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FROM THE EDITOR It is high

time we get out of town, says Editor-in-Chief Piet Smedy INSIDER Artist Banele Khoza’s newest exhibition, ‘27’ SHOPPING From the wild Karoo landscape to cottagecore COLLECTION Orms launches a fabric and wallpaper brand, Form ARTISAN The modern traditionalists bringing back ancient artisanal techniques for stylish (and relevant) interiors STYLISH Palm Beach’s Colony Hotel is reimagined by owner Sarah Wetenhall and de Gournay as a scene of Floridian wildlife HOUSE & GARDEN JUNE/JULY 2021

DES I G N 33

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DESIGN SOLUTIONS As the

comfort food season kicks off, take the time to consider the kitchen, whether you are a home cook looking for the latest appliances or updating the heart of the home with a stylish new look SHOWROOM Wood-burning or gas, freestanding or built-in, there is a smart fireplace solution for every home this winter

GA R DE N 45

BOTANY

The drying room at Thrive Urban Farm, where seeds are saved for the flower season

52

GARDEN

Gardens Editor Heidi Bertish shows you how to make the most of winter gardening

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KNOW-HOW

Franchesca Watson’s guide to a colourful winter garden

P H O T O G R A P H S : J AC K I E M E I R I N G , S U P P L I E D

I N SI D E R

*C H O PA R D

– O ARTESÃO DAS EMOÇÕES – DESDE 1860

HAPPY SPORT

CON TEN TS june/july

62 99 T H E E DI T 62

COUNTRY COOL

Cape Town-born, London-based designer Kelly Hoppen reimagines a barn in the Cotswolds as an open-plan, light-filled family home in her signature classiccontemporary style

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ROCK FORMATION

A family holiday home on a rocky outcrop in the mountains of British Columbia in Canada CABIN FERVOUR A Cheshire Architects-designed home in New Zealand evokes a classic campsite feel while maximising its incredible views CLOUD ATLAS An airy pod cabin in the remote Breede River Valley

C ON C IERGE 93

GOURMET

Crunchy, crumbly and moreish, biscuits are making a comeback

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TRAVEL

Exploring Namibia’s varying landscapes, from savannah to desert and stark, otherworldly coastline 4

HOUSE & GARDEN JUNE/JULY 2021

ON THE COVER: Cabin Fervour pg 78.

Photographed by Jackie Meiring.

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from the editor

I

’ve always thought of myself as the big-city type.

Having grown up in, what was at the time, a small seaside town in the early 2000s, the siren song of Cape Town (a sprawling metropolis by comparison) was impossible to ignore. A heady mix of the energy, freedom, opportunity and anonymity that only a big city can offer, it presented a chance to carve out an identity independent of everything I had known hitherto.

A pretty standard, Hallmarkmovie plot line, sure, but it is mine.

Fast forward 15 years and something has started changing in me. Specifically, in my love affair with the city. And if these feelings of doubt were ephemeral and noncommittal before, they have certainly been crystallised by the pandemic and I cannot help thinking: is big city living everything we have built it up to be?

If, like me, you have been experiencing this yearning for a (perhaps a bit idealistic) life in the country, then this issue has arrived in your hands just in time.

Traditionally, this is the time of year the team at House & Garden produce a big, winter-focus issue but, as we all know, there is nothing ‘traditional’ about our lives anymore, no matter the season,

which is why we decided to look outward – way outward – and bring you the best of what lies beyond the highways and skyscrapers of our everyday. As it turns out, sometimes you have to leave your comfort zone to find what real comfort means.

Of course, there is more to country living than a hyggecentric collection of forested log cabins, crackling fireplaces and piping hot cocoa with homemade biscuits (do not worry, we have still got these covered). It is about changing your urban state of mind.

Frank Lloyd Wright said it most succinctly: “No house should be on a hill or anything. It should be of the hill. Belonging to it. Hill and house should live together, each happier for the other.”

I think this could be seen through the lens of a broader, current ideology – one I wish we had had when Wright wrote those words in the early ’30s – around sustainability and symbiosis, rather than the need to impose our architecture – and presence – on the world, without thought of consequence. This type of conscientious modus operandi is certainly more prevalent here, in these country homes and with these country designers, than with their city cousins. And we should all be taking note.

‘No house should be on a hill or anything.

It should be of the hill. Belonging to it.

Hill and house should live together, each happier for the other’

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PORTRAIT OF BANELE KHOZA (2021)

BY BERNARD BRAND

INSIDER THE SCOOP ON SHOPPING, STYLE, DESIGN & CULTURE

JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

11

b

anele Khoza’s gallery and studio, BKhz, has allowed him to express himself more than ever before. Over the past 30 months, he has used it as a platform to explore a variety of narratives, both external and internal. His latest exhibition, ‘27’, uses it as a space of solace where Banele can speak his truths.

We talked to him about the role mentorship and community have played in his maturation as an artist and how he continues that practice through BKhz. Here, we explore the multifaceted nature of Banele’s gallery and studio, and the artist himself, who has experience in fashion, interior design and art, to understand what makes his work so unique.

To My Younger Self Using BKhz as a vessel for his newest exhibition, artist Banele Khoza reflects on turning 27 INTERVIEW BY JAMES NASH

12

HOUSE & GARDEN JUNE/JULY 2021

You founded the BKhz studio in 2018, and it is a space that defies any singular definition, serving as a studio, gallery and creative hub. What prompted your multifaceted approach?

In 2018, I intended to open a gallery, but when you first establish one, you have to be open to the different narratives that could unfold within the space. That is why I did not want to define it immediately, allowing the space to shape itself instead of me saying what it is. Over the past 30 months, we have explored conversations happening in South Africa and abroad. I think when you define something as one thing, then it limits you.

That is why, initially, it was very open-ended, and I think now, 30 months later, it is starting to take the shape of a gallery, but we are always open to different conversations happening in the space.

Has having a gallery of your own affected how you operate as an artist?

My research over the last 30 months has informed and guided the body of work I have been able to create because the more you engage with other artists, the more you open up something bigger than yourself.

Suddenly, you are having a different conversation than the one you could only facilitate in your practice and studio.

Before I opened the gallery, I realised it was starting to become a constant

INSIDER conversation about ‘me’, whereby every space you go into, people are only curious about what I am working on or what I have worked on. I felt it was unfair to be the only person occupying a seat at the table. So it was important to open the doors, and that is how BKhz came about.

Seeing other artists in practice has given me the confidence to work larger. The pieces people will experience now will be almost four metres. In the past, I would never have worked on that scale, but now I am learning that it gives me more space to engage with the work than a smaller piece does.

I am also working on my debut solo in Brussels (which will open on 16 July), participating in a trio show at 1-54 NYC with a Parisian Gallery and working towards my first solo survey at an international museum in Germany.

Can you tell us about what you are currently working on and the ideas or experiences that inspired it?

The body of work I am sharing at BKhz is a narrative I would never share in any other space given the topic is sensitive. The main image informed the rest of the body of work.

I experienced trauma in 2010, which resurfaced in 2012, and because it happened when I was unconscious, I could neither immediately process it for what it was nor its magnitude. I sought out therapy in what was supposed to be a safe space, but even then I did not want to touch on the topic.

I could only finally process my trauma in the studio.

H IS AU RA W I L L T ELL YOU EVE RY TH I N G BY BAN E LE KH OZA , C HA RCOAL , AC RYL I C A ND AC RYL I C I NK ON FA B RI A NO PAPE R

Your work explores gender norms, with soft and almost surreal works of art speaking to the sensual side of masculinity.

What inspired you to depict such diverse ideas of masculinity?

It was immediate battles with myself about what society wanted from me.

I remember, as early as in primary school, I wanted to play with the girls. I wanted to own a Barbie doll. Everyone around me denied me that experience, so I started drawing the dolls with which I wanted to play. All the experiences I wanted to have unfolded on paper, and that became a secret world I would work on privately, and I could choose to share or not share it with other people. Only in 2009 did I have the confidence to own up and say: ‘I carry a diary to explore my emotions.’

‘All the experiences I wanted to have unfolded on paper, and that became a secret world’ BA NE L E K H OZA

Was there a specific event in your life that pushed you to pursue being a full-time artist, or was it a natural progression?

I think it was a natural progression. As I was growing up in Swaziland, I knew

I had many emotions I had to express in one way or another. When I was young, I found journaling to be the best way for me to do that. I would draw sketches and write to reflect on each day. I think that is why going into fine art, the moment I started practising in school, felt like home.

Throughout my schooling in art, I have received constant affirmation. In Grade 8-11, I was in a school whose focus was on science and maths. We did not have an art class. By Grade 10, I had started an art club that still exists today. One exchange teacher, who came from the Netherlands, gave me watercolours and acrylic paints when I was in Grade 10, which allowed me to continue exploring what I was already doing. That was all because they recognised there was something within me worth cultivating.

Would you say your current work still retains that element of journaling that initially pushed you towards art?

Definitely. In The Letter, which is the main work in the exhibition, I am writing to my younger self. I am turning 27 now, and I feel like I know way more than I thought I would have by now. Many people say that by 18 or 21, you are a full-grown adult, but I would say it is only now I feel like an adult.

It talks about the different seasons that I have experienced as an individual growing into myself. I have experienced a lot of trauma throughout my journey. What The Letter is saying is that winter comes to an end. Spring will always find you where you bloom again.

BKhz Studio bkhz.art Q

LEFT I H AV E N EV E R TO L D A NYO N E ABO UT M Y F IRST

BY BAN E L E K HOZA , AC RYL I C INK ON CANVAS

JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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OLD TOWN

THE ‘WING’ CHAIR FROM WEYLANDTS’ COLLECTION ONE COMBINES TIMELESS DESIGN AND NATURAL MATERIALS

MODE

Inspired by the stark terrain of the Karoo and traditional hinterland craftsmanship, a collection of pieces in woven grass, clay and riempie work to create a grown-up take on the classic country aesthetic 14

HOUSE & GARDEN JUNE/JULY 2021

SHOPPING

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 : I N G E P R I N S , S U P P L I E D

1

4 6

2 3 5

1. ‘ORDESA’ FIREPLACE, R23 950, CALORE FIREPLACES; 2. ‘SABRINA’ HANGING SHADE, R1 895, BLOCK & CHISEL; 3. SPINDLE BACK DINER IN NATURAL RATTAN, R4 200, HOUTLANDER; 4. ‘SUTTON’ DINING TABLE, POR, LEMON; 5. PUNCH NEEDLE AFRISCANDI PATTERN 1 CUSHION, R580, COTTON TREE; 6. ‘YALTA’ SERVING BOWL IN SHADING, FROM R495, HERTEX HAUS JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

15

LIKE A THE NEW STILL LIFE COLLECTION BY ZARA HOME

PRAIRIE

Cottagecore may have started as a twee pastiche of the idyllic English country estate but, done right, this granny-chic style employs timeless techniques – embroidery, floral prints and painterly effects – to create bucolic bliss 16

HOUSE & GARDEN JUNE/JULY 2021

SHOPPING

1 3

2

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 : C O U R T E Z Y O F Z A R A H O M E , S U P P L I E D

4 5 6

1. SIXTH FLOOR PLAID WOVEN COTTON RUG IN BLUE/RED, R1 104, SUPERBALIST; 2. FLORAL PRINT SCATTER CUSHION COVER, R299, ZARA HOME; 3. VERSAILLES BERGÉRE SOFA IN LINEN, R20 995, VOLPES; 4. ‘THE PACIFIC LINES’ PITCHER, R1 379, SPILHAUS; 5. PEONY GREEN PLATE, R390, PEZULA INTERIORS; 6. MAMMOTH DINING CHAIR WITH ABACA ROPE, R12 900, LA GRANGE INTERIORS JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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From bespoke textiles and eco-friendly ink to local design and detail-driven execution, the launch of Form by Orms is sure to spark joy in any homemaker PHOTOGRAPHER BRANDON HINTON

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HOUSE & GARDEN JUNE/JULY 2021

T E X T: S H A N N O N M A N U E L ; M O D E L S : PA U L VA N D E R S P U Y, S U R AYA S A N T O S

Happy Medium

COLLECTION orm by Orms, the textile printing arm and the newest addition to the Orms Print Room & Framing offering, has launched a range of luxurious natural textiles featuring the designs of both upcoming and established local artists, who now have an intriguing new medium on which to showcase their work.

