAD OF FINANCE PAUL MYBURGH FINANCE CONTROLLER MARJORIE LOTTERIE FINANCE CLERK THABO ZABA ADVERTISING HEAD OF SALES AND MONETISATION TUMI MOATSHE ACCOUNT MANAGER ANNE ATKINSON (JHB) ACCOUNT MANAGER NADIA PEREIRA (CT) AD LIAISON MANAGER NATASHA O’CONNOR (CT) SALES REPRESENTATIVE ITALY ANGELO CAREDDU (OBERON MEDIA) DIGITAL CONTENT PRODUCER GUGULETHU MKHABELA CONTENT PRODUCER AMY SAUNDERS CONTENT PRODUCER LUTHANDO VIKILAHLE SENIOR DESIGNER VINÉ LUCAS SOCIAL MEDIA OFFICER ARTHUR MUKHARI BRAND PROPERTIES BRAND PROPERTIES MANAGER DESIREE KRIEL EVENTS EVENTS COORDINATOR LINDISWA PUTUMA PRODUCTION & CIRCULATION PRODUCTION MANAGER JEAN JACOBS PRODUCTION COORDINATOR CHARNÉ PHILLIPS CIRCULATIONS MANAGER FREDERICK SMIT CIRCULATIONS COORDINATOR BERTINA ELLIS PERSONAL ASSISTANT / OFFICE MANAGER KAREN SHIELDS DIRECTORS CHAIRMAN DR IQBAL SURVÉ
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from the editor
R
ecently, while idling through a market on one of the last summer days, I bought my first record. It is, by all accounts, a very uneventful story. More of a fact, even, than a story. Except for one small detail: I do not own a record player. Before we get into the why, let’s start with the which, specifically, which record had I found in a box at a makeshift record store on a clement Saturday morning that would make me part ways with my money (happily, I might add) when I knew I had no means to play it? Well, how could I not? Every December holiday, my father, mother and I would road trip to the coast, and it was on one of these giveor-take six-hour drives that I first heard Jim Croce and would continue to do so year after year. I did not know his name at the time, at best, he was the ‘Time in a Bottle’ guy. (As the driver, my dad was adamant that it was his near-divine right to play DJ). The promise of a sticky toasted cheese at a Harrismith petrol station aside, there was not much to look forward to on those drives, so I would lie on the back seat, studying the car ceiling (I was small enough in those days that, even flat on my back, neither my head nor my toes would touch the armrests), and I would listen to Jim sing songs of belonging, dreaming, loving and losing. I lost my dad a few years later, but when I picked up that Jim Croce record, I was right back in that car with him turning up the volume. Who are we, if not the product of our memories? Why else do we fill our homes with photos of loved ones and souvenirs of moments that we want
to hold on to? Because it is in these pictures on walls and objects on shelves that we find comfort and, maybe, even a brief escape to something friendly and familiar. Actress Rolanda Marais, whose Cape Town home is on this month’s cover, said it best when asked what it was about her mid-century home that captured her imagination: ‘Perhaps it is because I grew up in that era and recognise a lot of the pieces, or maybe it is something from a previous life, I do not know, I am just instinctively drawn to it.’ And she is not alone, which is why this month we explore the influence of yesterday on our present, how decades past dictate the days to come – in our homes, at the very least. We cannot, of course, allow ourselves to get completely stuck in the past, it would be to the detriment of progress and design, art, architecture, culture – they’re the cornerstones of society in progress. Contributing editor Marnus Nieuwoudt spoke to an Afrofuturist, a futurist, an architect and an artist to unpack how these creative forces’ work is informed by the past and how it is shaping the future of creativity. The same creativity that is the invisible tissue binding our shared, collective, lived experiences and propels us towards new frontiers – as if by design. So you see, that is why I did not put back the dusty copy of ‘Don’t Mess Around With Jim’. Even without the help of a turntable needle, I could hear those songs playing again, and I do not regret buying it. That said, I also do not regret buying a record player later that day, either.
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E DIT OR-IN- C HIEF
PROMOTION
The Galápagos of Africa DISCOVER YOUR INNER CHILD: THE ISLAND OF PRÍNCIPE IS A PLAYGROUND BEYOND YOUR IMAGINATION
Here Be Dragons (HBD) Príncipe is thrilled to announce the re-opening of Sundy Praia and Roça Sundy on Príncipe Island this October. Roça Sundy, a sensitively converted pair of plantation houses (now a boutique hotel), and the 15 tented beach villas at Sundy Praia will welcome guests once again to this equatorial island paradise. Hidden away, 225 kilometres off the northwestern coast
of Gabon, Sundy Praia is a nature lover’s paradise and a traveller’s nirvana. Here, bird song fills the tropical rainforest, golden beaches are gently caressed by a warm sea, and the island is brought to life through rich culture and history. Journey to Príncipe and be transported through time. Awaiting you is the chance to explore the vibrant diversity of the ‘Galápagos of Africa’.
EXCLUSIVE HOUSE & GARDEN READER OFFER 7-NIGHT ‘DISCOVER PRÍNCIPE’ WITH HBD PRÍNCIPE PACKAGE What is included in your offer? Accommodation between Omali, Sundy Praia and Roça Sundy; internal flight from São Tomé to Príncipe return; 1-hour welcome massage for a couple, conservation fee and tourism levy; daily guided excursion on Príncipe island; all meals: breakfast, lunch, dinner and limited drinks. Excludes: international flights, visas; PCR testing; drinks and additional island activities. Offer valid from 1 October 2021 to 31 March 2022 (excluding festive season 22 December 2021 to 5 January 2022); children welcome, child rates apply. Cost from R60 250 per person sharing. Getting there: TAAG Angola Airlines flights ex Cape Town and Joburg via Luanda, Angola, connect directly to São Tomé. An overnight stay in São Tomé is required at Omali hotel upon arrival and departure. Contact Classic Portfolio for flight and trip assistance on hello@classic-portfolio.com 021 876 2153 HBD Príncipe hbdprincipe.com
P H O T O G R A P H : J U S T I N PAT R I C K
ARTIST ROBYN DENNY AND DESIGNER LAURIE WIID VAN HEERDEN
THE SCOOP ON SHOPPING, STYLE, DESIGN & CULTURE MAY 2021 HOUSEANDGARDEN.CO.ZA
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INSIDER
Cork & Cacau An exhibition by artist Robyn Denny and Wiid Design in Cape Town
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he historical relationship between Portugal and South Africa started in the late 15th century with the ‘Portuguese Age of Discovery’ when the Portuguese explored South African coasts, nominally claiming them as their own. Here, in Cape Town, some centuries later, exists a contemporary collaboration between a fine artist and a high-end designer. But, what’s the connection with Portugal? For artist Robyn Denny of Berman Contemporary and designer Laurie Wiid van Heerden of Wiid Design, Portugal, as a source, has figured centrally in their recent work and its shared core principle of sustainable practice. In Robyn’s case, the fruits of grappling aesthetically with the legacy of colonialism
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is evidenced in her series of paintings and video stills – ‘Traces of Untold Stories’ (curated by Els van Mourik). Robyn’s series, which includes a video installation, was inspired by her visits to the so-called ‘Chocolate Islands’ of São Tomé and Príncipe, tiny islands off the western equatorial coast of Africa. These former Portuguese slave colonies were responsible for producing much of the world’s cacao until the early 1900s. Today, thanks to a partnership between local government, UNESCO, the NGO Fundação Príncipe, and the driving force of another South African, Mark Shuttleworth – whose HBD holds the tourism concession – Príncipe functions as a protected biosphere reserve. In this spirit, Robyn has dedicated
proceeds from sales of her limited-edition prints to support the valuable work done by Fundação Príncipe on economic and social development within the community. As for Laurie, it was his educational sojourns to Portugal that initially inspired him. Visiting Corticeira Amorim, the world’s largest natural cork producer and distributor, and the nearby cork forests, helped form this local designer’s vision concerning the largely untapped design potential of cork. Laurie sees cork as a fully biodegradable, reusable, lightweight and durable material, which is also ideal for high-end collectable and functional design applications. Joaquim Sá, the Managing Director of Amorim Cork, South Africa,
P R O D U C T I O N : J E A N B O T E S & L A U R I E W I I D VA N H E E R D E N ; L O C AT I O N : W I I D D E S I G N S T U D I O
TEXT NICOL RITCHIE PHOTOGRAPHS JUSTIN PATRICK
INSIDER
assisted Laurie when his studio started experimenting with cork in 2010. Wiid Design’s products now regularly push the limits of this material on an international level. World firsts include the largest cork pendant light and cork cabinet. In ‘Traces of Untold Stories’, Robyn’s ink paintings, prints and video stills evoke the chocolate plantation ruins of Príncipe. It was uninhabited until the arrival of the Portuguese in 1471, who began the process of colonisation and bringing slaves from Angola and Cape Verde to work on the sugar, coffee and cacao plantations (roças). Robyn was haunted by the sense of the natural world pouring right through the decaying buildings, and the tension between
collective historical loss and the potential for future renewal. wiiddesign.co.za; bermancontemporary.com Q
Cape Town Exhibition Intel: Saturday 15 May, 11:00 Amorim Cork South Africa’s Joaquim Sá to open the exhibition. Join the artist, designer and curator for walkabouts between 12:00 and 14:00. Saturday 22 May, 11:00 Curator Els Van Mourik to host a conversation between art writer Ashraf Jamal, artist Robyn Denny and designer Laurie Wiid van Heerden. Walkabouts between 12:00 and 14:00. gallery@bermancontemporary.com
FROM LEFT TO RIGHT A LIMITED-EDITION ARCHIVAL PRINT ON HAHNEMÜHLE COTTON PAPER (IN SUPPORT OF FUNDAÇÃO PRÍNCIPE) LEANS AGAINST A WIID DESIGN TRIANGULAR CORK SEAT IN LIGHT CORK, AGAINST THE WALL, ROÇA I, 2020, INK ON COTTON PAPER, AND ROÇA VIII, 2020, INK ON COTTON PAPER, 2020, BOTH BY ROBYN DENNY; ‘KARL’ CHAIR BY
WIID AND GUIDELINE DESIGN, VERDE FUME MARBLE AND CORK DINING TABLE BY WIID DESIGN, HANDMADE WARPED REACTIVE GLAZED LAB VASES BY WIID DESIGN AND CERAMIC MATTERS, AFRICAN CORK STOOL IN LIGHT CORK BY WIID DESIGN, ‘MERAKI’ OCCASIONAL CHAIR IN MAPLE AND CORK BY WIID DESIGN, CERAMIC SIDE TABLE BY WIID DESIGN AND CERAMIC MATTERS
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STYLISH
Face Value Julia Roberts and Chopard have teamed up on the storied watchmaker’s latest Happy Sport editions to create a moment in luxury and cinematic history 14
