Real Estate June 2017 ( Issue 44 )

ISSUE 44 • JUNE 2017

BRIGHT

SIDE Designer lights | Three hot South African artists | A glam cabin in Constantia

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his month’s ed’s letter is an emotional one as I have decided to follow my passion for travel and start an exciting new chapter in my career. It’s been such a privilege to work on this title since day one, with a wonderfully dedicated team making it an immensely rewarding journey. But as this is my last issue, the time has come for me to introduce you to Debbie Loots, Real Estate’s talented new editor.

Debbie is an accomplished author, journalist, editor and artist with degrees in both fine art and creative writing.

Debbie has worked at ELLE and VISI magazines, and has written for the Mail & Guardian and Sunday Times, among others. Growing up in Polokwane gave Debbie an affinity for bush sunsets, but she equally loves the cool ocean breeze of Sea Point, where she now lives. As a child, she wanted to become an artist or fashion designer and although she has done both, it was in writing that she found a home.

Debbie’s debut novel, Split, was published in 2015 and won ATKV’s Prize for Prose in 2016.

I’m thrilled to welcome Debbie into the fold, and look forward to seeing her nurture Michelle Snaddon and grow the magazine.

Editor, REAL ESTATE

PUBLISHED BY THE CREATIVE GROUP FOR TIMES MEDIA PROPERTY PUBLISHING

CONTENTS

25 09 WORD ON THE STREET

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14 SIX OF THE BEST

The new VW Amarok 3.0 TDI further blurs the lines between bakkie and SUV

16 SYLVAN SYMPHONY

A clearing in the trees was the starting point for Graham Paarman’s Constantia cabin

MANAGING DIRECTOR: THE CREATIVE GROUP Terence Hewitt | terence.hewitt@thecreativegroup.info

25 LIGHT YEARS

Whether black fittings, traditional techniques or reflective materials, good lighting design can make a room

EDITORIAL TEAM Editor Michelle Snaddon | michelle.snaddon@thecreativegroup.info Creative director Leah de Jager Deputy editor Julia Freemantle Copy editor Kirsty Wilkins Group digital editor Lauren Joubert Accounts and finance Katrien Bezuidenhout Printing Paarl Media Contributors Patrick Cairns, Alexandra Dodd, Genevieve Putter, Terence Steenkamp, Jocelyn Warrington and Graham Wood

41 34 RECONSTITUTING THE REAL

Three South African artists work with familiar materials to create something new

ADVERTISING SALES Michèle Jones | Sales and marketing manager michele.jones@thecreativegroup.info | 084 246 8105 Susan Erwee | Key account manager susan.erwee@thecreativegroup.info | 083 556 9848 Jimmy Balsaras | Key account manager jimmy.balsaras@thecreativegroup.info | 083 387 2227 Tony Tandi | Sales executive tony.tandi@thecreativegroup.info | 073 380 6110

ADVERTISING BOOKINGS AND SUBMISSIONS Jackie Maritz | Advertising coordinator jackie.maritz@thecreativegroup.info | 078 133 5211 Love the environment!

Please recycle this copy of REAL ESTATE after you have read it.

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41 MARKETPLACE

Property news, awards and investment advice

50 MOVING WITH THE TIMES Six global property trends to watch

60 DREAM HOME

This month’s investment property in Hout Bay merges koi ponds, extensive use of glass and natural beauty

COVER IMAGE Verner Panton Flowerpot pendant and Jaime Hayon Catch chair, courtesy of &Tradition PHOTOGRAPHS Lar Photography, Ruvan Boshoff, supplied ARTWORK Billie Zangewa

Old Castle Brewery, 6 Beach Rd, Woodstock, Cape Town, 7925 www.realestatemagazine.co.za | 087 828 0423 | 021 447 7130

DISCLAIMER The publisher of this magazine gives no warranties, guarantees or assurances and makes no representation regarding any goods or services advertised within this edition. © The Advertising Joint Venture. All rights reserved. No portion of this publication may be reproduced in any form without prior written consent from the publisher. The publishers are not responsible for any unsolicited material.

LAUNCHING STAND 51 Real Estate magazine is proud to announce its association with an exciting home design project.

Saint-Gobain and Val de Vie Estate in the Cape Winelands are inviting public participation to create a better-designed home (to be built on Stand 51 at Val de Vie) for today’s savvy buyer. We’ll follow and share its progress during the year. View existing feedback and present your ideas online via stand51.co.za.