Featuring over 100 designs by local artists, the Form Design Library has been carefully curated and showcases a variety of collections, which include ‘Botany’, ‘This is Africa’, ‘Abstract’ and more. These ranges are updated regularly, creating an ever-evolving archive of South African design ready to be printed onto textiles and wallpaper.

Orms aims to remove the barriers to entry that often exist in creative industries, inviting artists of all walks of life and levels of experience to submit their work for inclusion in its growing library.

Not only can customers choose artists’ designs to print onto a textile from the Form collection, but they can also provide their artwork or photograph. The Form textile range includes ample options, from thin cotton ‘sheeting fabric’ to a thick upholstery textile, a selection of hemp and more. And, true to Orms’s commitment to sustainability and innovation, these are all-natural, and some also have an organic component. In addition, and noting Orms’s aim to honour ‘a conscious connection with the fabric’, all prints are made using eco-friendly waterbased pigment ink. ‘Art is taking on a life of its own and living beyond just a canvas hanging on a wall,’ says Form founder Jenny Ferrini. ‘This is really exciting – and it has been great to see the artists’ enthusiasm.’ ormsdirect.co.za

TOP DOWN A KARLA HYMAN TEXTILE PRINT COVERS THE BED LINEN AND CUSHIONS AND THE MODEL WEARS A HAT BY JULIA BUCHANAN OPPOSITE PAGE TEXTILE PRINT BY SARCH DESIGNS, TROUSERS AND NECK TIE BY JULIA BUCHANAN AND JEWELLERY FROM PHILIPPA GREEN & IDA ELSJE

Q

JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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History in the making

ARTISAN

Weavers, ceramicists, chandlers – and even a curtain couturière, meet the makers behind the local luxury brands that honour ancient craft in modern ways and, in doing so, are bringing a human connection into our homes TEXT SANDISO NGUBANE, PIET SMEDY & LISA ABDELLAH PHOTOGRAPHS GREG COX JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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S

TEPHEN & LINDA NESSWORTHY, AYMARA YARNS

LEFT, TOP DOWN THIS RARE AND UNUSUAL BUILDING, CIRCA 1715, IS MADE FROM UNBAKED CLAY BRICKS; ALPACAS GROW A MYRIAD OF NATURAL SHADES, WHICH AYMARA YARNS ENHANCES WITH TOUCHES OF HAND-DYED COLOURS

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HOUSE & GARDEN JUNE/JULY 2021

Simple, classic and luxurious woven and knitted goods from alpaca fibre are homegrown, spun and made at Klein Limietrivier Farm, a rare and unusual building in Wellington erected around 1715 from unbaked clay bricks and later lovingly restored by its owners Stephen and Linda Nessworthy.

It is the only mill in South Africa able to process alpaca from raw fleece. Its sensitive use of colour, as well as simple design, make its products easily recognisable.

Aymara is a language of the Andes, and pays homage to the origins of the alpaca.

Much of the brand’s inspiration comes from the surrounding Hawaqua Range, which extends from Bainskloof to Tulbagh Pass.

‘Currently, we have 260 alpaca with around 50 more births anticipated this year. They grow a myriad of natural shades, which we enhance with touches of handdyed colours,’ explain Stephen and Linda.

A ‘ lpaca is known as a noble fibre that is soft, warm and hypoallergenic.’

Aymara combines fibre produced on the Farm with other natural fibres to create unique blends. The origin stories of the machines used are as fascinating as the building they inhabit: a carder branded Biela, from the city and commune in northern Italy, a comb from Serbia, a Gill Box from France and a fly frame, a spinning machine and winder from the UK. Linda and Stephen share a human connection with and, for fun, have named every alpaca on the farm. ‘The process of dealing with every aspect – from breeding and births, general animal husbandery and shearing, to sorting and spinning and final product design and manufacture – gives us a rare insight into and intimacy with our products,’ they say.

Alpacas are gentle on the earth; they require little water and have an efficient digestive system. Aymara also employs sustainable practices by using every scrap of fibre grown to create its diverse range of products, environmentally friendly processing chemicals and distributing water used in the mill to a small olive grove on the Farm. Quenti Alpaca & Mill quentialpacas.co.za

ARTISAN

CURRENTLY, THERE ARE 260 ALPACA AT KLEIN LIMIETRIVIER FARM IN WELLINGTON

JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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A creatively precocious child, Sikho spent much of his time building brick and wire cars or gathering clay from the river banks to make toy cattle for play battles later (his first, albeit unintentional, foray into the world of ceramics), or collecting flowers and insects that piqued his interest. A ‘ t that age, I was completely unaware of it, but I had been attentively studying the nature all around me,’ he says.

Through mentorship, workshops and industry engagements, creative need bred entrepreneurial understanding – ultimately leading Sikho to found Ckho Ceramique.

‘Clay is more like a 3-D canvas for me,’ he

‘I AM TRYING TO CLOTHE MY WORK IN THE SAME WARMTH MY MOTHER PASSED INTO OUR HOME’ SI K HO M Q U Q U

OWNER OF CKHO CERAMIQUE SIKHO MQUQU

S

IKHO MQUQU, CKHO CERAMIQUE ‘Nature and experiences inspire me, but I do not aim to show that realistically in my artefacts, rather I choose a more abstract approach,’ says Mthatha-born ceramicist Sikho Mququ, who creates his pieces at 24

HOUSE & GARDEN JUNE/JULY 2021

a studio in Cape Town under the brand Ckho Ceramique (the first part being his creative nom de guerre, the latter a portmanteau of ‘ceramic’ and ‘unique’).

‘Looking at my work, you notice patterns showing a more organic texture with endless scratch lines that do not seem to have a beginning or end. It is a visual translation of our mixed emotional life experiences; the ups and downs, the good and bad.’

says. Stoneware clay is his specific medium of choice, along with glaze powders (which he mixes into a thick liquid for dipping pieces into colour before being fired) and oxides such as copper and manganese for tonal plays. His craft focuses predominantly on homeware – cups, plates, bowls – that he executes in the traditional chequer-line patterns of the iTyali blankets typical in Sikho’s native Eastern Cape. The inspiration here is two-fold: ‘Women typically wear an iTyali, which they usually receive on their first visit to their in-laws. As such, it becomes a symbol of both pride and the home,’ he explains. A ‘ nd, as we know, blankets are warm, and I am trying to clothe my work in the same warmth my mother passed into our home through her hands, sweat and hard work.’

Sipho’s work has a real sense of human connection to living traditions and the childhood memories of its maker. ‘My work becomes an experience because you blend with the piece at that moment you are presented with a plate of food or a warm cup of tea,’ he says. ‘In a way, it becomes a range of emotions right in your hand.’

CKHO Ceramique ckho_mququ @ckho_mququ

ARTISAN

J

AN ERNST, JAN ERNST CERAMICS

‘I find organic forms such as coral, fungi and rock formations fascinating,’ says Cape Town-based artist Jan Ernst, whose ceramic art, driven by a fascination and a desire to make, pried him away from architecture.

A Nelson Mandela Metropolitan University graduate, Jan completed his Masters in Spain and, after initially practising as an architect, soon realised he would find making more fulfilling.

‘I have always been fascinated by the process of conceptualising and bringing an idea to life. Today, almost everything is digital. Creating art and design from clay allows me to throw my body and mind into the work.’

For his latest collection, ‘Origin’, Jan collaborated with Vorster & Braye Ceramics

‘IT WAS CRUCIAL TO USE THIS COLLECTION TO HIGHLIGHT THAT CLAY CAN BE A STRUCTURAL AND FUNCTIONAL MATERIAL IN INTERIOR DESIGN’ JA N E R NST

CLOCKWISE, FROM TOP LEFT PIECES FROM THE ‘SELAMAWI WALL

HUNG VESSELS’ COLLECTION

BY JAN ERNST CERAMICS

on a few eclectic clay furniture pieces, all drawing inspiration from nature. They include the ‘Roots’ bench, ‘Fungi’ sidetable, ‘Cells’ desk and ‘Sprouts’ floor lamp.

Says the 31-year-old artist: A ‘ s the names suggest, these designs are inspired by different natural elements. They are abstracted and translated into something functional and visually exciting. It was crucial to use this collection to highlight that clay can be a structural and functional material in interior design.’

Recently, Jan partnered with The Urbanative on their latest furniture range, Homecoming, comprised of six wall vessels and a candelabra-vase combination.

Jan Ernst jan-ernst.com JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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VIA WAX’S LARGE ‘TWISTED SISTER’ CANDLES AND SMALL ‘ZIG’ CANDLES

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HOUSE & GARDEN JUNE/JULY 2021

ARTISAN

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ATHALIE & LAURA VIRULY, VIA WAX

Michaelis School of Fine Arts graduates Nathalie and Laura Viruly had just graduated when the pandemic brought the world to a standstill, limiting their chances of settling into careers in their field. The sisters share a flat they describe as ‘crazy’ and ‘eclectic’. ‘During the lockdown, we were constantly setting creative projects for ourselves, making things to embellish our space,’ they say.

Happening upon some left-over wax from Laura’s box of art school materials, the sisters decided to follow the lead of candle creators they’d seen on their Pinterest feeds by making their own. ‘We pooled together our resources and started playing with shapes and formulas.’

After creating a few candles, selling them to people they know, the sister duo took Via Wax to Instagram, which propelled their new business toward new followers and a growing customer base.

‘We both have a deep respect for craft and what it means to work in a creative process. So we have stayed away from buying premade moulds. What you get from Via Wax is a considered design object. We are constantly researching the age-old art form of candles, developing our skill and thinking of new shapes.’

Via Wax viawaxstudio.com

3-D PRINTED ‘BANGLE’ VASE

BY MOAT BELOW CHANDLER AND OWNER OF MOAT ROBYN BRITZ

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P H O T O G R A P H S : M A N E S H A C A L D I , S U P P L I E D ( V I A WA X ) ; P R O D U C T I O N : TA N I T H S W I N F O R D ( V I A WA X )

OBYN BRITZ, MOAT After finishing her studies at Vega in 2013, Robyn Britz went straight into the textiles business with her mother, who has experience in print and production. Nine years later, their entrepreneurial venture, Zana, is a thriving textiles business. But a little experimentation combined with a desire to get back to the roots of making has led her to start Moat Designs – making 3-D printed table-top structures and candles.

‘I wanted to work on something completely different from textiles. I saw how moulded candles were trending overseas, and knew I could make something unique due to the fact that I have access to a 3-D printer,’ she says.

‘It started as just experimentation and for fun but when the 3-D objects started to come out so beautiful that I shocked myself, I knew I should start a brand.’

While 3-D printing has become popular as a manufacturing process, it is not something the South African design industry tends to use. One of Britz’s first table-top ideas was a vase with stackable interchangeable accessories, aptly named the ‘Bangle Vase’. ‘The rings slide off and can be stacked in a different order. That shows not only the beauty of the various colour combinations, but it allows the customer creative freedom and shows the incredible accuracy of 3-D printing.’