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here are few names that better embody joie de vivre than Julia Roberts. In 2016, on the steps of the Palais de Festival at the Cannes Film Festival, the actress was barefoot and wearing an off-the-shoulder black dress highlighting a Chopard Haute Joaillerie emerald and diamond necklace – it is little surprise that Julia’s naturally graceful demeanour caught the eye of Caroline Scheufele, artistic director and co-president of the Swissbased luxury brand – as well as a passionate film lover. ‘It was her and nobody else,’ says Caroline, who invited Julia to embody the face of the new iterations of the Happy Sport women’s collection. ‘Julia Roberts was the only person I felt could convey the spirit that I see in Happy Sport.’ Charmed by the boldness of the Happy Sport creations, Julia points out, ‘I am honoured to be collaborating with Chopard on the Happy Sport watch, one of the most iconic and desirable models in the industry. There is something about having a watch, and every time you look at it, seeing all these sparkling diamonds whirling around; it is pretty awesome and truly good stuff.’ With her leading lady by her side, Caroline needed someone who could bring Julia’s inherent vivacity and charm to life on screen, and turned to another darling of the Cannes festival, Canadian filmmaker Xavier Dolan. If you are familiar with his work, you will understand why Xavier, renowned for the intensity with which he conveys his protagonists’ emotions through the lens, was the perfect choice, not only on the campaign short film but also as artistic director on the series of shots taken by photographer Shayne Laverdière. With Julia and Xavier, Chopard reflects its deep-felt attachment to the world of cinema. An official partner of the Cannes Film Festival since 1998, the Maison has been actively contributing to film production and the emergence of young talent, such as its Trophée Chopard, awarded each year to an up-and-coming actress and actor. In Julia Roberts, Chopard has chosen to express a kindred spirit with an undisputed movie icon, a veritable legend and a unique actress. ‘Chopard just represents this timeless idea of elegance and sparkle. You kind of think, “When I grow up, I want to be having a great time and wearing watches and earrings by Chopard,”’ says Julia. ‘And now look at me; I am all grown up!’ Architects of Time bhhboutique.co.za
CLOCKWISE, FROM RIGHT HAPPY CLOWN SKETCH FROM THE ’80S; CAROLINE SCHEUFELE, WHO CREATED THE HAPPY SPORT WATCH IN 1993; HAPPY SPORT ‘THE FIRST’ 1993-PIECE LIMITED-EDITION WATCH IN STAINLESS STEEL; HAPPY SPORT WATCH IN 18-CARAT ROSE GOLD OPPOSITE PAGE, TOP-DOWN ACTRESS JULIA ROBERTS FOR THE NEW CHOPARD HAPPY SPORT COLLECTION, HAPPY SPORT DIAMONDS WATCH
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PROMOTION
A Life Less Ordinary THE NEW TOYOTA RAV4 IS EVERY BIT AS MUSCULAR AS IT LOOKS The new Toyota RAV4 remains true to its impressive heritage as the original pioneer of the recreational SUV segment, making significant advances in powertrain technologies, dynamic performance, intelligent safety provisions and overall quality. Designers focused on the keywords ‘adventure’ and ‘refined’ to produce a bolder and tougher presence with a lower, wider exterior profile and more sophisticated and premium interior with increased rear legroom. The RAV4’s dynamic new design boasts prominent and angular features with a bold bumper, grille, LED headlights and tail lights creating a broad, athletic build that tapers towards the back to provide an overall muscular appearance. Its robust build is not just for show. With its increased ground clearance and shorter front and rear overhangs, the all-new RAV4 can take on challenging terrain with ease, as well as maximising its available space.
SHOPPING
BIG IN IN NEW YORK, DESIGNER MAGDALENA KECK HAS CREATED A MID-CENTURY MINIMAL HOME THAT IS PERFECTLY IMMERSED WITHIN ITS NATURAL SURROUNDS
JAPANDI
Danish and Japanese design have a lot in common, and this hybrid trend fuses the best of both to create interiors for slow, meaningful living. Look to pieces with elegant functionality and a natural, refined-rustic simplicity
SHOPPING
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‘TULUM’ LIGHTING, FROM R1 295, WEYLANDTS; ‘CONO’ DINING TABLE, R17 499, @HOME; NICOLSON RUSSELL ‘KINTSUKUROI’ TEACUP AND SAUCER, R389, YUPPIECHEF; RATTAN SIDEBOARD, R5 000, MR PRICE HOME; ‘FLAIR, CHAIR, MAYA’ CHAIR IN CREAM, R7 599, SOFACOMPANY.COM; ‘BUBBLE’ VASE, R2 320, KNUS
SHOPPING
MIRO
TERRACOTTA AND COBALT TONES MEET ABSTRACT FORMS IN THIS SPANISH-INSPIRED CAFÉ IN VANCOUVER BY DESIGN STUDIO STE. MARIE
EFFECT
Inspired by the fantastical forms of Catalan surrealist Joan Miró, these abstract pieces are characterised by a near poetic play on form and colour, in turn creating interiors that surprise, delight – and even challenge
SHOPPING
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JAIME HAYON FOR &TRADITION ‘PALETTE JH8’ TABLE, R34 238, CRÉMA DESIGN; ENJOY YOUR WORRIES 2020 BY MAAIKE BAKKER, SCREEN PRINT, R3 450, 50TY/50TY; ‘12XE27 SUPERNOVA’ PENDANT LIGHT IN SATIN GOLD, FROM R3 385, K.LIGHT; JOANA VASCONCELOS ‘BOMBOM TUTTI FRUTTI’ RUG, R92 420, ROCHE BOBOIS; ‘TIGER’S EYE’ MIRROR, POR, CASARREDO; TOSHIYUKI KITA ‘K06 AKI BIKI CANTA’ ARMCHAIR, POR, TRUE DESIGN
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CREATIVES VESPERS SERIES 2 MASK 3, CLOSE-UP VIEW. DESIGNED BY NERI OXMAN AND MEMBERS OF THE MEDIATED MATTER GROUP FOR ‘THE NEW ANCIENT’ COLLECTION CURATED AND 3-D PRINTED BY STRATASYS
CREATIVE
FORCES Pioneering design solutions for the modern world
P H O T O G R A P H : YO R A M R E S H E F
TEXT MARNUS NIEUWOUDT
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Neri Oxman, Mothering Nature by Design Neri Oxman embodies the renaissance individual – an architect, inventor, scientist, engineer and designer working across all these fields. As the founder of The Mediated Matter research group at MIT, Neri is also opening up a laboratory in a ’20s New York building. Born into the world of architecture – both her parents taught and practised – the American-Israeli’s interest in the discipline grew as she did, and she has always been focused on design. She nostalgically recalls how, as youngsters, she and her sister would play amongst architectural models and materials between two drafting boards in their parents’ shared studio. Now, it 24
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seems to her, that she was destined for architecture and design. Driven by the disconnect she saw between the ‘what’ and the ‘how’ of architecture, she turned to Nature for answers. This was, and still is, because ‘Nature,’ as she observes, ‘doesn’t have this problem.’ The intimate links between structural shape, materiality and growth, coupled with the absence of the assembly line in the natural world, continues to inform all aspects of her work spanning multiple scientific fields. Currently, Neri operates at the intersection of biology and technology in the pioneering field of material ecology. It is in this antidisciplinary space that Neri and her team emulate and augment Nature to help heal it through a process she calls ‘mothering (verb) Nature’. In one of her (many) pioneering research works, Age of Entanglement, 2016, Neri created her first iteration of the Krebs Cycle of Creativity, a map describing how human creative energy flows across science, engineering, design and art, based on the Krebs Cycle, which describes the sequential reactions by which most living cells generate energy. The takeout: creativity is a life force.
It is through this organised lens that Neri and the Mediated Matter research group address a range of issues with possible future design solutions, from finding a cure for malaria to populating Mars, and from tackling global warming to design and computationally ‘growing’ organs – all while consistently pushing the boundaries of human creativity.
P H O T O G R A P H S : YO R A M R E S H E F, N OA H K A L I N A , A K E M I K U R O S A K A , E L L I E L AYC O C K
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s countless speculative definitions of the ‘new normal’ relentlessly bombard our fatigued attention spans, we can all agree that the last year has been challenging. However, on a cautiously optimistic note, it also saw human ingenuity pushed to newfound territories in problem-solving, adaptability and resilience. Upon further reflection, creativity was perhaps the unifying, collective driver that kept the world afloat during a myriad of hardships spanning all aspects of our lives. Creativity as a human characteristic has long since broken the confines of perception as a miraculous trait found only in the realms of what the West considers to be ‘high art’. Now, there is a shared understanding that this driver of optimal human performance can be found across the spectrum. As a skill, creativity is equally valued – if not essential – in the arenas of business, art, computation, design, science, engineering and architecture. This list could go on to include almost every field of human output. In celebration of its broad range, we looked into the manifestation of creativity as seen through the lives and work of four forces currently pushing the limits of their creative skills, all while breaking down limiting definitions within their respective fields of what it means to be creative.
CREATIVES ‘The key to our [Neri and the Mediated Matter research group] juggling multiple projects,’ says Neri, ‘is to apply a systemsview perspective: global warming does not differentiate between buildings, cars, packaging or infrastructure; its inevitable impact is all-encompassing.’ And so are the design solutions she and her team propose. Nothing seems beyond the reach of her imagination. The group’s projects range from silkworm-spun structures to a collection of wearable organs designed to secure survival in outer space, and from an environmentally responsive melanin-infused structure to a patent that 3D-prints glass. The work of science fiction, right? Wrong. They have made it happen. It should also come as no surprise that the resulting artefacts of the inventions she has literally grown were recently the subject of an exhibition at MoMA in New York, a tangible ode to her boundless creative energy that refuses to be boxed into a singular discipline. As she wrote in Age of Entanglement: A ‘ fter all, Picasso and Einstein did not know each other (the myth of an impromptu meeting in 1904 at Montmartre’s Le Lapin Agile aside). But does it matter? Both questioned the relationship between space and time, arriving at expressions speculating on their relationship in deep and meaningful ways. Both were archetypes of modernism, coexisting in an age that questioned the culture of Nature – and the nature of culture.’