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- Coming soon in Real Estate’s -

JULY ISSUE

GO DIVING FOR DIAMONDS, FEAST YOUR EYES ON THE LATEST WALLCOVERING DESIGNS AND FLY TO FARAWAY OSLO FOR A PEAK AT THE WORLD’S GREENEST AIRPORT TERMINAL

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PHOTOGRAPHS iStock by Getty Images, Dag Spant, Brad Knipstein

For more information and to book, email sales and marketing manager MICHELE JONES on michele.jones@thecreativegroup.info

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WORD ON THE STREET

LIFESTYLE

THINGS TO SEE, TRENDS TO SPOT AND PLACES TO BE

BLU STREAK Paying homage to its location in an iconic Cape Town building, the new Radisson Blu Hotel & Residence in Riebeek Street (floors up to 11 are hotel rooms and 12 to 23 are residential) is an ode to Art Deco with a cool, contemporary twist. Its motifs and palette are influenced by the Mother City’s notoriously moody weather – Atlantic blue, gold and grey – making it an incredibly sophisticated and unique addition to the hospitality scene, despite belonging to a global hotel chain.

The divine Ghibli Bar and adjoining pool deck are conservatory inspired – lots of tropical prints and planters – while the Stratus Room (breakfast, lunch and dinner) is a cool showcase of local design and great tailoring.

For top-tier guests, the Business Class lounge offers all the necessaries for a work trip – or for a quiet place to relax. All the art and decor is, in fact, local and you can use the Radisson One Touch app to access services such as ordering room service. radissonblu.com

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HANGING OUT In an unusual cross-disciplinary collaboration, jewellery designer Katherine-Mary Pichulik and interior designer Aimee Henning from Malica Design came together to create a piece of furniture that’s both practical and fantastically decorative. Combining both their skills, this woven hanging chair is a celebration of form and function, and would look equally amazing on a beach cottage veranda, in a bush bungalow or in a contemporary penthouse full of art. malicadesign.co.za; pichulik.com

Beach blonde The new light and luxe Lily’s in Mouille Point is the latest addition to The Kove Collection’s popular portfolio.

It’s particularly close to the hearts of MD Paul Kovensky and his wife Simone, being named after their daughter and designed by Simone. Light wood, metallic accents and a relaxed indoor/outdoor flow reflects the style of the food itself: easygoing but elegant. From mussels and fish and chips to gourmet salads and confit duck, there’s something for every palette, all served in a warm and sophisticated setting. lilysrestaurant.co.za

A shoe for all seasons

LIFESTYLE

Proving themselves the perfect midseason shoe – while also ideal for those heading somewhere warmer for a midyear holiday – Espadril’s new styles combine classic European designs with a little South African flavour. In the unlikely event you can’t find a pair you love, you can customise your own. Visit the store on Bree Street in Cape Town’s CBD. espadril.co.za

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HIGH FIVE The Turbine Art Fair will celebrate its fifth year from 14 to 16 July at Turbine Hall in Johannesburg. It’s aimed at making the act of buying and enjoying art an undaunting and sociable experience while showcasing both emerging and established artists and galleries. For those who want first pick, the fair will start with a preview first-look evening.

Also expect a talks programme, special micro exhibits and walkabouts. turbineartfair.co.za

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DESIGN JOBURG 2017 The inaugural Design Joburg, held recently at the Sandton Convention Centre, was curated

by HK Studio’s Andrea Kleinloog and Megan Hesse (below), and featured some of South Africa’s best design talent and brands (lighting, flooring, furniture design, kitchen suppliers and architects). It was a resounding success and raised the bar on design shows going forward. designjoburg.com

SHOWSTOPPER STAND Weylandts’ Raw Refined stand wowed expo goers with its beautiful finishes, rich tones and earthy textures. It was the launch pad to announce the company’s new interior design division, Weylandts Spaces, guided by Chris Weylandt. Now you can dip into Weylandts’ expertise, not just its product range, by hiring the team to design your spaces. weylandts.co.za

Oh, darlings The Darlings stand highlighted some of South Africa’s favourite designers – both new and part of the furniture – with iconic product and new designs. Haldane Martin’s new Sim-ply collection is the first in a new range of hospitality furniture called Endless Forms Most Beautiful (lounge chair, bar-stool and tables to follow soon). The range combines a high standard of design with a local and environmentally conscious manufacturing process and an affordable price point. haldanemartin.co.za

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WORD ON THE STREET

Collaboration was key

TEXT Julia Freemantle PHOTOGRAPHS Sarah de Pina, Anthea Pokroy, supplied

The theme of the groundbreaking Design Joburg was collaboration. The idea was that brands and designers would partner up, each offering their expertise, to create something fresh and exciting. This spirit engendered a staggeringly high standard and world-class spaces.

One such stand was Copperleaf Studio, who worked with Caesarstone, Streamlight, Neolith, JVB Furniture, St Leger & Viney, Beauty Fires and Optima Kitchens to create a glamorous kitchen/dining setting under the theme ‘A Dinner Party’. copperleafstudio.co.za

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CAR NEWS

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OF THE BEST VW’s updated Amarok gains a brilliant new six-cylinder engine and proceeds to further blur the lines between bakkie and SUV TEXT Terence Steenkamp PHOTOGRAPHS Supplied

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s South Africans love our bakkies.

We cart our kids to school in them, load large appliances on the back, tow our trailers, boats and caravans to the coast, do a spot of off-roading and, ahem, give our egos a boost while lording over the hoards of Polos and Corollas inching forward in stop-start traffic.