Robyn Britz robynbritz.com JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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HILLIPE DU PREEZ, GORDIJN STUDIO

‘THE IDEA OF BEING IN CONTROL OF MY IMMEDIATE SURROUNDINGS BECAME AN OBSESSION’ P HI L L IPE DU P RE EZ

INTERIOR DESIGNER PHILLIPE DU PREEZ

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What brings a self-confessed ‘simple farm boy’ to the big city? ‘My surroundings growing up on a farm were isolated, austere to say the least. So, I found ways to make my environment more inspiring,’ says Phillipe, who started an interior design course and moved to Cape Town when he was 18. ‘One of the ways I did that was to visit local haberdashery, fabric and paint shops. My mom and I would spend hours giving our humble farm a makeover. The idea of being in control of how I created my immediate surroundings despite the dull, winter fields outside became an obsession.’

He went back to his roots to name his soft-furnishings studio, based in a beautiful old embroidery factory built in the forties in Woodstock, Cape Town.

‘When I was growing up, I remember visiting my grandmother’s, where I would read her copies of Psalm and Gesange and the Bible (in Hooghollands). I loved that they were written in Afrikaans, my home language, and the way the words were spelled in Dutch, particularly ij.’

Philippe and his team of local fabric and interior designers make curtains, scatter cushions, night frills and tablecloths, with velvets, natural fibres such as silk, and even pre-loved, vintage materials. They also specialise in textiles, customised fittings and applications.

Each item is painstakingly constructed by hand, from measuring and consulting to final installation, steaming and dressing.

‘Soft furnishings can completely change a space, not only aesthetically but also in terms of light, sound and security,’ says Phillipe. ‘The variety of styles are infinite, so you can take an ordinary piece of frabric to a traditional style using a handmade French pleat or a contemporary, sleak wave header.’

Gordijn Studio’s notable highlights include working on homes, penthouses and restaurants all over the world, its projects having ranged from a maximalist mansion in New York to a minimalist contemporary apartment in Sweden.

Gordijn Studio gordijnstudio.com Q

DESIGN

T E X T: T H O B E K A P H A N Y E KO ; I N T E R I O R D E S I G N : M I M I M C M A K I N F O R K E M B L E I N T E R I O R S ; P H OTO G R A P H S : CA R M E L B R A N T L EY

KNOW-HOW AND DECOR DETAILS THAT MAKE THE LOOK

COLO N Y HOT EL OW NE R SA RAH WETENHALL COLLABORATED WITH D E G O U R N AY ON TH IS W H I M SI CA L FLO RI DI A N MASTERPIECE

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Palm Beach’s iconic Colony Hotel is reimagined by owner Sarah Wetenhall and de Gournay’s Hannah Cecil Gurney 3 0 HOUSE & GARDEN

JUNE/JULY 2021

WHERE THE WILD THINGS ARE

STYLISH

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O N TH E WA L L S O F TH E CO LO N Y HOT E L LOB BY H AN GS HA ND PA I N T ED ‘ TH E CO LO N Y ’ WAL L PA P ER CR E AT ED BY D E G O U R N AY WITH SA RAH W ETE N H ALL

hen a treasured icon revered for its gracious hospitality meets interior designers who specialise in creating the world’s finest hand-painted wallpapers, the result can only be an exceptional collaboration. ‘I have long had a love affair with de Gournay wallpapers; the beauty and artistry have always spoken to me,’ says Colony Hotel owner Sarah Wetenhall, who was introduced to de Gournay scion Hannah Cecil Gurney (founder Claud Cecil Gurney’s daughter) through a friend. ‘We immediately had so much in common. The Colony Hotel and de Gournay are both secondgeneration family businesses, so we share a passion for our brands’ history and vision. The creative process behind the Colony paper was, therefore, personal, and the final product incorporates not only flora and fauna indigenous to Florida, but also our family’s spaniel, the Colony’s mascot monkey, Johnnie Brown, and other symbols representing my children and husband,’ she says.

De Gournay is, of course, renowned for its lively chinoiserie wallpaper, and Hannah shares that they wanted to create something that was a testament to both brands, celebrating the history of the Colony Hotel and the artistry of de Gournay. ‘Sarah and I both wanted the wallcovering to be fun and uplifting, to make people smile, but for it to also feel fitting for the grand space and the tropical location,’ she says. ‘The wallpaper has the feel of a historic chinoiserie that has been modernised and adapted into a youthful and energising Floridian landscape.’ De Gournay’s installation, a 97-panel bespoke jungle scene, brings the original mid-century mural to life while maintaining the same tropical spirit and, Hannah says, the intention was to give guests the experience of stumbling into an enchanted everglade. ‘This gives you an amazing feeling when you walk into the hotel, which at first feels quite natural until you notice the wonderful, whimsical characters and unusual objects subtly portrayed amidst the scene. The more you look, the more you discover,’ she says.

Not to be outdone by its collaborators, the Colony Hotel boasts a rich and colourful heritage of its own, Sarah reveals. Built in the late ’40s by a Chicago-based industrialist family who owned the estate next door, ‘it was the mid-century destination for the international jet set, including the Duke and Duchess of Windsor,’ she says. The hotel’s gilded history was the guiding principle in the living room redesign. Original elements, such as the black terrazzo floors, were resurrected, as were small arrangements of conversational seating.

‘The Colony holds a special place in the hearts of Palm Beachers.

It was essential to cherish the intimate and residential feel of the hotel, while also delighting and inspiring guests,’ says Sarah. This was accomplished through de Gournay’s design, which drew from the rich history of artistry and old-world technique, and by using a quintessentially Palm Beach palette of wicker, rattan and palm.

‘We ensured that the overall impact of the wallcovering design was that of a beautiful scene of Floridian wildlife. It is only in observing the wallpaper closely that one notices the tongue-in-cheek characters: monkeys holding martini glasses, panthers in diamond collars…The quirkiness is there to be admired,’ says Hannah. Every single element of the design is painted in the most wonderful detail by highly skilled artists. ‘So much love and care has been paid to every brushstroke and that provides the gravitas that strikes a balance between being fresh and fun whilst also being something that will be admired for generations to come.’ degournay.com JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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ENTER NOW

DESIGN

INNOVATOR

AWARD 2021

Answering the call for opportunity and growth in the creative industry, Maxidor and House & Garden have come together with a single vision: to launch the career of South Africa’s most enterprising new designer. The winner of the Maxidor | House & Garden Design Innovator Award will receive a year-long paid mentorship from Maxidor and a spread in the November issue of House & Garden.

‘Innovation and design are at the core of our work at Maxidor, bringing security solutions that are both functional and stylish into the homes of our clients. South Africa’s creative sector is brimming with talent, and I could not be more excited to partner with House & Garden on this journey to find and nurture the next big names in the business,’ says Maxidor CEO Cheryl Sjoberg. Editor-in-Chief Piet Smedy joins Cheryl on this, ‘Working with Maxidor to engage our industry’s creatives and offer such an incredible opportunity to an emerging designer is something we are very proud of at House & Garden.’

THE BRIEF: SUSTAINABLE SECURITY Security solutions are an essential part of home design but are often strictly utilitarian. Using the standard dimensions

of a Maxidor door, designers are invited to conceptualise a design-forward, functioning security solution under the theme ‘Sustainable Security’. Designs should align with Maxidor’s core product purpose and speak to the brand’s values while showing clear and original thinking in terms of aesthetics, materiality and execution. Entries will be judged on four criteria: Originality, Functionality, Commercial Viability and Sustainability.

HOW TO ENTER Entrants will be required to submit the following through houseandgarden.co.za to be eligible to win: μ A design rationale addressing each of the criteria and how the design meets the brief (maximum 250 words per criteria). μ No more than five CAD drawings of all design elements.

Conditions of Entry 1. The competition is open to South African citizens aged 18 years or older. 2. Entries open on 1 June 2021 and must be submitted through houseandgarden.co.za, to arrive no later than the closing date of 31 August 2021. 3. Copyright on entities belongs to Maxidor SA (PTY) Ltd. 4. Winners will be contacted directly by House & Garden Editor-in-Chief Piet Smedy and will be published in the November 2021 issue of House & Garden and on houseandgarden.co.za. 5. The judges’ decision is final. 6. Prizes not transferable or redeemable for cash or other payment. 7. Maxidor mentorship programme dates and terms are at the discretion of Maxidor SA (PTY) Ltd. 8. For full terms and conditions, visit houseandgarden.co.za

DESIGN SOLUTIONS

Cook the Look Whether it’s Shaker or colour, classic or industrial, you will find everything you need to land the look with H&G’s guide to kitchen style

P H OTO G R A P H : E DMU N D S UM N E R

TEXT PIET SMEDY

THIS NEUTRAL DINESENDESIGNED KITCHEN IS WARMED BY A PALETTE OF TIMBER AND TEXTURE

domum.co.za

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THE ‘REAL SHAKER KITCHEN’ RANGE

BY DESIGN STUDIO AND FURNITURE MANUFACTURER DEVOL KITCHENS

Look:

Named for the 17th-century offshoot of the Quakers, the Shaker kitchen still shares many of the virtues upheld by its namesake, particularly an unembellished yet highly skilled approach to carpentry. A focus on craftsmanship is the key, particularly in the case of the ‘Shaker door’ – simple, panelled cabinet doors – perhaps the cornerstone of this humble style. When it comes to materials, maple, pine and cherry would score you points for staying true to tradition, but these days you are just as well off with sustainable timber such as oak. Similarly, countertops in granite or engineered quartz make for a more practical option without compromising the aesthetic.

CULINARY EQUIPMENT COMPANY

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LEFT A LACANCHE ‘CLUNY 1000’ COOKER IN IVORY WHITE, AVAILABLE THROUGH CULINARY EQUIPMENT COMPANY, FITS SEAMLESSLY INTO A MUTED SHAKER-STYLE KITCHEN. GIVEN THAT THEY’RE CUSTOM-DESIGNED, THESE COOKERS ARE A BRILLIANT SOLUTION TO A SPACE WITH PARTICULAR STYLE REQUIREMENTS culinary.co.za

P H O T O G R A P H S : C O U R T E S Y O F D E VO L K I T C H E N S , S U P P L I E D

Shaker

DESIGN SOLUTIONS THE ‘COTES MILL SHAKER SHOWROOM’

BY DEVOL KITCHENS

Country fare A reserved palette of cream and beige enlivened by pops of greenery, dualtone clay crockery and timber pieces that echo the exposed ceiling beams and uneven walls makes this rusticrefined kitchen by UK-based deVOL Kitchens a tastefully modern iteration of the classic Shaker style. devolkitchens.co.uk

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P H OTO G R A P H S : C O U R T E SY O F F I C I N E G U L LO, S U P P L I E D

‘THE ORANGERY’ KITCHEN BY OFFICINE GULLO

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Neo Classic

Look:

Ergonomic design comes up trumps in this paredback style, which champions reflective materials – marble, glass, steel. Given the uncluttered nature of the look, appliances are ideally integrated into the kitchen, while a black and white scheme is ideal. The success of a neo-classic kitchen relies on symmetry to give it wow-factor. Think of the blueprint in terms of a central island with separate cooking station flanked by storage (open shelving can be incorporated, providing the opportunity to display key pieces and add informality).

OPPOSITE THIS LIGHT-FILLED KITCHEN IN AN 18THCENTURY GEORGIAN VILLA IN LONDON WAS A CREATIVE COLLABORATION BETWEEN OFFICINE GULLO AND INTERIOR ARCHITECT ALISON HENRY. INSPIRED BY THE BRIGHT ENVIRONMENT AS WELL AS THE GARDEN VIEW, THE ALL-WHITE KITCHEN FEATURES BRUSHED NICKEL AND MARBLE FINISHES officinegullo.com

A MARBLE WATERFALL KITCHEN ISLAND MAKES FOR A STRIKING CENTREPIECE IN THIS KITCHEN BY L’ATELIER PARIS

Look:

THE ‘CLASSIC ENGLISH’ KITCHEN

BY DEVOL KITCHENS

Colour Colour-lovers rejoice, after a lengthy reign as the hue supreme all signs are pointing to grey (and ash, greige and any other grout-adjacent pigment) finally making its exit. In its place, greens and blues come to the fore; think crisp mint, cocooning olive and sage, and retro turquoise, to name just a few options. While the temptation might be there to go all out with statement primaries, there is panache – and longevity – in more subtle hues. Opt for gradient wall and splashback tiles and painted cabinetry as a grownup way to execute trending shades.