Yemi Awosile, Creative Intervention Yemi Awosile is a London-based designer and academic with Nigerian roots. Through her practice, she reconciles design and the visual arts with social interventions. ‘The aim of my work,’ says Yemi, ‘is to bridge a connection with other people. And textiles is an important way for me to connect with or feel connected to other people.’ Trained as a textile designer, Yemi’s first solo exhibition back in 2017, ‘Orishirishi’, was a poignant reflection on identity examined through fashion, textiles and the built environment. By combining different
YEMI AWOSILE’S 2017, FIRST SOLO, EXHIBITION, ‘ORISHIRISHI’, IN LONDON; TEXTILE AND PRINTED-MATTER DESIGNER YEMI AWOSILE OPPOSITE PAGE, TOP DOWN VESPERS. SERIES 2 MASK 1, FRONT
VIEW. DESIGNED BY NERI OXMAN AND MEMBERS OF THE MEDIATED MATTER GROUP FOR THE NEW ANCIENT COLLECTION, CURATED AND 3-D PRINTED BY STRATASYS; AMERICANISRAELI DESIGNER NERI OXMAN
techniques, including mixed media printing and acoustic textiles, ‘Orishirishi’ created various soundscapes within the spatial confounds of the Stanley Picker Gallery, each highlighting unexpected cross-cultural identities. Currently, Yemi is working on a public art installation at the newly built Town House at Kingston University in London, set for completion this April. Her love for textiles and materiality began early in life. In a detailed account, she pinpoints how, at age six, it started on account of her mother. ‘The image in my mind is very distinct,’ reflects Yemi. ‘My mother wore bright-coloured dresses and shoes. She was where ’80s Western fashion seamlessly collided with native Nigerian clothes. And that is where it all started for me.’ Since then, she has selected materials and techniques for her work in a playful,
experimental way, almost by accident. ‘I think these moments look for me, honestly.’ she jokes. ‘It is as if new materials or techniques speak to me. I feel like they choose me rather than the other way around. And I am like the vessel for showing the material’s potential.’ She finds it difficult to focus on only one medium, so her output’s core focus is to guide the viewer through reflections on her experience. During the strict(er) lockdowns of 2020, the pandemic sparked new ideas that had the potential to inform her practice. ‘If this [Covid-19] can happen,’ she speculates, ‘I feel like many more things that we cannot even imagine could also happen, meaning that the rules we have created are, to some extent, imaginary.’ Yemi also joined the ranks of motherhood during the pandemic with her firstborn. She observes how, as a result, MAY 2021 HOUSEANDGARDEN.CO.ZA
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CREATIVES her home life and creative practice have become increasingly intertwined, whereas, before the pandemic, she forcefully kept these two aspects separate. ‘Now,’ she adds, ‘I feel like it is not really the way I want to work anymore. I want to embrace this blend of the two aspects of my life working together.’ At the centre of her work is a creative drive that sees beyond cultural barriers and, in some instances, breaks them down. ‘Creativity,’ she elaborates, ‘is an additional language for us to connect and express ourselves. It gives us an excuse to drop our guard and express ourselves in ways that sometimes we cannot do through verbal language – words can hold us back. However, music or fashion from a particular subculture transcends.’
CURATOR, DESIGNER AND ACTIVIST, INGRID LAFLEUR, IN KIGALI, RWANDA
Ingrid LaFleur is an American curator, design innovationist, pleasure activist, and Afrofuturist currently based in Joburg. She has received international acclaim for her forward-thinking contributions to technology, social enterprise, education and finance, as well as art and design. As a child, Ingrid became obsessed with what she terms ‘ancient futures – worlds that seemed more advanced than our current society’. She was then introduced to the cultural movement Afrofuturism, which perfectly expressed and expanded upon these mysterious worlds. The rest, ironically, is history, and for over twenty years, she has been enraptured with what the Afrofuture holds. ‘I love how the future is uniquely expressed in Afrofuturism, which is multi-disciplinary, multi-temporal and intersectional,’ she explains. ‘The term was coined in the mid-’90s, and we are now in the second phase of its evolution, experimenting with the practice of Afrofuturism to combat socioeconomic oppression for Black bodies and marginalised communities.’ In the broader sense, Afrofuturism is a cultural movement that centres around 26
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and expresses the experiences of Black bodies via the use of speculative modalities: science fiction, horror, fantasy and magical realism. Practitioners use mythologies, legends and cosmologies from Africa and the African diaspora to investigate issues around technology, science and race. A ‘ s a result,’ Ingrid explains, ‘we are experimenting with emerging technologies such as blockchain, virtual reality and artificial intelligence.’ In addition to her many projects – which include the podcast Decolonizing Your Destiny, and the YouTube series What Does the Afrofuture Say? – she has also developed a workshop called How to Think Like an Afrofuturist, which has expanded into an online school she is currently building. In recent years, Afrofuturism has infiltrated the popular imagination because of films such as Black Panther and events like AfroPunk in Joburg. Because art and design inspire and stimulate the imagination, they are well-suited to help introduce these
perspectives that may otherwise be ignored. ‘The best way to discuss difficult topics,’ says Ingrid, ‘is through art. It can be seductive and non-threatening. Similarly, design can bring about play and pleasure as a result of its experiential nature. Artists and designers have the wonderful ability to help us see our world through a new lens. They hold crucial roles in our society – they are simultaneously both threat and muse.’ She sees technology as a tool, and ‘it is our charge as technologists to be responsible and respectful of its potential and power’. As regional barriers become more obscure due to restricted movement, and as communication technologies take centre stage in global operations, regionality as an integral part of cultural identity has been brought into question. ‘While living in Detroit,’ recalls Ingrid, ‘I had a colleague who would say we should be “locally rooted, and globally distributed”. This idea still stands.
P H O T O G R A P H S : J AC Q U E S N K I N Z I N G A B O
Ingrid LaFleur, Listening for the Afrofuture
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CREATIVES
Elsie Owusu, Built for Change Elsie Owusu OBE is a British architect, designer and artist. Born in Ghana, the London-based founder of the Society of Black Architects and member of the Royal Institute of British Architects Council, is as multifaceted as her extensive body of work. She has co-led the refurbishment of The Supreme Court in England and redesigned the iconic London Green Park station. As with all industries, the built environment and its related disciplines are 28
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ZERO-CARBON ECO-HOMES DESIGNED BY ELSIE OWUSU IN EAST SUSSEX; GHANAIANBRITISH ARCHITECT ELSIE OWUSU
currently questioning what a post-pandemic future will look like. ‘I am delighted to say that people seem to have caught up with me,’ says Elsie. ‘I have always been sceptical about travelling far to go to work and then having to travel that same distance to come home again.’ With enormous amounts of land currently dedicated to tarmac and parking, cities have been designed for going to and from work, and the transport economy is predicated on this as well. ‘Currently,’ she explains, ‘city centres are dead from the time commuters go home to the time they come back to the office, bringing the point of these long journeys – and not to mention the environmental impact – into question.’ The implications for architecture – and the built environment as a whole – are enormous. ‘Why be an architect,’ Elsie asks, ‘if you can also be a developer and put your ideas into action? That takes architecture from the ideation and conceptualisation sphere and transforms the discipline into a more action-driven, practical application from start to finish.’ As the director of Artist Constructor Ltd – an initiative to build spaces for people in the creative industries – Elsie is redefining what it means to be an architect. And her
advice on finding creative autonomy is clear: ‘Follow your heart and believe in your talent. Work with and for people you like and admire.’ One of the projects she is currently most excited about is a multi-faceted living, working and public space for British-Nigerian artist Yinka Shonibare in Lagos. An eco-building paying close attention to its tropical environment, the space will function as a home, studio and personal gallery for Shonibare. As her first venture as an architectdeveloper mitigating the climate emergency, Elsie has put forward a proposal for zero-carbon eco-homes in Newts Way, St Leonards in East Sussex. The project has also been backed by another Ghanaian-British architect, Sir David Adjaye, and is currently in the approval stages. ‘The potential for architects is enormous,’ she explains, ‘because a huge portion of our environment is designed. We all live with design – whether it be a product or a building. Every bit of the spaces we occupy are designed and have a designed impact. It is up to architects to realise the potential for the social contributions we can make and stop being servile.’ Q
P H OTO G R A P H S : S U P P L I E D
If this pandemic taught us anything, it is that people need to exchange energy with one another to increase mental health. Being close daily fulfils this need for intimacy.’ Another development intriguing her right now is the amount of Afrofuturists being pulled into the foresight arena. She believes this shift will help make the futures industry more diverse and exciting. A ‘ frofuturists have creative minds,’ she says, ‘so the merging of the two [Futurism and Afrofuturism] can bring about more inclusive forecasts.’ Ingrid is currently busy curating an exhibition titled ‘Manifest Destiny’ at the Virginia Commonwealth University in Doha, Qatar, for 2022. It is a travelling exhibition with a focus on Afrofuturism that began in Detroit. ‘I am looking forward to expanding the exhibition to include artists working with Arabfuturism,’ she explains. ‘Now is the perfect time to be in conversation with diverse notions of culturally defined futures.’
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DESIGN SOLUTIONS
The Bathroom Style Report The fixtures and finishes to transform any bathroom interior into a stylish affair
T E X T: P I E T S M E DY; P H O T O G R A P H S : G R E G C OX
ORGANIC FORMS AND PLUSH ACCESSORIES INFORM THE DESIGN APPROACH TO THIS BATHROOM IN CAPE TOWN’S VILLA VERTE, A TESTAMENT TO THE FACT THAT THIS HIGHLY FUNCTIONAL SPACE SHOULD NOT BE NEGLECTED WHEN IT COMES TO DECORATING
DESIGN KNOW-HOW AND DECOR DETAILS THAT MAKE THE LOOK
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P H O T O G R A P H S : E L S A YO U N G , A N S O N S M A R T, G R E G C OX , P R U E R U S C O E
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DESIGN SOLUTIONS
Look Book [1] The need for cocooning spaces continues to be an in-demand requirement of our homes, and the bathroom is by no means an exception. A moody palette of black-on-black has emerged as the answer to this, especially when played out in materials such as marble, timber and grasscloth wallpaper, instantly adding a heady dose of drama and intrigue. lavo.co.za [2] Bathrooms as a sanctuary space is nothing new, but too often, this approach results in a clumsy, cluttered interior. Opt for a more minimal execution: white marble or tiles, oversized mirrors and touches of greenery make for a calm and rejuvenating experience. womag.co.za [3] Bathrooms are an ideal place for your ever-growing collection of indoor plants. More than decorative, they imbue the space with a restorative ‘living in nature’ quality for which you will be thankful. [4] Colour, especially in a guest bathroom, is a brilliant design play. Use these more transient rooms to play with unexpected colour pops and patterns.
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Water works There is no need for high-function hardware to compromise on style. Invest in design-led pieces from trusted industry suppliers for a winning solution that works. 1. ‘METROPOL’ MIXER, R4 537, HANSGROHE; 2. ‘CHARLOTTE’ MIRROR IN BLACK, R2 699, CORICRAFT; 3. CHAISE BATH IN SKIRT, R28 000, VICTORIAN BATHROOMS; 4. ECOSTATE SHOWER THERMOSTAT IN EXPOSED CHROME, R4 237, HANSGROHE; 5. ROUND BASIN IN METAL, R6 363, FLUSH BATHROOMS
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Three trends that work [1] The design longevity of a Victorian-style bathroom cannot be overstated. These timeless pieces, now updated with touches of metallic, are a near foolproof solution in a bathroom space. Make sure to consult a trusted supplier when opting for this approach – there is a fine line between classic and old fashioned. victorianbathrooms.co.za [2] Japandi (a combination of Danish and Japanese design sensibilities) is one of the season’s breakout trends – and for a good reason. Pared-back spaces with strong symmetry and a profusion of noble materials (wood, stone, natural fibres) come together to create a look that is clean and timeless. [3] Need a unique bathroom solution when you are strapped for space? Wetrooms do not get nearly enough credit: easy to keep clean, friendly on your square meterage and highly adaptable to almost any bathroom interior style.
P H O T O G R A P H S : G R E G C OX , A N S O N S M A R T, S U P P L I E D
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DESIGN SOLUTIONS
Tub Love
P H OTO G R A P H : A N S O N S M A RT
Bathtubs will be the focal point of the bathroom this year, with large, sculptural pieces in oversized forms and organic curves speaking to a more natural yet elegant lifestyle. These large, rounded pieces effectively become a space within a space to relax and regroup, a much-needed reprieve from the uncertainty of the world. flushbathrooms.co.za
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Smoke Crystal Rectangular Chandelier Code: KLCH-5515/BL
DESIGN • SER VICE • QUALIT Y Viewing Showrooms Only, K. Light Import supplies only to Retailers and not to the public directly. Cape Town: 7 Kunene Circle, Omuramba Business Park, Milnerton, 021 552 4370 Johannesburg: Units 8 & 9, The Arena, Capital Hill Business Park, Halfway House, Midrand, 011 312 1247 info@klight.co.za I www.klight.co.za I Facebook.com/klightimport
5810 Black Tempal (20mm)
Metropolitan Collection
*Shade, movement and graining of actual product may vary from sample or image. We recommend that you select your preferred slabs at the distributor nearest you.
SHOWROOM
T E X T: P I E T S M E DY; P H O T O G R A P H S : S U P P L I E D
If it is high drama you are after, nothing commands attention like a large-scale porcelain slab (up to 1 600 x 3 600 millimetres) customised not just to fit but elevate any space. Ideal for kitchen islands (but do not let that stop you, given their sturdy nature, these slabs can go indoors and out and can be applied to walls and floors or used as shelving), the material is scratch- and heat-resistant and engineered in Italy to exacting international standards. A wide range of marble-, stone- and wood-look options are available at the recently opened Infinity Surfaces Joburg showroom. infinitysurfaces.co.za
LEVEL BEST From chic kitchen counters to flooring with character, there is a stylish solution to every surface
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P H OTO G R A P H S : F R A N C I S C O N O G U E I R A , S U P L I E D
Think cement and concrete are the same? They’re not. The difference is an ingredient in a concrete mix (the others being water, air and gravel). So, what then is Cemcrete? cemcrete.co.za
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SHOWROOM
‘Incorporating hardwood patterning into a roomscape introduces an architectural quality to the space, allowing the floor to become a statement in itself while providing an intriguing canvas for decorating’ NICK GLUCKMAN, FOUNDER, OGGIE FLOORING
PATTERN PLAY Neglecting the right choice of flooring can be a costly mistake – not only does it set the tone for everything else that will come to live in a space, it is not easy to go back once it is done. And while the option to play it safe might be tempting, nothing ventured, nothing gained – and patterned hardwood flooring is always a win-win. ‘Floor patterns in wood add texture and intrigue to otherwise still and monochromatic setups,’ says Nick Gluckman, founder of Oggie Flooring, which specialises in a variety of classic and innovative patterns. Herringbone (pictured above) and chevron [1] are more widely used examples but, in larger spaces, more intricate arrangements such as Versailles [2] and braid [3] have a near regal effect underfoot. ‘Pattern adds interest without dominating a room. It is one of the things we love about wood as a material,’ he says. oggieflooring.com
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VINYL FRONTIER Laminate and vinyl flooring options have come a long way in terms of design and can be a budget-friendly solution for homeowners who want the calming, natural feeling that wood can bring to a space. Impact and scratch resistant, laminate and vinyl flooring is tough and easy to clean, which makes them an ideal solution in homes with children and pets. They’re also water and humidity resistant, so go ahead with them in bathrooms where moisture may warp or damage traditional wooden options. finfloor.co.za MAY 2021 HOUSEANDGARDEN.CO.ZA
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SHOWROOM
QUARTZ AND TILES
If you are going the patterned tile route, go big with colour blocking or striking geometrics (especially in a smaller space, where you need to play it smart to make a statement). These ‘Backgammon’ tiles by Popham Design prove that monochrome is anything but boring. opiadesign.co.za 42
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Unconventionally shaped tiles are a brilliant way of introducing pattern if painted tiles are not your beat. A combination of hexagonal tiles in a mix of tones (or the classic black-and-white) is an easy mosaic-style solution. tileafrica.co.za
P H OTO G R A P H S : F R A N C I S C O N O G U E I R A , S U P L I E D
When it comes to a surface solution, you would be hard-pressed to find one that does more than Caesarstone. From kitchen counters and vanities to floors and walls, it can be applied pretty much anywhere thanks to the durable, heat- and stain-resistant quality of its quartz composition. Slabs come in a variety of colourways that will suit any interior, no matter the room. caesarstone.co.za
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Fig.1‘Pompadour’ shrub rose with full, heavy blooms, nostalgic shape and heady perfume
GARDEN PASSIONATE PLANTSMEN AND IN-SEASON BLOOMS
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Fig2. ‘Beauty from Within’ Hybrid Tea rose with a deep, glowing centre as the petals are exposed to the sun. Prolific, cup-shaped blooms for the vase
rose gold To celebrate the golden anniversary of Ludwig’s Roses – and its founder, Ludwig Taschner, who has filled our gardens and vases with South African roses for decades – we showcase favourites from his unique collection, in a style inspired by botanical illustrations TEXT AND PHOTOGRAPHS HEIDI BERTISH
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GARDEN Fig.3 ‘Antico Amore’ Old world shape with the vigour and disease resistance of a modern rose. Delicate, sweet perfume
rom ancient times to the present day, the rose has been a timeless symbol of beauty, transience and love. The original wild or species rose, from which our current cultivars hail, evolved around 70 million years ago. Romantically, connections are thought to originate from the African continent – in Egypt, where Cleopatra famously carpeted her boudoir with rose petals to seduce Mark Antony. In Persia, the original wild roses were used to produce rosewater, secret elixirs, scented oils and perfume one
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and a half thousand years before they were cultivated for the garden. By 500 BC, the Romans and early European civilisations began growing roses for commercial use. Roman emperors filled swimming baths and fountains with rosewater and used their petals as confetti for celebrations and medicinal purposes. By the seventeenth century, roses were in such high demand that they were considered legal tender. In the eighteen hundreds, Napoléon’s wife, Joséphine Bonaparte, established an extensive collection of roses at the Château de Malmaison, her lavish estate just west
of Paris. The gardens became a canvas for botanical illustrator Pierre-Joseph Redouté’s work, where he completed his renowned watercolour collection ‘Les Roses’, still considered one of the finest records of botanical illustration. It was not until the late eighteenth century that cultivated roses were introduced into Europe from China. For the first time, these were repeat bloomers, making them unusual and of great interest to hybridizers and the garden community of the time, setting the stage for future rose breeding prioritised for climate-specific hardiness and long-blooming season.