L’ATELIER PARIS

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EASY LIFE KITCHENS

P H O T O G R A P H S : C O U R T E S Y O F D E VO L K I T C H E N S , S U P P L I E D

CLOCKWISE FROM TOP LEFT AN ARABESCATO MARBLE SINK WITH A FLUTED FRONT SET AGAINST GRADIENT EMERALD GREEN TILES (WITH COPPER POTS FOR ADDED PUNCH) IN THE ‘CLASSIC ENGLISH’ KITCHEN BY DEVOL KITCHENS; AS ONE OF SOUTH AFRICA’S MOST TRUSTED STUDIOS, EASY LIFE KITCHENS, SPECIALISES IN COUNTRY, CONTEMPORARY AND MODERN KITCHEN DESIGN easylifekitchens.co.za; CANDYFLOSS PINK CABINETRY AND UPHOLSTERY, WHITE, AND GOLD FINISHES

BY L’ATELIER PARIS leatelierparis.com

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1. COFFEE PRESS IN FIG, R1 299, LE CREUSET; 2. EVERYDAY PINK DINNER PLATE , R26, MR PRICE HOME

3. ARTISAN TILT-HEAD STAND MIXER IN KYOTO GLOW, R11 990, KITCHENAID

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3 Mix-and-match While carrying a single colour scheme across all kitchen appliances can be unifying, it can also be quite overwhelming. Take cues from the fashion industry and colour block your interior to playful effect. lecreuset.co.za; kitchenaidafrica.com

Look:

Industrial This hardworking style is perhaps best suited to smaller kitchen spaces, where its form-meetsfunction ethos really shines. Exposed brickwork and pipes (and even ventilation ducts), a profusion of steel and concrete, open spatial planning and a gritty colour palette are par for the course in an industrial kitchen, cleverly transforming the utilitarian objectives of its components into a striking visual language. When it comes to appliances, a mix of old and new is ideal, with decorative pieces evoking an ‘upcycled factory’ aesthetic.

LEFT THE BRIEF FOR THIS ‘OXFORD STREET’ PROJECT BY DESIGN + DIPLOMACY WAS KITCHEN-CENTRIC, WITH THE ROLLED-STEEL BENCHTOP AND EXPOSED BRICKWORK ACHIEVING A NEW YORK LOFT-STYLE AESTHETIC

AN INDUSTRIAL KITCHEN BY AUSTRALIANBASED STUDIO DESIGN + DIPLOMACY

designanddiplomacy.com OPPOSITE A DETAIL FROM A SPACE CREATED BY LOCAL DESIGN STUDIO SYBARIS, WHICH SPECIALISES IN BESPOKE, HANDCRAFTED KITCHENS, FURNITURE AND ACCESSORIES

sybaris.co.za

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

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AARKE ‘III’ CARBONATOR IN COPPER, R3 999, SUPERBALIST

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‘CREATISTA PLUS’ COFFEE MACHINE, R8 999, NESPRESSO

SYBARIS KITCHENS

www.KitchenAidAfrica.com

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OR Download your digital subscription now by visiting

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The first 80 SUBSCRIBERS will receive a free planter from Aurora Home to the value of R370 PLUS Save 35% on 8 issues for only R390

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SMS HGSUBS to 33258 EMAIL condenast@inl.co.za HOURS Monday - Friday: 6.30AM-6PM Saturday - Sunday: 7AM-10AM, Public Holidays: Closed DEBIT ORDER 0800 204 711 POST Choice of hand delivery or post this offer is valid for subscription orders received by 31 july 2021.

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Aurora Home Aurora Home was founded as the homeware extension of designer and illustrator LizeMarie Dreyer’s studio, offering a range of 100% cotton and genuine leather goods to brighten any interior.

Aurora Home’s planters are a must-have solution to housing indoor plants and herbs, featuring Lize-Marie’s signature designs in stylish colours. aurorahome.co.za

SHOWROOM

TINDER PROFILE

CREATED BY DESIGNER STEPHEN BURKS, THE ‘DALA’ RANGE OF OUTDOOR SEATING BY DEDON IS AVAILABLE AT CANE TIME

From wood- and gas-burners to bioethanol fireplaces, turn up the heat with these stylish winter warmers

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P H OTO G R A P H S : S U P P L I E D

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1. ‘LUNA’ FIRE PIT, POA; 2. ‘LACUNZA NICKEL’ DOUBLE SIDED FREESTANDING FIREPLACE, R48 495; 3. OUTDOOR ROUND GAS FIRE PIT, R18 895 ; 4. UMLILO BIOETHANOL FIREPLACE, R28 495; ALL BEAUTY FIRES

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You are spoiled for choice in just about everything, and fireplaces are no different. There is no denying the ability of a traditional wood-burning unit (now available in modern shapes) to create a romantic atmosphere, but they are not your only options. Gasburning fireplaces take the hassle out of getting the flames going while also negating the need for a flue, with some allowing you to control the heat via an app. Bioethanol, on the other hand, offers a sustainable, ozonefriendly solution to burning fuel. beautyfires.com

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THE DRYING ROOM AT THRIVE URBAN FARM HOLDS AN ABUNDANCE OF FLOWERS LEFT TO DRY FOR THEIR SEED

GARDEN PASSIONATE PLANTSMEN AND IN-SEASON BLOOMS JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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BOUNT Y

HUNTERS Thrive Urban Farm harvests, dries and saves seed from the garden for the upcoming flower season TEXT AND PHOTOGRAPHS HEIDI BERTISH

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HOUSE & GARDEN JUNE/JULY 2021

BOTANY

m

y grandmother had a treasure trove of a walk-in closet where she kept her table linen, crockery, glassware and cutlery.

I vividly remember the careful packing away and subsequent polishing and unfurling as the seasons rolled through the year, and she laid her table accordingly: light voiles and floral Spode in spring and summer; weighty ombre linens in autumn and winter. The drying room at Thrive Urban Farm is a botanical Aladdin’s cave, not unlike this closet of my youth. This time, the seasonal change is marked by a collection of papery seed heads that hang drying from the ceiling, an assortment of glass bottles that line makeshift shelving, and whimsically labelled, brown paper envelopes, all holding next season’s bounty – seed harvested from the flower gardens at Thrive Urban Farm.

To save seed is to be a part of Nature’s process of natural selection. If you save seed from your largest Iceland poppies (Papaver nudicaule) and replant them year after year, you eventually end up with seeds that produce plants on which all poppies are large. The same holds true for almost any other trait. Want Chocolate Lace (Daucus carota) that flowers early? Save seed from the first blooms that appear each season. Want disease-resistant plants? Then definitely do not save seed from those that are disease-infested. That is essentially what professional plant breeders

PLANT ZINNIA SEEDS ABOUT 0.5CM DEEP AND SEEDLINGS SPROUT IN FOUR TO SEVEN DAYS OPPOSITE PAGE, DRIED FLOWER HEADS, FROM LEFT TO RIGHT ZINNIA, PEONY, SCABIOSA STELLATA, DAHLIA, HELICHRYSUM PETIOLARE, CHOCOLATE LACE FLOWER

do. You do not need to get too scientific about it, but, as a rule of thumb, only save seed from your healthiest, most robust plants.

Advice from owner-growers Susie le Blond and Tarryn Martin from the boutique nursery is to experiment. Begin with easyto-grow flowers such as cosmos, ammi, sweetpeas, poppies and Scabiosa. Ensure your seeds are thoroughly dry before putting them away and, most importantly, label them. ‘When I first started, I would end up with a random collection of seedheads and pods in my pocket and no idea what they were! I would liberally shake them out into the garden and have to wait for them to bloom, creating happy chaos loved by bees. Now we are running a small flower farm we need to be a bit more organised,’ says Susie.

‘There are many reasons for saving flower seed from your garden,’ says the duo, such as the higher germination rate, broader choice of seed and how economical it is, to name only a few of the benefits. ‘We love a bit of garden thrift, and saving seed, reusing and repurposing are all incredibly satisfying and help to reduce your carbon footprint. It is a small step, but it all adds up.’

One of their biggest joys is to share the largesse of the garden with friends, family and fellow seed savers. ‘It is magical to hold a handful of seeds collected from your garden knowing that, collectively, you hold next season’s flower garden in your hands,’ Susie concludes. Thrive Urban Farm 082 570 7661 Q

CLOCKWISE, FROM LEFT AN EMPTY EGG BOX REPURPOSED AS A SEED SORTING VESSEL; SEEDS STORED IN CLEAN, DRY GLASS CONTAINERS AND BROWN ENVELOPES; FLOWERS IN A VASE

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ALLOWED TO DRY FOR THEIR SEED; BOWLS OF SWEET PEA, BASIL AND WHITE COSMOS SEED; SEEDS SORTED AND LABELLED READY FOR STORAGE THOUGH WINTER

BOTANY Save seed like a pro Susie and Tarryn reveal their fail-safe process to seed-saving from flowers in pots or the garden Let your flower heads go to seed. Check on them daily when they look like they are nearly ready as you want to harvest seeds just before the plant releases them.

Harvest seed in the afternoon on a hot, dry day. Sometimes, I let a few drop, some for the birds and others to see if they will self-seed. If I lose my collected seed, for any reason, there will still be some happy volunteers popping up in the garden.

Label, label, label. The variety, species, colour and date. If the plant has sentimental meaning, include who shared the seed with you – ‘Jill’s pink zinnias’, as an example.

Remove seeds from the seed head, husks or pods and spread thinly on a baking tray or in a shallow cardboard box. Give them a week to ten days to make sure they are really dry. Drying out is essentially the final stage of ripening and ensures that the seed does not become mouldy in storage. A well-dried seed is viable. Adding toasted rice to glass storage jars helps absorb excess moisture.

Package and label your seeds. Include your harvest date as a fresh seed has the highest germination rate.

Store your seeds somewhere cool, dry and out of direct sunlight, then enjoy spring sowing for your next flower garden.

DRYING DAHLIAS AND ZINNIAS MARK THE TURN OF THE SEASON IN THE GARDEN

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HANGING, FROM LEFT TO RIGHT AMARANTH’RED GIANT’, CELOSIA ‘PINK FLAMINGO’, UNIOLA LATIFOLIA GRASS, DRIED AMARANTH ‘RED GIANT’, QUEEN ANNE’S LACE; STOEBE PLUMOSA, HELICHRYSUM ITALICUM, METALASIA MURICATA, HELICHRYSUM PETIOLARE, LYCHNIS CORONARIA, HELICHRYSUM PETIOLARE, SWORD FERN WREATH, UNIOLA LATIFOLIA GRASS

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LED Piano Pendant Code: K-LED-5700

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

Wild at home A semi-shaded garden path, courtyard or balcony has never looked as seductive as when filled with a homegrown jungle of big bold-leafed Delicious Monster and elephant ear plants. Plant yours straight into the ground with a generous helping of compost or into a planter filled with nutrient-rich potting soil. Encourage your plants’ natural inclination to climb by planting them beneath a mature tree or attaching a trellis to your balcony wall for them to clamber up.