Fig.4 White climbing Iceberg rose, a South African favourite. Prolific, semidouble blooms, gentle fragrance and tough as nails
Born into a horticultural family in Germany with feet firmly planted in Africa, Ludwig Taschner from the family-run nursery Ludwig’s Roses was perfectly poised to access new European roses suited to the harsh South African climate. ‘I concentrate on potted roses that I regard as “made for South Africa” as well as vigorous, low maintenance, informal roses that thrive in relatively tricky growing conditions,’ says Ludwig. As early as the 1990s, Ludwig, passionate about challenging the perception that growing roses is difficult, turned the practice of rose pruning in South Africa on
its head. Instead of pruning with a slanted cut above each eye, sealing the cut and then spraying with lime sulphur to combat pests and diseases, he introduced a ‘light’ pruning method and advocated an environmentally conscious, ‘no-spray’ approach. This new sustainable direction led to Ludwig’s collection of the first disease-resistant rose varieties in South Africa, aptly named ‘Eco Chic’. Continuing to push boundaries, Ludwig introduced rose cultivars with unique growth habits: groundcover roses, miniature climbers, spire roses, shrub and cushion roses. For the first time,
South African gardeners and rose-lovers had the option of using roses for everything from borders to shrubberies and fragrant hedges. Today, Ludwig’s Rose Farm in Pretoria is a landmark. With one and a half thousand cultivars, trial grounds for new roses, an exclusive breeding programme and a living museum of old roses, we cannot wait for what is next from this horticultural powerhouse of fragrance and beauty. Ludwig’s Roses ludwigsroses.co.za Images available as giclée prints on archival paper. Plant&Planet hello@plantandplanet.co.za Q
GARDEN
‘Kissing Ayoba’ The most versatile, Floribunda rose. Brilliant in pots, as a border plant or planted en-mass
‘Garden and Home’ Antico Moderno rose with informal growth habit and old shape but with disease resistance and flower power. Best for picking
‘Compassion’ A star Climbing rose. Covered in flowers and self-supporting to three metres. Magnificent on a pillar or arch. Wonderful fragrance
‘Perfumed Breeze’ Midinette rose with hundreds of double, fragrant blooms. Excels on a fence or trellis
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Fig.5 ‘Tradescant’ David Austin cluster rose turning from crimson to purple with a delicious, old-world scent
KNOW-HOW IN UNOBSTRUCTED NATURE, DESIGN SHOULD TAKE A BACKSEAT, EMBRACING, RATHER THAN SHAPING, THE SPIRIT OF THE TERRAIN
Incredible connection
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and tricky to retain. One needs to design and plan very sensitively as it is so often only too easy to destroy the very quality one is trying to amplify. At times, one must sacrifice practicality for the sake of beauty. For example, refusing to clear too much naturally occurring vegetation for the sake of an oversized lawn or to fell trees for a 180-degree panoramic view.
ome places have a distinct character that marks them out and makes them remarkable – they make an indelible impression. That is, of course, the reaction of our unique preferences and individual life patterning. We immediately recognise these places for their intrinsic magic, and they can move our souls, making us calmer, braver and happier. When creating a garden, one often seeks this effect, a place with a memorable emotional character.
overpowered by something that needs to be removed to restore balance and beauty; disguising visible gate posts and fences is one example.
Sometimes it exists in an obvious way – it can be a view, decent
Sometimes the place itself has a spirit so overpowering that, as
architecture, a stand of existing trees or expressive topography that marks it out and makes it stand out. In instances such as these, one must take extreme care to preserve the inherent feeling and essence of the site. It can be ephemeral
a designer, all one has to do is acknowledge it. Any new arrangement of elements or composition needs the lightest and most nuanced of touches, almost a non-design, to keep it from cluttering the feeling that is already pervasive; often the case when
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Sometimes quality is there in a less obvious way – but maybe it is
creating spaces around homes in serene nature.
It can be challenging to find something immediately obvious that could animate and distinctively hold a space. Consider this a cue to spend more quiet, thoughtful time in that space, which often reveals its unique idiosyncrasies. It can be as subtle as capturing the play of light in an area by adding a simple pergola with the potential of casting shadows and patterns on a surface or the tinkling of a water feature outside a window with no view. Maybe it is adding a single tree of an unusual shape that suddenly brings a forgotten space to life. Then one can start to build up the character, layer by layer, staying true to the idea that you have evolved in consultation with the spirit of the place. Franchesca Watson 082 808 1287 franchescawatson.com
P H OTO G R A P H S : S U P P L I E D
Landscape designer Franchesca Watson’s guide to being at one with the land
THE EDIT
P H OTO G R A P H : P RU E RU S C O E
SUPERB HOMES AND STYLISH GARDENS
IN SYDNEY, DESIGNER YASMINE SALEH GHONIEM HAS CREATED A PLUSH, MID-CENTURYINSPIRED HOME
Full story overleaf
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candy crush Inspired by the masters of mid-century design, Yasmine Saleh Ghoniem transforms this family home in Sydney into a high-glam jewellery box filled with life, light and style TEXT SHANNON MANUEL PHOTOGRAPHS PRUE RUSCOE
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A YSG CUSTOM KITCHEN BENCH IN BLACK PANTHER MARBLE AND OVERSIZED OXIDISED BRASS KICKBOARD, AND ‘DITA’ BAR STOOLS UPHOLSTERED IN SHEEPSKIN FROM GRAZIA & CO. HANGING ABOVE THESE IS A GEORGE NELSON FOR HERMAN MILLER ‘NELSON SAUCER BUBBLE’ PENDANT
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ocated in Sydney’s Dover Heights, the story of this home, carefully composed by Yasmine Saleh Ghoniem and the team at YSG Studio, is one of transformation, with a subtle, inviting palette with furniture, objects and artwork. The 825-square-metre house underwent considerable structural changes to create a series of soft, light-filled spaces that connect and flow effortlessly. Several internal walls were removed, and the ceiling was raised in the kitchen/living area and formal lounge room by the fireplace for an open flow. Inspired by mid-century influences of Charles and Ray Eames, Mies van der Rohe, Eileen Gray and Isamu Noguchi, Yasmine and her team have given this five-bedroom family coastal home a not-so-coastal aesthetic through custom furniture, finishes and structural nooks. ‘The entire house speaks to craftsmanship, with the indelible mark of artisans found on almost every hard surface – from the shimmering strokes of the Marmorino plaster walls and ceilings to the caramel borders on the nursery walls,’ describes Yasmine. Sandstone plinths were chiselled by stonemasons to create a naturally eroded appearance, whilst the animated veining and lively tones of over ten different types of stone featured throughout infuse the spaces with energy (including the bath enclosure in ‘his’ en suite, which pours across the floor to announce the entrance of the wall-less space). The overall approach to materiality is grounded in tonal and textural variation. ‘Perhaps my favourite detail,’ says Yasmine, ‘was the interplay of polished and raw surfaces resonating in the kitchen with an enlarged oxidised 58
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RIGHT YSG CUSTOM COFFEE TABLE IN ‘VERDI VERA’ AND ‘TRAVERTINE NAVONA’ FROM EURO MARBLE, FABRICATED BY MEDITERRANEAN MARBLE; THE REAL HOUSEWIVES IS THE TENNESSEE WILLIAMS OF OUR TIMES BY KIRSTY BUDGE, 2017, HANGS ABOVE A YSG CUSTOM FIREPLACE
WITH BRASS LIP, BUILT BY PROMENA PROJECTS AND HEMP-RENDERED BY FERNANDO OLIVEIRA FROM UPRISING CEMENT RENDERERS BELOW HALCYON LAKE ‘CHOCOLATE GABRA’ WOOL AND HEMP FIBRES FLOOR RUG AND A JARDAN CUSTOM ‘SUNNY MODULAR’ SOFA IN CREAM
‘An element of old school Hollywood, peppered with heady ethnic twists’ YASMINE SALEH GHONIEM
ABOVE A CONCRETE DINING TABLE FROM COCO REPUBLIC AND ARMCHAIRS FROM RODA OPPOSITE PAGE, CLOCKWISE FROM RIGHT ‘THE PILL BASIN’ IN IVORY STONE FROM NOOD CO; YSG
CUSTOM VANITY DESK IN ‘JUPARANA BAHIA’ FROM EURO MARBLE; IN THE CHILDREN’S BEDROOM, HAE YOUNG YOON ‘CLOUD’ HANGING LAMPS FROM KENNETH COBONPUE AND HAND-PAINTED WALL DETAILS BY CREATIVE FINISHES
kickboard cladding the brass island. Above, rust stains on the exposed concrete ceiling match the honey-toned veins of the Black Panther marble.’ Throughout the home, surfaces are embellished by tonal and tactile variations to delineate open zones, such as handmade terracotta tiles lining walls and floors. Binding the home internally and externally with their undulating matte surface, they complement areas of retained flat travertine that clad the entire house. Vertical timber battens perform a similar integrating role – from bracing the entrance gate and providing shade and privacy on the street-front balcony to retaining private internal areas without wall construction. Wall sconces and upstanding lamps were selected to consciously pool light in velvet depths as opposed to installing integrated ceiling lights. As a counterbalance, gently rounded edges soften features such as the arched walkways and doors, banquette seating in the living area tracing a curved wall, plus a hemp-rendered fireplace with integrated seating perch and bookshelf. ‘The interior has a retro-informed aesthetic: ‘“Cali-cool”. I think there is an element of old school Hollywood in there, in the most casual of ways, peppered with heady ethnic twists,’ says Yasmine ‘The principal colour palette of plum, rose and pistachio had to complement the existing travertine flooring that we could not remove, and somehow, over time, the colours naturally stepped into a more masculine or feminine role depending on their location.’ YSG Studio ysg.studio Q
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ON THE VERANDAH, A ‘REVERSE’ OUTDOOR TABLE FROM ANDREU WORLD AND TOM FEREDAY ‘JEANETTE’ CHAIRS SIT ATOP TERRACOTTA PAVERS FROM BISANNA TILES
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DESIGN NOTES
FIELD BY JEANNE HOFFMAN, 2020, ACRYLIC ON ITALIAN COTTON, FRAMED, POR, SALON91
HAY ‘NELSON SAUCER’ BUBBLE PENDANT LIGHT, R14 217, CRÉMA DESIGN
T E X T: J A N I A D E L E Y L A N D M A N ; P H O T O G R A P H S : P R U E R U S C O E , S U P P L I E D
DULUX ‘HEATHER BLOOM 2’ PAINT, FROM R180, BUILDERS WAREHOUSE GUBI ‘WONDER’ MODULAR SOFA, POR, CRÉMA DESIGN CASSINA ‘637 UTRECHT XL’ ARMCHAIR, POR, TRUE DESIGN
‘GALAXY SKY’ MARBLE SLAB, POR, WOMAG ‘ROMAN’ VASES IN BROWN (SET OF THREE), R4 200, LA GRANGE INTERIORS
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REVOLUTION
talkin’ about a
As the founder and artistic director of her eponymous studio, Agnes Rudzite describes the renovation of this Moscow home as a cocktail of classic pieces and daring design plays TEXT THOBEKA PHANYEKO PHOTOGRAPHS MIKHAIL LOSKUTOV MAY 2021 HOUSEANDGARDEN.CO.ZA
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THE DINING ROOM IS SEPARATED FROM THE ENTRANCE BY A CUSTOM-MADE PARTITION WALL INSPIRED BY EILEEN GREY, IN FRONT OF WHICH IS A ‘TABLE EN FORME LIBRE’ BY CHARLOTTE PERRIAND, 1959, AND VICO MAGISTRETTI CHAIRS, ALL FROM CASSINA
PREVIOUS SPREAD EXPOSED LOAD-BEARING CONCRETE COLUMNS ARE LINED WITH ROUNDED OAK VENEER PANELS, THE ‘UTRECHT’ ARMCHAIR IS BY GERRIT RIETVELD FOR CASSINA, THE SOFA AND POUF ARE FROM TACCHINI, AND THE FLOOR LAMP IS FROM OLUCE
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THE WALLS OF THE MASTER BEDROOM ARE LINED WITH PANELS OF OAK VENEER AND FABRIC. AT THE FOOT OF THE BED, A PIERRE PAULIN FOR LIGNE ROSET ‘ELYSÉE’ SOFA
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OPPOSITE PAGE AN ‘UTRECHT’ ARMCHAIR BY GERRIT RIETVELD FOR CASSINA AND CUSTOMDESIGNED BOOKSHELVES AND STORAGE IN THE LIVING ROOM
‘Sense of humour and a poetic approach
are crucial aspects of our attitude. One should not take design too seriously, there should always be a place for irony and play,’ says designer Agnes Rudzite, who lead the team at her studio in creating these both whimsical and edgy interiors in Russia’s cosmopolitan capital, Moscow, effortlessly bringing art and history to life. Perfectly located in the south-eastern part of Moscow, in an exclusive environment with parks and a lake, this reimagined space has been home to Agnes’s clients for 15 years, but it became too small when they welcomed their third child, so they decided to merge it with another adjacent apartment. ‘They had no attachment to anything, so they allowed us to demolish everything and construct from zero.’ There was no particular brief besides functionality. ‘We had designed an apartment for them before, so they trusted us and gave us complete carte blanche,’ she adds. ‘We met to present the sketches and material board, they looked at it and said: We like everything! So there was no need for any alterations.’ True to her brand, this gem is a harmonious space, composed as a poem, and evokes lightness and emotions. A ‘ space should serve the human being, and one has to feel good in it,’ according to Agnes, who also describes the space as balanced, airy and breathable, but at the same time inviting and comfortable. ‘There is no superficial decor or objects; everything is the minimum you need,’ she adds. The idea of using round shapes next to square ones appeals to her, displaying a sense of playfulness. Concerning the colour palette, ‘the apartment has a nice view and a lot of sky that you can see through the windows. When I first saw it, it reminded me of a pink sunrise or sunset, so I chose this nude terracotta pink, which goes well with the oak wood widely used in the interior, as well as Santa Caterina travertine.’ Agnes is intentional about her choice of textures and tones. ‘In each of my projects, I choose materials and colours that are pleasant to look at and touch, that are “sexy”. There is always lots of natural wood, stone and soft fabrics such as wool and linen.’ Concerning location, practicality and functionality, ‘we had to merge two apartments and make four bedrooms, and a long corridor has formed because of that. But we used it as a picture gallery as the clients have an impressive art collection.’
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The esteemed designer says she always creates architectural interiors because the scale and proportions of space are crucial. It took a total of five months to complete the 340-square-metre house. ‘The project took us three months, but the construction works happened quickly,’ she says. The result is an honest space, bursting with character. Elated with the outcome, Agnes shares that her favourite part of the house is the two-part kitchen. Repetition of certain colours across the house weaves the rooms together to create a masterpiece, a place the couple and their three children can call home. ‘My clients are happy with the new space and the functional planning,’ she concludes. Agnes Rudzite Interiors agnesrudzite.com Q
‘There is always lots of natural wood, stone and soft fabrics such as wool and linen’ AGNES RUDZITE
TOP DOWN THE CHILDREN’S BATHROOM FEATURES CUSTOM-DESIGNED PIECES; ZUCCHETTI TAPS AND BLUE FLAMINIA WASHBASINS
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DESIGN NOTES
FLAT ON YOUR BACK BY MIA CHAPLIN, 2020, OIL ON CANVAS, POR, WHATIFTHEWORLD GALLERY
PIERRE PAULIN ‘ELYSEE’ ARMCHAIR, R58 500, LIGNE ROSET
RAPHAEL NAVOT ‘PATCHWORK’ DINING TABLE, R139 290, ROCHE BOBOIS
T E X T: J A N I A D E L E Y L A N D M A N ; P H O T O G R A P H S : S U P P L I E D
FLOS ‘ARCO’ FLOOR LAMP, R52 493, CRÉMA DESIGN
‘SLENDER’ KITCHEN STOOL, R1 595, ELEVENPAST
‘GRAVITY’ RUG IN TEAL, R5 500, HERTEX MAY 2021 HOUSEANDGARDEN.CO.ZA
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That ’70s Show
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Following her passion for plants, antiques and local design, actress Rolanda Marais has transformed a midcentury house in Cape Town into a happy family home TEXT PIET SMEDY PHOTOGRAPHS GREG COX
‘THIS IS ONE OF MY FAVOURITE CORNERS IN THE HOUSE, ALL THE PLANTS MAKE ME FEEL AS IF I AM IN A JUNGLE,’ SAYS ROLANDA. THE ARTWORK IS BY ROLANDA’S FATHER AND THE DINING ROOM CHAIR AND TABLE ARE BY HOUTLANDER OPPOSITE PAGE THE WOOD-PANELLED ENTRANCE LEADING INTO THE OPEN LIVING SPACES. ‘I BOUGHT THE RUG WHILE I WAS DOING A THEATRE PIECE AT A FESTIVAL, ’ SAYS ROLANDA. THE GREEN LIQUORICE RUGS AND CUSHIONS ARE BY RENEÉ ROSSOUW AND THE ERCOL SOFA IS FROM RE-TREND
R
olanda Marais and her husband, director Jozua Malherbe, were first introduced to their now art- and plant-filled, mid-century family home by a friend, shortly after leaving Joburg for the leafy Northern Suburbs of Cape Town. The couple was renting just around the corner and, as luck would have it, it was not long before the house was listed. ‘We went to have a look at it and fell in love,’ says Rolanda – and that was that. ‘I love the clean lines, the abundance of timber and glass to let in natural light and the overall aesthetic,’ says Rolanda of her home’s retro appeal. ‘Perhaps it is because I grew up in that era and recognise a lot of the pieces or maybe it is something from a previous life, I do not know, I am just instinctively drawn to it.’ But, as anyone who has ever taken ownership of an older house can attest, it is hardly ever a case of unpack and go. ‘The house needed a lot of work; it had been a rental for eight years, so it was in desperate need of maintenance but the structure and the personality were there. It had solid bones with some amazing architectural moments, it just needed the right owners,’ she says. Rather than gut the house, the couple decided to work with the existing architectural features, maintaining its mid-century integrity, and focused instead on restoration rather than renovation to achieve the home’s full potential. ‘It has a beautiful flow to it, so we didn’t have to break through any walls,’ explains Rolanda, ‘We simply gave it a lick of paint, screed the tiled floors and replaced some of the more obstructive or outdated elements.’ These would come to include swapping wooden panelling for glass in the entrance hall to allow in more light, as well as installing a pink front door and decking outside, which extended the living and entertaining areas. The kitchen, however, would prove to be Rolanda and Jozua’s biggest endeavour. The cupboards were completely replaced
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with upcycled, colourfully painted boards while new oak knobs and countertops were added. ‘I would pin our success to working with the aesthetic and personality of a house,’ she says. With the macro issues resolved, it was time to hone in on the interiors, which Rolanda did in her characteristic brand of casual cool. ‘My favourite space in the house is the central, double-volume area, which comprises the kitchen, dining and living areas,’ she says. A ‘ s you enter the house you see this big, open space, which is just so inviting and, as the sun moves through it, the light falls on different areas – it is pure magic.’ Central to Rolanda’s style is an appreciation for local designers – from the craftsmanship of Houtlander’s wooden pieces to Renée Rossouw’s bold cushions (‘As much as I love and appreciate monochrome, minimalist spaces, I just cannot help myself. Colour makes me happy.’) – and artists – you will spot names such as Michael Taylor, Laurinda Belcher, Lucie de Moyencourt and Francis Goodman on her walls. ‘I buy pieces instinctively, but always have an idea where it will work,’ she says, ‘Sometimes I just buy a piece because it speaks or makes me smile.’ Of course, when you share your home with a four-year-old (in this case, Charlotte, the couple’s daughter) practicality can never be too far out of mind, ergo the darker palette (messy hands) and soft furniture pieces that favour rounded corners (to curtail any serious head-bump injuries). ‘I feel a house should be a place where my child can jump on the couch and play and have fun, it is her house too, and I want her to enjoy it as much as we do,’ says Rolanda. ‘I will replace the couches once she is big, but for now, it must be comfortable for everyone and, yes, she jumps on sofas and builds forts and we make Christmas beds for movie night. I think people feel that relaxed, happy energy when they enter the house.’ Q
THE LIVING ROOM, WITH A PORTRAIT BY ROLANDA’S FATHER, A MOSAIC BY HER MOTHER-IN-LAW AND A WORK BY FIONA POLE. THE SOFAS AND OTTOMAN ARE BY SAKS CORNER IN CAPE TOWN
OPPOSITE PAGE ONE OF THE SOLID WOOD PANELS WAS REPLACED WITH GLASS TO ALLOW MORE LIGHT, WHILE THE DOOR WAS PAINTED PINK TO CREATE A PLAYFUL ENTRANCE; ACTRESS ROLANDA MARAIS IN
HER CAPE TOWN HOME. ON THE WALL, AN ARTWORK BY MICHAEL TAYLOR. ‘THIS DOUBLEVOLUME SPACE IS SUCH A CLEVER DESIGN,’ SAYS ROLANDA, ‘AS LIGHT SHIFTS THROUGHOUT THE DAY IT FALLS BEAUTIFULLY’
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OPPOSITE PAGE DINING ROOM TABLE AND CHAIRS BY HOUTLANDER. THE FLOOR-TOCEILING WINDOWS FLOOD THE SPACE WITH LIGHT WHILE HANGING PLANTS
IN THE KITCHEN, THE BLUE ARTWORK IS BY LAURINDA BELCHER, THE PINK AND BLACK WORK WAS A GIFT FROM FAMILY FRIEND FRANCESCO NASSIMBENI
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BLUR THE INDOOR/ OUTDOOR DIVIDE; ARTWORKS, FROM LEFT TO RIGHT, BY FRANCIS GOODMAN AND MICHAEL TAYLOR WITH CUSHIONS BY RENÉE ROSSOUW
DESIGN NOTES
‘I think people feel that relaxed, happy energy when they enter the house’ RENÉE ROSSOUW ‘RANGE 2 – 022’ CUSHION, R1 800, SOUTH AFRICAN PATTERN LAB
ROLANDA MARAIS
T E X T: J A N I A D E L E Y L A N D M A N ; P H O T O G R A P H S : S U P P L I E D
‘ANNA’ THREE-SEATER SOFA IN INDIGO BLUE, R15 999, SOFACOMPANY.COM
‘SPINDLE BACK DINER’ CHAIR, UPHOLSTERED, R3 150, HOUTLANDER
DUTZ ‘NOVA’ VASE, FROM R995, LA GRANGE INTERIORS MAY 2021 HOUSEANDGARDEN.CO.ZA
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IN BRIEF Size Five hectares across various gardened areas on a 25-hectare guest farm in Franschhoek Soil type Clay and rock with impoverished sandy soils, naturally replenished with compost, organic eco pellets and bonemeal Climate Long, hot, dry summers and short, cold, wet winters. Strong prevailing winds throughout the year X-factor Large scale painterly perennial borders, electric colourcurated Mediterranean planting and instated meadow, now wild, self-seeding and home to a host of pollinators
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TRUE COLOURS
Big blousy blooms create architectural drama and lure biodiversity to this Franschhoek garden TEXT & PHOTOGRAPHS HEIDI BERTISH