WHERE TO BUY The Atrium atriumplants.co.za; Plantify plantify.co.za

DOWN TOOLS

Winter in the garden gives you space to review last season’s successes and failures and time to reflect on how you want to garden in the coming season.

Gardens editor Heidi Bertish compiles a visual diary of ideas, inspiration and considerations for jungle-inspired balconies, meditative green spaces and gardening in tune with our heritage and climate TEXT HEIDI BERTISH PHOTOGRAPHS HEIDI BERTISH & ELSA YOUNG

GARDEN

Tree hugger Increased urbanisation calls for more intense use of green – on our rooftops, building facades, and in pockets between buildings. Trees can remove two-thirds of all carbon dioxide created by human activity, and ecologists concur that forest restoration is one of our top climate change solutions.

Planting trees in large planters on the balcony or grouped in

the garden creates shelter and habitat for birds and canopycovered green rooms to connect with nature. Here, a tranquil grove of Viburnums and mondo grass in a Joburg garden designed

by Landscape Designer Shirley Wallington makes for a great take-home idea for your own meditative green space.

Shirley Wallington shirleywallington.co.za

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True to nature The indigenous flora of South Africa is nothing short of thrilling in its vastness, adaptability and beauty. Embracing it in our planting schemes gives a garden aesthetic that relates to heritage, context and environment. Get started in your own space by selecting a limited palette and a look that resonates with your natural surroundings, such as this breathtaking mix of silver-coloured Helichrysum petiolare (imphepho) and grasses. Both do well in the garden or large planters with a sandy soil mix and plenty of stone chip at the base for adequate drainage. Plant small specimens to allow your plant babies to establish without dependence on irrigation. Available countrywide from any decent garden centre. w

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Laid bare There is nothing quite like a garden with a strong structural backbone – and no better time to consider that than now. Review the placement of evergreen trees and hedges, and their relationship to built elements such as garden stairs, pathways and benches. When seasonal planting has died down, these are the elements that hold the eye throughout the year and retain drama in the garden over winter. Clipping your shrubs into duplicate rhythmic shapes is another marvellous technique to create a handsome backbone in any garden. Here, cloud-pruned Dune Crowberry, Plumbago and Saltbush in a garden by Franchesca Watson shows one way to do it. Our top pick for clipping and hedging plants include Carissa macrocarpa, Tecoma capensis, Portulacaria afra, Buxus microphylla ‘Faulkner’, Westringia fruticosa and Rosmarinus officinalis ‘Tuscan Blue’.

GARDEN

Future forward Treading lightly on precious resources such as water is the way of our garden and planting future.

Succulents and cacti are not only gentle on water but tick all the boxes when it comes to versatility, electric colour schemes and textural combinations. The sheer range of shapes and sizes available – and that they are so forgiving when it comes to caring for and maintaining them – means there is an Agave, Sedum, vygie, Euphorbia, aloe or Crassula waiting to make a statement in any indoor or outdoor space.

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WHERE TO BUY Gariep Nursery gariepplants.co.za; Kirstenbosch Garden Centre sanbi.org/gardens/ kirstenbosch/shops/gardencentre; Namib Garden namibgarden.co.za; Sheilam Nursery sheilamnursery.com

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Winter Wonderland

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he winter garden is a joyful place: the light is different, and plants behave differently, as fewer are in flower, revealing the structure of our gardens. We feel different too.

Winter is the time the garden rests, and many plants and insects are in a moment of suspended animation. But the birds are up and about – and so should we be.

Plan to enjoy your winter garden by installing an outdoor seating area for basking in the winter sun. It is a place to bank up a roaring fire, gather in the early evenings with a glass of red wine and listen to the soothing, tinkling sound of a nearby water feature, which is 58

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different in winter, when vegetation is less dense, and attracts birdlife to the garden.

Deciduous trees open up more light in the garden when we need it and remind us to plant both evergreen and deciduous specimens when planning an outdoor space. They often put on a fabulous autumnal show of colour: yellows of stinkwoods and Ginkgos, and reds and fiery bronzes of liquidambers and acers. Some trees will surprise you by flowering in winter with Magnolias and Erythrinas among this crowd of stunners.

Nature provides wildlife with plants that seed at this time, adding a good show of colourful fruit and berries. Our indigenous Carissas, Searsias, Hollies and Myrtles are wonderful additions. Magnificent Restios also flower during winter, including Restio multiflorus and Restio festuciformis (groengrasriet).

Grasses are mostly a little sleepy and blonde-looking now, but wait until the end of winter before cutting them down

to give yourself time to enjoy their seed heads, which light up beautifully in the mellowing winter sun. If you have grasses, now is the time to add winterflowering bulbs amongst them such as Nerine sarniensis or Daffodils. While you are at it, leave some bulbs to plant into pots for an indoor show when they flower. Bulbs are magical plants with the most evocative flowers.

The food garden packs a vitamin power punch during winter. Amongst my best cool-season vegetables are supernutritious spinach, kale and broccoli.

Peas and all sorts of onions are happy to be planted now, and in slightly warmer parts of the country, it is often the best time to grow lettuce. All the citrus trees produce bountiful harvests right now – and, of course, it’s avocado bonanza time.

Franchesca Watson 082 808 1287 franchescawatson.com

P H OTO G R A P H S : S U P P L I E D

In your garden, the colder months need not be bleak.

A riot of colour and cheerful birdlife is best enjoyed with a decent glass of wine and a roaring fire

Limesite™ Dove Grey Dimensions Kitchen Surface Photography © Studio Kristin Hulda

DESIGNER SURFACES AND HANDMADE LIMESITE™ TILES FOR BESPOKE KITCHENS

THE EDIT

P H O T O G R A P H : M E L YAT E S

SUPERB HOMES AND STYLISH GARDENS

A VINTAGE SEAGRASS LOUNGER IN DESIGNER KELLY HOPPEN’S CONVERTEDBARN HOME IN THE COTSWOLDS

Full story overleaf

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COUNTRY COOL In the Cotswolds, designer Kelly Hoppen has reimagined an old country barn into an open-plan family home imbued with her trademark minimalistneutral style and a charming mix of vintage and new pieces from her personal collection TEXT PIET SMEDY PHOTOGRAPHS MEL YATES AND SIMON BROWN (PORTRAITS)

INTERIOR DESIGNER KELLY HOPPEN AT HER NEWLY TRANSFORMED FAMILY HOME IN THE COTSWOLDS. THE LARGE ARTWORK, ‘STACKING’, IS BY CARSTEN BECK

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THE MINIMALIST AND SERENE LIVING ROOM FEATURES CREASED LINEN TEXTURES MIXED WITH VINTAGE BAMBOO AND A TOUCH OF VELVET, PROVIDING AN ELEGANT YET RELAXED BASE FOR CUSHIONS AND ACCENT PIECES

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K

elly Hoppen knows what she wants – and what she does not. It is, after all, her decisiveness, coupled with an infallible eye, that has made the Cape Town-born, London-based designer a global authority on interiors. What is more, she has the books to prove it; her latest, Kelly Hoppen’s Essential Style Solutions for Every Home, out last month. When it came to reimagining a charming countryside barn into a spacious, light-filled bolthole, she delivered in style.

‘I did not want it to be half-and-half as I am not a cutesy, country-interior person,’ she says. ‘I wanted Belgian creased linen with vintage looks, and that is what we have. It is a little mixed throughout, but I still have the rows of Hunter wellies and a Saint Laurent khaki jacket hanging in the hall.

‘It was very sudden. I received a call, jumped in the car and drove to see it,’ says Kelly of the day she first set foot in the neglected barn. ‘It was a shell, open on all sides, wet and dirty, and I made a decision then and there. I had been looking for so long and wanted a space in the country.’ Designing a home, let alone for oneself, comes with its own set of demands but, with looming Covid-19 lockdowns, Kelly had to move at double time.

‘I closed my eyes and visualised the end product. It was literally designed on the back of a packet of oats at breakfast,’ she says.

The barn structure itself was unbuilt, so working with the builder, Kelly designed the interiors to include a staircase leading to a new second level. Flow and balance were key to the floor plan, as were volume and openness (elements to which a barn naturally lends itself ). The open-plan 64

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A 10-SEATER TIMBER TABLE AND ‘SUMMERTIME’ ARTWORK BY RICHARD DUNKLEY GROUND THE DINING ROOM. ‘PIXO 77’ PENDANT LIGHTS BY FORMALIGHTING ECHO THE RECTILINEAR CEILING BEAMS OF THE BARN

area at the front of the home was configured into a multi-functional space, operating as a home gym, a hallway and a chill-out space. The living space, meanwhile, creates a sophisticated yet cosy experience with neutral tones and natural fabrics punctuated by matte vessels with dried twigs, flowers and vintage pieces.

‘I do a lot of cooking in the barn, and the kitchen has these huge windows that look out onto the central courtyard,’ says Kelly. The spacious island is perfect for informal gatherings around mealtimes too.

‘Everything is personal in your home if it is done right,’ says Kelly. ‘The kitchen is the heart of the home, and now that I love cooking – late in life but finally – I love this space,’ she says. The outside incorporates the surrounding landscape and fields while also bringing a sense of the scenery inside, and was a collaboration with garden designer Stephen Woodhams.

The central courtyard is filled with exquisite oversized rustic pots from Belgium and dolly-style vintage iron pots amidst lush greenery.

‘This home is important because, unlike a normal country barn, it is open with a less-is-more approach finished with a mix of modern and old.’ The process of reaching this homeostasis between classic and contemporary would see Kelly exploring her warehouse filled with vintage pieces and art. ‘This was the perfect project to finally use all of the items I have collected over the years and bring them to life,’ she says. Not least among these were a pair of mirrors from her old home that she adored but, given their large scale, had been unable to find a fitting place to live until now. ‘It is like old friends coming home,’ she says.

‘The most unexpected favourite is the entrance. Everyone has their preferred chair, and mine is next to the dining room, looking out into the courtyard,’ she says. ‘I have created a space that encompasses both country and city in one, providing balance through the juxtaposition of modern style and vintage pieces.’

Kelly Hoppen Interiors kellyhoppeninteriors.com Q

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NEUTRAL TONES ANCHOR THE LIVING SPACE, INTERSPERSED WITH MATTE VESSELS BEARING NATURAL GRASSES AND TWIGS TO BRING THE COUNTRYSIDE INDOORS

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A STATEMENT-MAKING SPIRAL HANGING LIGHT BY AANGENAAM XL FILLS THE VAULTED CEILING OF THE 230-SQUARE-METRE ENTRANCE HALL, WHICH ALSO INCLUDES A TABLE BY GERVASONI AND A SEAGRASS LOUNGER

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‘This was the perfect project to finally use all of the items I have collected over the years and bring them to life’ KELLY HOPPEN

A PAVONI VINTAGE BOMBAY CHEST AND ‘HOUSE OF GREY’ BY TYCJAN KNUT ARTWORK IN THE GUEST BEDROOM ARE A PERFECT EXAMPLE OF KELLY’S VINTAGE-MODERN APPROACH TO THE BARN INTERIORS

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DESIGN NOTES

TABLE LAMP, R1 499, ZARA HOME

19TH CENTURY MAHOGANY CHEST OF DRAWERS R39 800, THE CROWN COLLECTION

‘PUSHA’ FLOOR LAMP, R 3 495, AURA FURNITURE & DÉCOR

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 : M E L YAT E S , M A R I K E M E Y E R , S U P P L I E D

LINEN LOOSE COVER ARMCHAIR, R14 990, LIM

TRADITIONAL BAMILEKE STOOL IN NATURAL, R6 995, WEYLANDTS

‘TOTEM’ SCULPTURES, R2 100, STUDIO19

‘ATHENA’ BENCH, R 2 995, BLOCK & CHISEL

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ROCK F O R M AT I O N

On a rocky outcrop in the mountains of British Columbia in Canada, the London-based architectural firm Gort Scott has crafted a house in concrete, timber and glass that responds to its spectacular surroundings TEXT DAVID NICHOLLS PHOTOGRAPHS RORY GARDINER

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THE MOUNTAINS CAN BE SEEN THROUGH THE GLASS-WALLED SITTING ROOM

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PREVIOUS SPREAD THE VIEWS WERE ONE OF THE MAIN FACTORS IN THE DESIGN

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magine a house in the mountains of western Canada, built for a client who wanted it as ‘his escape – a serene and tranquil place’. You might conjure a romantic image of a low log cabin tucked away in the trees, its 21st-century modcons concealed by a veneer of faux rusticity.