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ne would be hard-pressed to know that the gardens at La Cotte Farm in Franschhoek are in their infancy. The grand double borders, lush lawns and profusion of big, blousy blooms look more like a well-established romantic garden of old than the intoxicating new discovery that it is, completed a little over a year ago, to be precise. La Cotte is the brainchild of landscape and interior designer Dominic Touwen, who has turned his intuitive flair with colour and pattern to the outdoors and created a garden crammed with electric colour and painterly plant combinations that immediately captivate the senses. For Dominic, creating a garden is like telling a story. ‘We all have memories and experiences that gardens evoke,’ he says. ‘Granny’s roses, a cool drink on a hot day with the smell of freshly cut grass, falling asleep on a blanket under the dappled light of trees – I aim to create romantic gardens with atmosphere and mood.’ With the architecture of the garden firmly in place, the plants have been allowed to take centre stage. ‘It is not about mastery over Nature but rather curating and working with Nature to bring out her best,’ he says. The garden originally comprised of vast areas of overgrown alien vegetation, leaving acres of impoverished soil, largely compacted clay, desperately in need of nourishment. Hundreds of cubic metres of compost and organic conditioners were added and months spent preparing the beds before planting could become a reality. When it comes to site and climate, Dominic’s philosophy is that it is futile fighting it. ‘In reality, the adjustments one can make are small and we must ultimately work with nature, not against it.’ Poor soils aside, the climate at La Cotte is challenging for gardens. With assistance from botanist and garden designer Rowena Smuts, a palette of Mediterranean plants best suited to dry summers and battering winds made for a garden that would stand up to challenging local weather conditions. Planting happened in the cooler autumn and spring months, and beds were layered
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with a generous amount of coarse compost and wood chips. New plants were irrigated throughout the first summer. ‘No plants are drought-resistant in the first couple of years, whatever anyone might say to the contrary. We water deeply and less often to support their need to establish deep root systems.’ Lavish double borders were planted with an intoxicating mix of fruit trees, flowers, vegetables and wild meadow beginning at the original manor house – now a sublime spot for an evening tipple – and extend to a pretty dovecote at the far end of the garden. A favourite flower is Salvia canariensis, for its prolonged flowering and Salvia leucantha, a close second, for its three opulent flashes of velvety, purple spires through the year. Salvias were combined with dry garden staples such as Phlomis, sun roses, lavender underplanted with catmint and lamb’s ears. Architectural drama enters with clusters of spikey Eryngiums and decorative Aristida, Calamagrostis and miscanthus grasses. Height has been achieved with purple Buddlejas, giant
honey flowers, large panicles of Sambucus nigra followed by glossy blackberries and the scalloped leaves and delicate petals of plume poppies. Silver leaves, dark foliage and deep, mulberry and magenta-coloured blooms are evidence of a colourist at play. All the gardens have been designed with attracting wildlife in mind. Long, tubular flowers of salvias, wild dagga and aloes are perfectly adapted to the thin, curved beaks of sunbirds and hummingbirds. ‘We do not spray, so there are plenty of aphids and other insects for ladybirds and insect-eaters to feed. Populations of various ‘pest’ species were initially high in the garden, which has since become balanced with an increasing number of jackal buzzards, African harrier-hawks and predator birds being spotted on the farm. A ‘ t the outset, the newly planted garden was soundless. Now it is filled with birdsong – and chameleons, a sure sign of a healthy garden,’ Dominic says. La Cotte Farm lacottefarm.com Q
A TRADITIONALLY STYLED DOVECOTE IS HOME TO RESIDENT CHICKENS AT THE FAR END OF THE LAWNED AVENUE OPPOSITE PAGE CLIPPED SALTBUSH ‘CLOUDS’ FRAME THE SECONDOLDEST MILL IN SOUTH AFRICA
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Flower power Dominic Touwen talks about the thriving meadows at La Cotte and letting nature take its course. ‘Wildflower meadows are not as easy as they look, especially in the Western Cape. To thrive, they require a base layer of non-invasive grasses. Decent indigenous ones are African lovegrass (Eragrostis curvula) and Aristida junciformis. At La Cotte, we seed other festuca grasses such as chewings fescue and sheep fescue as these varieties allow wildflowers to pop up in between them. We plant a mix of delicate flowers such as Queen Anne’s lace (Daucus carota),
ox-eye daisies (Leucanthemum vulgare), lesser knapweed (Centaurea nigra), widow’s trefoil and salad burnet. The meadow is irrigated in late spring and left to its own devices in summer. We have a laissez-faire attitude to ‘weeds’ such as common dandelions and tongblaar because their flowers provide such great food for pollinators. Once all the seeds have set, around midsummer, the entire meadow is mowed. Then, the cuttings are left to provide green manure and mulch for the cycle to begin again. Interestingly, in Europe and the United Kingdom, cuttings are removed in an attempt to reduce soil fertility – of course, we don’t have that problem!’ dominictouwen.co.za
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HISTORY-MEETSNATURAL-BEAUTY WITH NUANCED PLANTINGS OF GOLD CARPET, CLIPPED SALTBUSH AND DUNE CROWBERRY
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Plant wisdom Botanist and garden designer Rowena Smuts shares her passion for colour and building biodiversity in the garden at La Cotte Farm. The ecological side of colour choice played a pivotal role in our final colour palette at La Cotte Farm. The intoxicating selection of colours available when selecting perennial planting is not only a feast for the human eye, but the colour in the garden is irresistible to pollinators and a great way to lure biodiversity back into the garden. The salmon-hued flowers of Cotyledon orbiculata and the firey Leonotis leonurus are magnets for sunbirds and grace us with electric colour in the garden during the winter months. Pelargoniums produce swathes of pinks and deep magenta flowers from November to March and attract bees, bumblebees, carpenter bees and a host of local butterflies. Be aware that perennial planting is seasonal, and planting with a carefully considered backbone of evergreens, clipped spheres, and cloud hedges will visually carry your garden through the offseason. rowenasmuts.co.za TOP ROW, FROM LEFT LAMB’S EARS; SALVIA LEUCANTHA; SALVIA CLEVELANDII MIDDLE ROW, FROM LEFT LOW-GROWING CATMINT; PINK CHINESE FOXGLOVES AND VERBENA BONARIENSIS; BUTTERY COLOURED NICOTIANA LEFT GIANT HONEY FLOWER AND STIPA GIGANTEA GRASS MAY 2021 HOUSEANDGARDEN.CO.ZA
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A WORK BY PAUL SENYOL ANCHORS THE PALETTE OF THE LIVING AREA OPPOSITE PAGE THE ORIGINAL 100-YEAR-OLD FLOORBOARDS WERE PAINTED BLACK
NEW ORDER
Following a radical transformation, this Cape Town apartment was embellished with a covetable collection of local design and art TEXT NATALIE BORUVKA PHOTOGRAPHS KARL ROGERS
A WORKSTATION FEATURES A TABLE AND CHAIR BY JAMES MUDGE OPPOSITE PAGE, TOP DOWN THE ‘SAMOOSA’ TABLE BY XANDRE KRIEL INTRODUCES CURVES TO THE SPACE; A GABI LEE ARTWORK, AND MARBLE SIDETABLE FROM LEMON
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t is rather suspenseful entering Sara Colley’s home for the first time. Accessed at street level via an unassuming entrance, there is no indication of what awaits until two flights of stairs have been scaled. Here, the anticipation is rewarded with a modern composition of living area and open-plan kitchen flooded with light from generous expanses framing leafy views. The bold art, plucky mix of hues and assiduous placement of furniture, all artful in form and shape, reveal the imaginative eye of someone who has spent more than 20 years in the fashion industry. When Sara bought the Oranjezicht apartment, the interior was in keeping with the character of a heritage block: a traditional layout of formally defined spaces. Having overhauled homes locally and in London, she was undeterred by the dark and stifling interior. ‘You can remove walls and windows can be made bigger but finding a perfectly sized flat in a splendid old building at the foot of a majestic mountain… that is not easy to come by,’ she asserts. In total, three walls were razed to liberate the living area, an audacious undertaking by Anlo Neethling of ONE Design and Development, a neighbour of Sara’s, who she contracted for the job after witnessing the transformation of his own home and being ‘impressed with his less-is-more approach and scrutiny to detail’. Challenged by an unyielding right-angled wall that referenced the space’s confined origins, Anlo came up with a novel and visually arresting concept. He devised cladding from sections of PVC downpipes that end just short of the ceiling to form a shadow line accentuating the subtle curve. On the opposite side of the room, a bulkhead functions as a robust linear counterpart unifying the kitchen and living area. Sara initially envisioned an interior with a moody colour palette but had a change of heart when she took stock, realising that her previous house, car and wardrobe were dominated by black and greys. ‘I needed a space reflecting a modern simplicity, but with less drama and some colour,’ she explains. The resulting milieu – housing original artworks by the likes of Paul Senyol and Gabi Lee, and furniture by James Mudge and showroom Frederick Sinclair – is not unlike a gallery setting, showcasing talented local artists and designers. ONE Design and Development onedd.co.za Q