There is certainly no shortage of that in upmarket ski resorts the world over.

But that is not what the British architectural firm Gort Scott suggested when it submitted its entry for a competition to design a holiday house in Whistler, British Columbia, for a Hong Kong-based family. ‘It was a special client,’ cofounder Jay Gort concedes. ‘He had spent holidays in the area with his family and eventually bought a plot of land – he has a passion for architecture and wanted something unique.’

The site, which overlooks a lake, was essentially a prominent rocky outcrop rising several metres from the street level through a scattering of pine trees. Considering how to approach this challenging topography, Jay and his cofounder Fiona Scott recalled a passage from the American architect Frank Lloyd Wright’s 1932 autobiography: “No house should ever be on a hill or anything. It should be of the hill. Belonging to it. Hill and house should live together, each happier for the other”. This would become the founding principle of a design that won them the commission.

It was the progression from the road to the crest of the hill that captured the imagination of the architects. ‘The idea was for the house to take you on a journey that slowly unfolds as you rise to the top,’ Fiona explains. ‘It was a challenge to envisage the three-dimensionality of it, though. To understand the different axial relationships, the movement of light and the changes on each level you reach. If you climb half a metre, the view can be completely different.’ These views – of a pristine lake and small beach and the apex of Whistler Mountain – were critical factors.

The journey begins in a large entrance hall at the base of the house, the concrete walls of which were cast into the granite: it is as though the house has grown from the rock.

A long corridor beckons towards a guest wing, a cinema room or upstairs, which eventually leads to the kitchen and dining area. Up a shorter flight of steps is a vast two-part living area – a sitting room and snug separated by a double-sided fireplace. One staircase leads up to three of the six bedrooms, another to an office. In an adjacent two-storey wing are two spare rooms and a guest bathroom.

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It is not the scale or even the dynamic, unfurling shape of the house, named The Rock, that are most impressive. As is often the case with the best contemporary architecture, the attention to detail is striking – though not immediately apparent. The house rises in increments of nine centimetres – the width of the cedar planks used in the casting of the board-marked concrete. The oak steps are double this height, with each riser aligned with two sections of concrete. The geometry of the house is incredible – not least in the ceiling of the main living area, which has an oak framework sitting at angles that delineate different zones.

Gort Scott is not best known for its private residential projects. Over the years, it has worked on large regeneration and development works, with commissions from St Catharine’s College, Cambridge, and St Hilda’s College, Oxford and large-scale, council-funded projects for London boroughs, such as Harrow and Waltham Forest. A ‘ lthough, I think anything we design inhabits a similar sense of material, light and space,’ says Jay. The story of materials is short but appealing.

‘It is not in our nature as a practice to be minimalists,’ he explains. ‘We like to have characterful buildings and a sense of place. But, in this instance, we decided to be restrained.’

In the same way that a good cook can make several different dishes out of the same handful of ingredients, a creative architect can make something appealing and surprising out of mere concrete, wood (hemlock, cedar and oak) and brass. And plenty of glass, of course, because what is this house if not a presentation of extraordinary views?

Among this very controlled architecture, there is the odd, seemingly random element to temper any stiffness. For example, the shape of the brass door handles throughout the house was modelled on a pear that happened to be in a fruit bowl in the studio while the architects were discussing the subject. Yes, they were carefully resized to fit perfectly in the hand of the client, but they are fun.

The owner has plans for The Rock to be his main family home at some point, and anyone who has been to Whistler will appreciate the year-round appeal of its extraordinary landscape. As Gort Scott’s Joe Mac Mahon, the project architect who was in charge of running the job, says, ‘You get the sense that he has realised his dream. You cannot do things like this without an amazing client who has their vision of how they want to live.’

Gort Scott Architects gortscott.com Q

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THE DINING TABLE ON THE LOWER LEVEL WAS MADE BY LEON LEBENISTE TO A GORT SCOTT DESIGN. THE DINING CHAIRS ARE A MIX OF ‘HATA’

BY YOSHINAGA KEISHI ALONG THE SIDES, TEAMED WITH ‘DC10’ BY INODA+SVEJE AT THE ENDS, ALL FOR THE MIYAZAKI CHAIR FACTORY

LEFT, TOP DOWN IN THE KITCHEN, OAK-VENEERED CABINETS WITH CARRARA MARBLE WORKTOPS; NEXT TO A NOÉ DUCHAUFOURLAWRANCE FOR CECCOTTI COLLEZIONI ‘STELLA COFFEE TABLE’ IN THE SITTING ROOM IS A ‘WILLIAM’ SOFA

BY DAMIAN WILLIAMSON FOR ZANOTTA

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THE HOUSE WAS NAMED THE ROCK TO REFERENCE THE LARGE GRANITE OUTCROP INTO WHICH IT WAS BUILT

‘THE IDEA WAS FOR THE HOUSE TO TAKE YOU ON A JOURNEY THAT UNFOLDS AS YOU RISE TO THE TOP. IT IS AS THOUGH IT HAS GROWN FROM THE ROCK’ FIONA SCOTT

CABIN

FE RVO U R

Nestled in the woods of Awaawaroa Bay in New Zealand, this far-flung hideaway by Cheshire Architects offers a bucolic reprieve from city life TEXT THOBEKA PHANYEKO PHOTOGRAPHS JACKIE MEIRING JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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CAPITALISING ON ITS SOUTH WAIHEKE ISLAND VIEWS, THE CHESHIRE ARCHITECTSDESIGNED CABIN IS EMBEDDED IN NATURE, EVOKING A CLASSIC CAMPSITE FEEL PREVIOUS PAGE THE MAIN TIMBERLINED PAVILION IS FITTED WITH A CONCRETE SLAB THAT EXTENDS FROM THE KITCHEN OUT ONTO THE COURTYARD

BANQUETTE SEATING OFFERS INDOOR COMFORT AROUND THE ‘AETHER’ SUSPENDED FIREPLACE

BY AURORA SUSPENDED FIRES

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erched at the southern end of Waiheke Island, this home in nature aptly captures the Zen spirit of Awaawaroa Bay. The cabin sits comfortably in the valley, offering breathtaking views of the scenic, remote location in response to the clients’ desire to be off the grid. The 8.5-hectare site was initially occupied by a modest container located high on the hill within the native bush, built by the clients themselves, who instantly fell in love with the beautiful location. The brief was therefore informed by the idea of maintaining the essence of an informal settlement, and Cheshire Architects reimagined the space as a classic New Zealand campsite.

Carefully conceived and informally dressed, there is nothing ordinary about this artistic structure, which features three abodes, huddled around a sun-drenched courtyard.

The key attraction is the main pavilion, lined with timber, both internally and externally. The fabric of the exterior takes on a more geometrical form and the intricate wooded doorways of the cabin contrast with an external skin that is both firm and soft. Mirroring the slope of the site, the roof structure celebrates the idea of being one with nature. Further encompassing the concepts of encampment and immersion are the rich, earthy tones and textures throughout the interior. The suspended fireplace is the centrepiece of the cosy lounge where most of the living happens.

Fitted with a custom-concrete benchtop that extends into the courtyard, the kitchen is an engaging and safe space. One can only imagine the nature of conversations over coffees, continued outside, to the sound of rolling waves.

Built by Ramma Construction, the bedroom pods are completely detached from the main pavilion, wrapped in canvas. This allows the sound of the sea to be captured beautifully, on those windy and rainy nights, evocative of sails on a yacht, with the window of the main bedroom opening up to a fresh breeze and views of the ocean and bush. The structures may be separate, but there is an interconnectedness created by their proximity to the courtyard; the buildings themselves related though not identical.

Conceived as both a private and shared space, the home can easily accommodate two people or a group of 20.

The experiential approach not only displays a creative flair, but the imaginative choices further align with the clients’ ideals of alternative living.

The structural assortments challenge the notions of conventional living spaces, and the immersive experience wipes away any connection to city life.

Simply put: this is where peace resides.

Cheshire Architects cheshirearchitects.com Q

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‘THE EXPERIENTIAL APPROACH NOT ONLY DISPLAYS A CREATIVE FLAIR BUT THE IMAGINATIVE CHOICES FURTHER ALIGN WITH THE CLIENTS’ IDEALS OF ALTERNATIVE LIVING’

TOP DOWN RECYCLED OREGON FLOORS WERE INSTALLED THROUGHOUT THE PROJECT, INCLUDING THE MASTER BEDROOM;

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THE ENCLOSED SHOWER WAS PAINTED IN DAIRYCOAT FROM ENVIROPAINTS, TYPICALLY USED FOR MILKING SHEDS

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DESIGN NOTES HAY ‘NELSON’ SAUCER WALL LIGHT, POR, CRÉMA DESIGN

DULUX ‘NIGHT TIDES’ PAINT, FROM R179, BUILDERS WAREHOUSE

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

REPLICA BERTOIA BARSTOOL, R1 850, ELEVENPAST

‘GEORGIA’ CORNER SOFA, FROM R16 795, SOFAWORX

VELVET CUSHION COVER, R299, ZARA HOME ‘AERO’ SUSPENDED FIREPLACE, FROM R77 795, BEAUTY FIRES

‘PALACE’ RUG IN SPICE, FROM R4 000, HERTEX HAUS JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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INDIGENOUS PLANTS PROVIDE PRIVACY WHILE THE POD’S BLACK STEEL EXTERIOR BLENDS INTO THE ENVIRONMENT

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n untouched piece of land on the edge of a fruit and wine farm overlooking a trout-heavy stream called for clever thinking and sensitive design choices to limit the visual impact on the environment.

Floor-to-ceiling views and a prefabricated build that ticked comfort and affordability were the simple briefs given to architect Nikita van Zyl of ModH Design, who collaborated with interior designer Kim Spyron of Oooh Interior Design.

Kim regularly camps at Trouthaven Farm with her family. A ‘ simple pod structure maximises views and prioritises privacy, giving a sense that this little pocket of nature is yours.

Every angle, movement or position presents you with a magnificent view and radiates tranquillity, ease and a sense of connection,’ she says.

These lightweight steel, laser-cut structures can be made to measure, flat-packed, delivered to site and installed in six weeks, according to Dean Westmore of Space Agency, who built the Spaas Podular cabin, a 60-square-metre pod with two bedrooms and en-suite bathrooms, designed as a laidback getaway.

Kim ensured ‘everything had its place’ by using a functional approach, which she balanced with an ethereal one, so the cabin felt connected to the surrounding landscape. ‘The layout, furniture and other elements gave it substance.

I wanted to balance the hard, black, steel outer structure with a strong connection to nature internally.’

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When designing the interior, she was led by how it made her feel. ‘Perched on a mountain, it is airy and fresh,’ she explains.

‘So, I incorporated the element of air with my choice of materials and objects, favouring neutral shades.’

The living space was centralised, comprising a combined kitchen and lounge and a fireplace that doubles as a barbecue. ‘The challenge was to provide sufficient storage and functional space in the kitchen without hindering the seating space. We needed a simple, flexible way of integrating the two. I intended it to feel calm, airy and clutter-free,’ says Kim. One solution was to provide versatile seating configurations.