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‘A space reflecting a modern simplicity, but with less drama and some colour’ SARA COLLEY
THE HEADBOARD AND ARMCHAIR ARE FROM FREDERICK SINCLAIR CONTRASTED WITH A RUG FROM HAUS
DESIGN NOTES TRANSLATE BY PAUL SENYOL, 2018, MIXED MEDIA ON CANVAS, FRAMED, POR, SALON 91
‘EDWARD’ CHAIR, R16 600, FREDERICK SINCLAIR
LARGE VELVET CUSHION IN GREEN, R1 495, BLOCK & CHISEL
‘MAUDE MODULAR RANGE’ LEFT-HAND CHAISE IN ‘TONY’ FABRIC, R18 500, FREDERICK SINCLAIR
T E X T: J A N I A D E L E Y L A N D M A N ; P H O T O G R A P H S : CELESTE PRINCE, INGE PRINS, SUPPLIED
LEMON COLLECTION ‘DISSOLUTION FPPLC0251’ CANVAS PRINT, FROM R1 350, MADE BY LEMON
HERTEX ‘FLOCK TOGETHER MOODY ROUND S20’ RUG, R4 590, UNIQUE INTERIORS
&TRADITION ‘FLOWERPOT’ TABLE LAMP, R8 350, CRÉMA DESIGN
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XERSPE POODLE INCIAM & BLONDE VOLOREIUS FOUNDER, DESIGNER ET RENIS QUI WHINNIE BLATEWILLIAMS, DEM EXPLA IN THEALIGENDAE SITTING RE MAIONSE ROOM OFDIORES HER ET VENIS MARGATE ACEAHOME NONSED QUO DOLUPTA
RETRO
dizzy From shagpile to an Elvis room, designer Whinnie Williams’s eclectic home brings seventies disco chic into the 21st century TEXT HANNAH NEWTON PHOTOGRAPHS CLAIRE WORTHY
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A VINTAGE BAMBOO DRESSER AND MATCHING STOOL, BEDSIDE TABLE, LAMPSHADE AND FAN COMPLETE THIS RICH GREEN CHINESE
INSPIRED BEDROOM. ‘MARGATE MARBLE’ WALLPAPER IN EMERALD PINKY BY POODLE & BLONDE MAKES FOR A STRIKING CEILING
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‘I have always loved the 70s,
the experimentalism, colours, textures and shapes’, muses singer, TV presenter and interior designer Whinnie Williams. Her home, a fivebedroomed Victorian townhouse in the English seaside town of Margate, pays undivided homage to this era, with marbled wallpapers, a profusion of jungle-green house plants, wood panelling, soft earthy colours, textured walls, gold swan head taps and shagpile. Perhaps the most extraordinary detail is the cost, as almost everything is second-hand. Raised on a strict diet of Elvis Presley, Brigitte Bardot and Del Boy Trotter, Whinnie has a penchant for vintage. When she first moved in with her fiance, the director Tom Dream, the house was broken up into flats with an overgrown garden, and the couple spent the next 18 months transforming the place. ‘I said to Tom, I want to live like I am in a movie – so that is what we did’. Home to her 18 pets (two poodles, ten rabbits, two guinea pigs, three chickens and her grandmother’s cat), the house pulsates with an eclectic mid-century vibe, once de jure on the pages of Playboy magazine. Her ‘Elvis room’ includes a carpet-covered sunken bed, complete with an integrated record player. The living room sofa was an eBay bargain. ‘Yes, it is disgusting,’ she admits, ‘but I love rescuing something. It is such a statement piece that it is a challenge trying to make it work, and I love that. ‘I wanted each room to have an obvious purpose, for people to be taken to another place when they come here, for it to feel special,’ explains Whinnie, whose interiors brand, Poodle & Blonde, whose soft furnishings, wallpapers and modish furniture has rapidly gained cult status, is heavily influenced by the colours and shapes of the 60s and 70s. Midcentury is key to Whinnie’s style. In the dining room a smoky glass-topped, geometric dining table and chair set complete with brass edging and brown upholstery, was found in a local charity shop, and works perfectly alongside a G-Plan cabinet fitted with an original turntable – it all adds to her film-set aesthetic. The lighting takes its cue from the 70s, with shades updated by Whinnie using her designs. The sitting room floor is a utilitarian Forbo flooring, a practical, hard-wearing and cheap material usually found in schools, but here it feels stylised and fits perfectly with the mid-century feel. With a love of unwanted things and working to a tight budget, Whinnie is unconcerned with fashions or fads, and this singular vision places her firmly in that rare camp of individuality, as The King said, ‘There is no job too immense when you have got confidence’. Poodle & Blonde poodleandblonde.com Q
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POODLE & BLONDE GLASSWARE AND VASES FROM SUNNY VINTAGE AND RETRO SIT ATOP A GLASS TABLE AND CHAIRS WHINNIE SOURCED FROM A CHARITY SHOP. THE WALLPAPER IS FROM WHISTLE DIXIE, AND THE STRIPY VINYL FORBO FLOOR IS SCHOOL FLOORING OPPOSITE PAGE BRIAN, WHINNIE’S POODLE, AT HOME ON A POODLE & BLONDE UPHOLSTERED VINTAGE CHAIR
WHINNIE IN THE MASTER BEDROOM, ON HER VINTAGE ITALIAN SHELL BED, WHICH SHE FOUND ON ETSY, WITH BRIAN THE POODLE AND TIMMY THE GUINEA PIG
POPHAM DESIGN ‘TRACK SQUARE’ TILE IN LAWN MILK, POR, OPIA DESIGN
H&S ‘KUBU’ MIRROR, R1 299, SUPERBALIST
‘KOREA SAUSAGE DOG’ BOOKEND, R599, RIALHEIM
‘RAVELLO 200’ SIDEBOARD, R27 989, KARE DESIGN
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‘230V 40W E14 SPIRAL CRYSTAL’ CHANDELIER, R26 275, K. LIGHT
FAUX FUR CUSHION, R299, WOOLWORTHS
ABOVE WHINNIE PAINTED THE DOORS OF THIS IKEA KITCHEN AND BOUGHT HANDLES FROM ETSY. ‘MONEY TREE’ WALLPAPER FROM POODLE & BLONDE IS ON THE WALLS PAIRED WITH A TERRAZZOSTYLE FLOOR. IN THE FOREGROUND IS AN ORIGINAL 60S FRENCH CHAIR THAT WHINNIE HAD REUPHOLSTERED IN ‘TOTTENHAM
DALMATIAN’ FABRIC IN COCOA FROM POODLE & BLONDE RIGHT WHINNIE FOUND THE SUGAR PINK 70S BATHROOM SUITE ON EBAY, THE PINK AND BLACK MARBLE TILES AND GOLD SWAN-HEAD TAPS WERE ANOTHER BARGAIN EBAY FIND AND SHE DESIGNED THE ‘FOOD BABIES IN BLOSSOM’ WALLPAPER FOR POODLE & BLONDE
‘MEMPHIS WPLC0229’ WALLPAPER, R590, MADE BY LEMON
MAY 2021 HOUSEANDGARDEN.CO.ZA
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Bader & Walter's Award Winning Wines S O U T H
A F R I C A
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Born into a life of winemaking, the heart behind the B&W label, Walter Bader, brings you the finest wines that the South African winelands have to offer, at affordable prices. The B&W range is the ultimate culmination of our winemakers creative expression, here for you to enjoy.
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Griffiths & Griffiths 011 444 5744 Hansgrohe hansgrohe.co.za Haus by Hertex 021 914 3390 Herholdts Lighting herholdts.co.za Hertex hertex.co.za Home Fabrics homefabrics.co.za Houtlander houtlander.co.za Infinity Surfaces infinitysurfaces.co.za Italcotto italcotto.co.za Italtile italtile.co.za K. Light 021 552 4370 Kare Design kare-design.com Kipekee Studio kipekeestudio.co.za Knus knus.co Kohler africa.kohler.com La Grange Interiors 021 447 3508 Lavo Bathroom Concepts 021 461 0180 Le Creuset lecreuset.co.za Ligne Roset 010 823 2250 LIM lim.co.za Limeline 021 424 8682 Lite-glo liteglo.co.za Loot loot.co.za Louis Vuitton louisvuitton.com Lowry Fabrics lowry.co.za Lemon madebylemon.co.za Mash. T Design Studio mashtdesignstudio.co.za Mavromac & Gatehouse 011 444 1584 Miele miele.co.za Mobelli Furniture & Living mobelli.co.za Modern Gesture moderngesture.co.za Mungo mungo.co.za Mr Price Home mrphome.com Natuzzi natuzzi.com Nespresso nespresso.com Newport Lighting newport.co.za Nguni Hides Online ngunihidesonline.co.za
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Oggie oggieflooring.com Okha 021 461 7233 Opia Design 072 903 5979 Patio Warehouse patiowarehouse.co.za Pezula Interiors 021 424 2661 Plant&Planet hello@plantandplanet.co.za Poliform SA poliform.it Private House Collection privatehouseco.co.za Radiant Lighting radiant.co.za Rialheim rialheim.co.za Roche Bobois 021 286 0793 ROMO Fabrics romo.com Salon91 salon91.co.za Setamono Tableware setamonotableware.com Sevens sevens.co.za SHF shf.co.za Smac Gallery smacgallery.com St Leger & Viney stleger.co.za Studio 19 studio19.co Sofacompany.com 021 200 5904 Spazio Lighting 011 555 5555 Streamlight streamlight.co.za Superbalist superbalist.com Takealot takealot.com Tile Africa tileafrica.co.za Tiletoria tiletoria.co.za Tonic Design 011 327 2028 True Design truedesign.co.za Valcucine South Africa valcucinesa.co.za Victorian Bathrooms 021 418 0855 Weylandts weylandts.co.za Whatiftheworld Gallery whatiftheworld.com Wiid Design wiiddesign.co.za Womag 021 447 6161 Woolworths woolworths.co.za Yuppiechef yuppiechef.com Zara Home zarahome.com/za Zinc Textiles zinctextiles.com
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Engineered wood, vinyl and laminate flooring from one of the longest standing laminate flooring importers. Finfloor has over 20 years of importing history. Flooring designed and developed to European standards but tested for the South African climate.
Solid engineered wood, Laminate & Vinyl tile flooring available from:
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Photographs may vary from the actual samples
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