The hero of the space is a hanging chair that creates a ‘special spot’, and was installed to create a specific line of sight down the valley.

Light timber cladding dominates the cabin’s interior, which, Kim says, they chose to leave as part of the aesthetic.

Anything they added needed to blend with or complement it, which led her to select blonde and neutral fabrics, for example.

Small concessions to glamour were made by choosing a white kitchen counter embedded with recycled glass fragments, and a bronze and marble coffee table.

Kim seized the cabin’s small size as an opportunity to treat the deck that leads from the kitchen and lounge as an additional room. A sail was installed above the dining table to shield it from the midday sun.

The small kite-like structure attached to the perforated

pergola was strategically placed and angled so that it would hinder neither its openness nor sunset views.

The deck, which features a hanging day bed and heated circular pool, is home to al fresco dining and dreamy afternoon naps. ‘It is all about living inside and outside seamlessly,’ says Kim. ‘When we thought about the design, we kept in mind the flow of the day from morning to evening. We imagined someone sitting on the deck, their feet dangling into the pool.’

The bedrooms and bathrooms were not considered an afterthought. Instead of built-in cupboards, Kim chose to use one wall of the bedroom as a hybrid living space with a basin setup combined with black steel shelving for clothing.

She sourced items that would speak to the philosophy of airiness while adding personality.

Quirky cloud-shaped mirrors wrap around the shelving in the bedroom, reflecting views visible through a wall of glass.

The bathrooms are bolted on to each side of the cabin, and separated from the bedrooms with tracked barn sliding doors. Kim treated these units differently to the modular pod they are attached to, choosing marble tiles for the walls.

A coil-heated circular pool that can be fire-heated at night sits level with the deck, so the view is unencumbered.

‘Everything we did internally and externally contributes to pulling the environment into the space again,’ concludes Kim. Trouthaven Farm trouthaven.co.za Q

CLOCKWISE, FROM TOP LEFT THE KITCHEN COUNTERTOP IS

BY PROQUARTZ. IN THE FOREGROUND IS A COFFEE TABLE IN SCALLOPED BRASS AND WHITE MARBLE FROM CORICRAFT AND ‘THE RADIUS’ LOUNGE CHAIR FROM MINIMA KIM CHOSE FURNISHINGS FOR THE KITCHEN AND LOUNGE THAT ENCOURAGE THE FLOW OF AIR AND LIGHT, SUCH AS A HANGING RATTAN CHAIR, AND PERFORATED CHAIR AND COFFEE TABLE THE PENDANT LAMP FROM TENDU WAS CHOSEN FOR ITS STREAMLINED SILHOUETTE. KIM INSTALLED HOOKS PROTRUDING FROM THE WALL SO THAT IF THE BESPOKE BED AND HEADBOARD FROM GIRAFFE DESIGNS IS SPLIT INTO TWO SINGLES, THE LIGHT CAN BE SHIFTED TO SERVICE THEM A STRIP OF WINDOWS ABOVE THE BASIN IN THE BEDROOM INJECTS MOUNTAIN AND SKY VIEWS. THE SPRUCE AND MELAMINE CABINETRY IS

BY OOOH INTERIOR DESIGN

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‘I wanted to balance the hard, black, steel outer structure with a strong connection to nature internally’ KIM SPYRON

A FLOATING DAYBED, CUSTOM-MADE

BY CANEWORLD WITH CUSHIONS

BY OOOH INTERIORS, SITS ALONGSIDE THE OUTSIDE DINING TABLE AND POOL ON THE DECK

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DESIGN NOTES ‘LAND INK 2’ ART PRINT, R395, KNUS

‘ARYA’ WALL HANGING, R1 650, KNUS

‘KAI’ POD CHAIR, R9 995, WEYLANDTS

A-GRADE NGUNI HIDE IN BLACK AND WHITE, R3 500, THE NGUNI GUY

T E X T: J A N I A D E L E Y L A N D M A N ; P H OTO G R A P H S : M A R I K E M EY E R , S U P P L I E D

‘THE RADIUS’ DINING CHAIR, R3 995, KNUS

TUFTED GEOMETRIC CROSS SCATTER CUSHION, R200, MR PRICE HOME GEOMETRIC ‘REGAL’ COFFEE TABLE, R2 500, MR PRICE HOME

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Pretzel and potato crisp moon pies

GOURMET INSPIRING CUISINE, TASTEFUL TRAVEL

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Coffee-hazelnut biscotti

OH, Nothing evokes childhood memories quite like gooeychewy, crumb-trailing buttery or bitterly chocolatey biscuits, especially when dunked in a cold glass of milk

CRUMBS! RECIPES SOHLA EL-WAYLLY, CARLA LALLI MUSIC, CHRIS MOROCCO, MOLLY BAZ PHOTOGRAPHS LAURA MURRAY

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PRETZEL AND POTATO CRISP MOON PIES 18 Servings

This dough looks dry at first but comes together with kneading. Do not worry about overworking it – with all that butter and the fat from the potato crisps there is not much opportunity for gluten to develop.

1 cup (2 sticks) chilled unsalted butter, cut into 1.5cm pieces 1 cup lightly crushed small pretzels 1 cup lightly crushed potato crisps 1/2 cup (100g) sugar 1/2t salt 1 ¾ cups (219g) all-purpose flour, plus more for dusting 18 large marshmallows 115g semisweet or bittersweet chocolate chips, coarsely chopped 2T refined coconut oil SPECIAL EQUIPMENT: A 5cm-diameter biscuit cutter 1. Place racks in upper and

lower thirds of the oven; preheat to 175°C. Pulse butter, pretzels, potato crisps, sugar, salt, and 1¾ cups (219g) flour in a food processor until clumps form. Turn dough out onto a surface and knead gently to bring it together. 2. Roll out dough on a lightly floured sheet of parchment to just under 2.5mm thick. (If it feels very soft, cover and chill for 20 minutes before proceeding.)

Punch out rounds with a lightly floured cutter. Transfer rounds to a parchment-lined baking sheet, spacing 2.5cm apart. Gather dough scraps and repeat the rolling and cutting process until no dough remains (you should get 36 rounds). Divide remaining

biscuits between two more parchment-lined baking sheets. 3. Working in batches, bake biscuits, rotating baking sheets top to bottom and front to back halfway through, until golden brown, 10-12 minutes. Allow cooling for five minutes on a baking sheet, then transfer half of the biscuits to a wire rack.

Allow cooling completely.

4. Meanwhile, turn over the biscuits remaining on baking sheets and top each with a marshmallow, flat side down (make sure marshmallows stand up evenly or sandwiches will be crooked). If your oven has a convection fan, turn it off and bake biscuits until the marshmallows are softened and beginning to puff but not brown, about four minutes. Remove from the oven and top with cooled biscuits, letting their weight gently push marshmallows to the edges. Allow cooling for at least one hour. 5. Melt chocolate and oil in a small heatproof bowl set over a small saucepan of barely simmering water (do not let the bowl touch the water), stirring occasionally, or melt in a small microwave-safe bowl in a microwave in 20-second bursts, stirring between bursts. Dip half of each biscuit in chocolate, then sprinkle the top of chocolate sides with salt. Chill biscuits for 15 minutes to harden chocolate before serving.

DO AHEAD:

Biscuits can be made two weeks ahead. Store airtight at room temperature.

COFFEEHAZELNUT BISCOTTI 22 Servings

An extra egg yolk and plenty of butter help these biscotti stay tender.

2/3 cup blanched hazelnuts 3 large eggs 2T instant coffee powder 2 cups (250g) all-purpose flour 2t baking powder 1t salt 1/2 cup (1 stick) unsalted butter, room temperature 1 cup (200g) sugar, plus more for sprinkling 2t vanilla extract 85g coffee-flavoured chocolate, coarsely chopped 1. Place racks in upper and

lower thirds of the oven; preheat to 175°C. Toast hazelnuts on a rimmed baking sheet, tossing once, until golden brown, eight to ten minutes. Allow cooling, then very coarsely chop. Reduce oven heat to 160°C. 2. Separate yolk from one egg over a small bowl to catch egg white. Place yolk in another small bowl. Set egg white aside for brushing dough. Crack the remaining two eggs into a bowl with the yolk. Add espresso powder and beat with a fork to combine and dissolve.

3. Whisk flour, baking powder, and salt in a medium bowl.

Using an electric mixer on medium speed, beat butter and 1 cup (200g) sugar until light and creamy, about two minutes. Scrape down sides of the bowl, then add egg yolk mixture and coffee extract; beat just to combine. Scrape down sides of the bowl and beat until smooth. Add dry ingredients and mix on low speed to combine. Add hazelnuts and chocolate and mix just to evenly distribute.

Divide dough evenly between two parchment-lined baking sheets. Run your hands under cold water, then shape each dough mound into a 12cm

square about 2.5cm thick.

Beat reserved egg white with a fork until foamy and brush over loaves (you will not need all of it). Sprinkle very generously with sugar. 3. Bake loaves, rotating baking sheets top to bottom and front to back halfway through, until firm in the centre and starting to crisp at the edges, 30-35 minutes. (They will spread quite a bit as they bake.)

Transfer baking sheets to wire racks; let loaves cool for 15 minutes. 4. Working one at a time, carefully transfer loaves to a cutting board. Using a serrated knife, slice 12mm thick. Arrange biscotti cut side down on baking sheets and bake, rotating baking sheets top to bottom and front to back halfway through, until dry and crisp, 30-35 minutes.

Allow biscotti to cool.

DO AHEAD:

Biscotti can be baked one week ahead. Store airtight at room temperature.

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PIZZETTES 20 Servings

Not to be confused with wafer-thin waffled pizzelles, this rich brownie-like biscuit packed with warm spices is exactly the opposite.

BISCUITS 3/4 cup raw skin-on almonds 1 1/2 cups (188g) allpurpose flour 1t baking powder 1/2t salt 1/2 cup (1 stick) unsalted butter

and slice on a diagonal into 2.5cm wide biscuits. Divide between two parchmentlined baking sheets, spacing at least 2.5cm apart. 4. Bake biscuits, rotating baking sheets top to bottom and front to back halfway through, until firm around 96

HOUSE & GARDEN MAY 2021

3/4t ground cinnamon 1/2t ground cloves 1/2t ground nutmeg 1/2 cup (100g) granulated sugar 1/4 cup cocoa powder 1 large egg 1 large egg yolk 115g bittersweet chocolate chips (about 1 heaping cup) 1t finely grated lemon zest 1t finely grated orange zest GLAZE AND ASSEMBLY 56g bittersweet chocolate 2t unsalted butter 2/3 cup (75g) powdered sugar Pinch of salt

edges but still soft in the middle, eight to ten minutes.

Allow cooling.

GLAZE AND ASSEMBLY

1. Melt chocolate and butter

in a small heatproof bowl set over a small saucepan of barely simmering water (do not let

BISCUITS

1. Place racks in upper and

lower thirds of the oven; preheat to 175°C. Toast almonds on a rimmed baking sheet, tossing once, until slightly darkened in colour and fragrant, seven to ten minutes. Allow cooling, then finely chop. Set aside.

Increase oven temperature to 190°C. 2. Meanwhile, whisk flour, baking powder and salt in a medium bowl. Melt butter in a medium saucepan over medium heat. Stir in cinnamon, cloves and nutmeg.

Remove from heat and let sit

the bowl touch the water), stirring occasionally, or melt in a small microwave-safe bowl in a microwave in 20-second bursts, stirring between bursts.

Add powdered sugar, salt, and 2T boiling water and whisk until glaze is smooth. 2. Dip tops of biscuits into glaze and

for five minutes to infuse.

3. Whisk granulated sugar and cocoa powder in a large bowl. Pour in the spiced butter, scraping the pan so you do not leave any spices behind, and whisk vigorously to combine. Add egg and egg yolk; whisk vigorously to combine.

Mix in dry ingredients, then almonds, chocolate chips, lemon zest, and orange zest. Turn out onto a clean surface. Divide in half, then roll each half into a log about 4cm wide.

Flatten logs to 5cm wide

let sit, glaze side up, on a wire rack until glaze is set, for about two hours.

DO AHEAD:

Pizzettes can be made five days ahead. Store airtight at room temperature, or freeze for up to one month.

BROWN BUTTER AND PISTACHIO SABLÉS 30 Servings

This recipe calls for pistachios (we love their bright green colour!), but any nut will work.

Make sure to adjust the toasting time depending on what you use and start checking early for smaller nuts.

1 cup (2 sticks) unsalted butter, cut into 2.5cm pieces 2 large fresh bay leaves or 6 dried bay leaves 1/3 cup plus 2T raw pistachios 2 large egg yolks 1 1/2t vanilla extract, divided 2 3/4 cups (303g) powdered sugar, divided 3/4t salt 1 1/2 cups (188g) allpurpose flour 1. Place racks in upper and lower

thirds of the oven; preheat to 175°C. Cook butter and bay leaves in a small nonstick skillet over a medium-low heat, swirling occasionally, until milk solids are a deep amber colour and butter smells very nutty, six to eight minutes. (Be careful, it may sputter!) Fish out and discard bay leaves. Pour butter into a medium bowl, scraping in any browned bits. Set bowl with butter over a large bowl filled with ice water; allow cooling, stirring often, until slightly cooler than room temperature (not until hard), 15-20 minutes.

(Or chill in fridge for about one hour.) 2. Meanwhile, toast 1/3 cup pistachios on a large rimmed baking sheet, tossing halfway through, until golden brown, 10-13 minutes. Allow cooling, then finely chop.

3. Scrape butter into a large bowl. Using an electric mixer on a medium-high speed, beat

until light beige and fluffy, for about three minutes. Reduce mixer speed to medium-low; beat in egg yolks and 1/2t vanilla, followed by 3/4 cup (83g) powdered sugar, scraping down sides of bowl as needed. Beat in chopped toasted pistachios and 3/4t salt, then add flour in two additions. Beat until dough comes together. (It may look crumbly, but it should hold together when squeezed in your palm.) Transfer the dough to a large piece of parchment paper and pat into a loose square. Cover with a second piece of parchment and roll out to a 22cm square about 6mm thick. Chill dough for 20 minutes. 3. Uncover the dough; cut into 4cm-wide strips. Cut strips at a 45-degree angle about 4cm apart, creating oblique diamonds. Arrange biscuits on two parchment-lined baking sheets, spacing 2.5cm apart.

Bake, rotating baking sheets top to bottom and front to back halfway through, until edges are golden, 14-18 minutes. Allow cooling.

4. Finely chop remaining 2T pistachios. Whisk a pinch of salt, remaining 2 cups (220g) powdered sugar, remaining 1t vanilla, and 6-8t water in a small shallow bowl until thick and glossy (not runny, although it should drip off the whisk). Add more water or powdered sugar if needed.

5. Working one at a time, dip tops of biscuits in glaze, letting excess drip back into bowl; smooth with a spoon if needed. Sprinkle with pistachios and let sit for 10 minutes to set.

DO AHEAD:

Biscuits can be made three days ahead. Store airtight at room temperature.

Q

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TRAVEL

Namibia’s expansive scenery, sparse population and gentle pace make it the perfect mid-pandemic escape TEXT JULIA FREEMANTLE

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A celebration of the elements, positioned with staggering views of the desert and lilac mountains

ANDBEYOND SOSSUSVLEI DESERT LODGE WAS DESIGNED TO CELEBRATE THE SAND, STONES AND STARS OF ITS SURROUNDINGS OPPOSITE PAGE WITH THE PANORAMIC DESERT VIEW VISIBLE FROM EVERY ROOM, THE VANTAGE POINTS CONSTANTLY

SITUATE YOU IN THE REMARKABLE LANDSCAPE PREVIOUS PAGE INSPIRED BY LOCAL VERNACULAR BUILDING TECHNIQUES, THE TERRACOTTA-TONED SUITES AND MAIN LODGE AT ZANNIER OMAANDA FEEL CONNECTED TO THE EARTH

TRAVEL circulate water back into the system.

Aside from the striking architecture and sophisticated glamour of the interiors, it is a service showstopper. Subtle, seamless and polished, the team is gracious and intuitive, and the food and wine offering exceptional (ask to dine in the private ‘cellar’).

The newly reimagined lodge not only received a facelift, however. Its activities were revised to offer a unique and immersive experience of the desert. The spa and gym above the main lodge have arguably the best views, making wellness a memorable experience. Excursions abound, from quad biking through the dunes to visits to San rock art sites, outdoor dining options such as a breakfast picnic in the desert and geological excursions to learn about the ancient rock formations. andBeyond.com

W I L D E R N E S S S A FA R I S LIT TLE KUL AL A

t

ravel in a mid-pandemic world means our priorities have changed. Wide-open spaces, safety, and peaceful surroundings all rank high on our wish lists – the desire to escape stress a need rather than merely a desire. Namibia’s scarcity of people, wild, natural beauty and ease of access (especially for South Africans) make it the ideal destination to venture to right now. And as varying as the terrain, which morphs from savannah to desert and stark otherworldly coastline, the further you head along the highway, so are the types of lodges open to guests. Better still, plan an extended, lazy stay and experience variety as you explore the vast empty roads.

ANDBEYOND S OS SUSVLEI DE SERT LODGE Best for: elemental x-factor Reimagined in 2019 by Fox Browne Creative, andBeyond Sossusvlei Desert Lodge has scooped copious awards, and it

is not hard to see why. A celebration of the elements, positioned with staggering views of the desert and lilac mountains in the distance, this cluster of structures fashioned in rock and rusted metal are at one with the russet tones of their surroundings but remarkable in their own right.

The architecture and interiors are a masterclass in contextual but contemporary design, and find the perfect balance of standing out and blending in.

The contrasts – rounded versus angular forms, linen juxtaposed with mirror – is a subtle reminder that this luxurious space is in one of the most primal places on earth.

Suites are self-contained universes, with their own deck and pool, staggering bathroom views and spacious living areas (complete with work and lounging areas and a fireplace for the desert winter).

Sustainable features invisible to the naked eye keep the lodge as light on the earth as possible – with 85 per cent power supplied by solar and water filtration on taps to

Best for: remote romance A romantic and uplifting destination that is luxurious but unpretentious, Little Kulala’s immersion in the desert and warm service is a tonic. Situated along the dry Auab riverbed in the Kulala Wilderness Reserve, it is an unexpected oasis. Once farmland used for subsistence farming, as recently as two decades ago, the region had very little indigenous wildlife. Then, in 1996, Wilderness Safaris stepped in to rehabilitate the area, and today the landscape reflects the natural biodiversity.

Designed to echo the scenery and merge with the surroundings – pastel tones, organic shapes and natural textures – it is soothing from the moment you step inside.

It has rounded rooms and curved walls and furniture, and its edges are not hardened or harsh, giving the space a cocooning effect.

The 11 thatched suites, situated along a raised boardwalk that is lit up at night, offer total seclusion while being open to the expanse of the desert. A comfortable living area, generous bathrooms (with an obligatory outdoor shower) and a practical dressing area make it effortlessly comfortable to spend time in. Each has a spacious outdoor area, walled from view, with a starbed that is set up for you each night to sit and enjoy the night sky in comfort. A small refreshing plunge pool and private dining deck allow you to enjoy JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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the sanctuary of the desert in total privacy, just some of the reasons this lodge is a perfect honeymoon destination.

Sundowners on the deck as the desert turns tones of pink and dining by candlelight at night further celebrates the setting. As far as excursions go, daily game drives and guided walks – both night and day – will acquaint you with the area’s animal, bird and plant life, and quad biking will satisfy the adventurous. wilderness-safaris.com

Z ANNIER OMAANDA 102

HOUSE & GARDEN JUNE/JULY 2021

TRAVEL

FAR LEFT, TOP DOWN LITTLE KULALA’S ORGANIC FORMS, ROUNDED SHAPES AND PASTEL TONES MAKE FOR A COCOONING EXPERIENCE; EACH SUITE HAS A STARBED SET UP FOR YOU EACH EVENING TO ENJOY THE NIGHT SKY

Best for: authentic escapism Understated in the extreme as you enter, but opening up onto panoramic elevated views over the bushveld to the Khomas Hochland plateau in the distance, this beautiful traditionally inspired lodge, nestled into the vegetation, was designed featuring elements of Owambo architecture.

The low-key elegance continues throughout. The main lodge, open entirely to the elements, offers an immediate sense of place. The celebration of earth tones, organic forms and textures, and a scheme featuring beautiful fabrics, precious artefacts and authentic ceramics

LEFT AND BELOW FROM THE RESTAURANT TO THE POOL BAR AND SUITES BEYOND, ZANNIER OMAANDA CELEBRATES NATURAL TEXTURES, AFRICAN ARTEFACTS AND A DISCREET SENSE OF LUXURY; THE PRIVATE TERRACES IMMERSE YOU IN NATURE

is a discrete and understated expression of luxury that keeps you constantly connected to the cultural heritage and natural beauty of the setting.

Traditional round rush-thatched huts offer sanctuary-like spaces, each with a private terrace, spacious dressing- and bathrooms. With all the mod cons for a seamless stay but the escape from modern life we all need, they offer a sense of rest.

A pool bar and heated rim-flow heated pool are the ultimate space for sundowners, and meals are served with views in the welcoming restaurant, which focuses on seasonal organic produce. Spa treatments once again ground guests in the landscape

with ancient Namibian therapies that use local roots, herbs and spices. Fires are lit in the restaurant and the boma at night, a daily ritual synonymous with being in the bush.

Daily game drives will give you a glimpse of the natural riches of the landscape.

Because aside from the hospitality experience it offers, Zannier Omaanda is also a story of rebirth. When founder Arnaud Zannier acquired a piece of land, with the N/a’an ku sê Foundation, set aside for cattle breeding, he created a 9 000-hectare conservancy dedicated to preserving the natural beauty and heritage of this part of the world. zannierhotels.com JUNE/JULY 2021 HOUSEANDGARDEN.CO.ZA

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Resources @home home.co.za Anatomy Design anatomydesign.co.za Artisafire Clay Studio 082 468 2223 Ashley Furniture Homestore ashleyfurniture.com Belgotex belgotex.co.za Bestwood Flooring bestwood.co.za Block & Chisel blockandchisel.co.za Blu-Line blu-line.co.za Builders Warehouse builders.co.za Bulthaup domum.bulthaup.com Caesarstone caesarstone.co.za Carl Hansen & Søn carlhansen.com Cara Saven Wall Design carasaven.com Casarredo 011 786 6940 Cécile & Boyd cecileandboyds.com Cemcrete cemcrete.co.za Charles Greig charlesgreig.co.za Cielo cielo.co.za Coral & Hive 021 851 7665 Coricraft coricraft.co.za Créma Design 021 448 7775 de Gournay degournay.com Design Store designstore.co.za Dokter and Misses 011 403 1024 Domum domum.co.za Egg Designs eggdesigns.com Eight Degrees South eightdegreessouth.co.za Elevenpast 021 201 1211 Enza Home enzahome.com Eurocasa eurocasa.co.za Eurolux 021 528 8400 Everard Read Gallery everard-read.co.za Gaggenau gaggenau.com Game game.co.za Generation Design 011 325 5963 Glo Lighting 011 440 1781 Griffiths & Griffiths 011 444 5744

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