Never mind that bakkies are ultimately unsuited to an urban locale, where their comical size renders them difficult to park and they’re a drain on your wallet at the petrol pumps.

But don’t attempt to find a rational reason why the Hilux and Ranger are often the bestselling vehicles overall in South Africa.

You simply won’t discover one.

A vehicle that’s been a perennial also-ran in the fiercely competitive bakkie segment hopes to net a bigger slice of that lucrative pie. Despite being the most refined of bakkies, Volkswagen’s Amarok has never quite been able to convince buyers that it should be their pick over the de rigueur Hilux and Ranger.

But that looks set to change with the big German pickup’s midlife refresh. Supplementing the 2.0-litre turbodiesel is a new 3.0-litre V6 that’s shared with such illustrious VW Group stablemates as the Porsche Macan and Audi

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A7 Sportback. And the lusty V6 transforms the experience.

Forget what you know about bakkies. The Amarok 3.0 TDI feels like an SUV with the hatch chopped off and replaced with a practical trough of a load bay. The engine spins throatily to the red line of the rev counter, pulling along the colossal Amarok at a pace that’s unmatched in this segment. Coupled with VW’s lovely eight-speed auto box, it has the refinement to make you think long and hard about signing for that SUV, and rather consider joining the mobs of bakkie devotees.

What else is new? Well, VW has tweaked some exterior design details, while the updated interior has a new dashboard, enhanced connectivity options, sumptuously comfortable seats and a clever bit of tech that amplifies the driver’s voice to the rear seats, perfect on those long road trips when the little ones are getting antsy and a digitally enhanced word or two is called for.

But those advances pale in comparison with the engine. If you can afford an Amarok 3.0 TDI V6 – prices look to start at more than R700 000 – rest assured you’re buying the best leisure bakkie. Good luck with parking it at your local shopping centre, though. vw.co.za

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SHOWCASE

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This modern cedar-clad cabin in a wooded setting in Constantia reinterprets tradition as it mimics its surroundings, blending with the trees and making a bold statement while creating a sanctuary for its owner TEXT Graham Wood/bureaux.co.za PHOTOGRAPHS Sven Alberding/bureaux.co.za STYLING Greg Cox/bureaux.co.za

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he starting point for Graham Paarman’s cabin-like tree house in Constantia, Cape Town, was a particular spot he’d chosen on his family estate: a clearing among the trees overlooking four square reflection ponds. The estate has extensive landscaped gardens, a manor house and a number of dwellings and buildings arranged along the lines of a modern interpretation of a Cape Dutch Werf or traditional Cape farmyard.

Architects Pieter Malan, Jan-Heyn Vorster and Peter Urry of Cape Town-based firm Malan Vorster Architecture Interior Design had worked on various buildings on the property for quite some time and, together with garden designer Mary Maurel, had been instrumental in creating the quartet of reflection ponds in what had previously been a field of lavender.

The ponds seemed to bring a certain magic to the clearing and galvanised Graham’s decision to build a cabin there. He called on Pieter, Jan-Heyn and Peter to help him realise his idea for a tree house. ‘I always wanted something in the tree canopy,’ says Graham. ‘I never wanted a building that was going to impose itself. I didn’t want something symmetrical. I hoped it would blend in and enhance its surroundings and would invite the outside in.’ And he wanted something small.

The ‘pure geometry of the square’ prompted by the ponds became a ‘subliminal link’, as Jan-Heyn puts it, in the scheme they devised to bind together the various elements of the floating architectural interpretation of the forest.

To mediate the combination of inspirations for the tree house – the organic forms of the woods and the sharp-edged squares of the ponds – the architects turned to the work Louis Kahn and Carlo Scarpa.

‘There are certain geometrical ideas they used that inspired us,’ says Pieter. ‘We investigated a rigorous geometric framework that also allows a sense of freedom, curved flowing from straight lines, rectangular shapes that become drums and the celebration of the connections between different elements.’

So the tree house began its existence as a sketch of a square the same size as one of the reflection ponds, divided into nine smaller squares, each the size of a reflection pool. Along the edges of each side of the square, four circles represented four trees, creating a floor plan resembling a pinwheel. Steel pillars, in groups of four, represent the trunks of the trees and rings overhead suggest branches. Branch-like beams in turn support the floors above.

Each ‘tree’ is a slightly different height. ‘The tree that terminates at roof level became the circular drum for the staircase,’ says Pieter. It leads to a rooftop deck, an entertainment space that is also a viewing platform, looking over the beautifully landscaped gardens and, of course, the reflection ponds. Ascending the stairs feels a little like climbing a tree.

The rooms are arranged vertically: one living space per floor. The living area is on the first level, the bedroom on the next and at the top, the open-air deck. At the same time, a double volume space makes for a vertical connection between the levels. Some of the rings extend beyond the edge of the almost imperceptibly square floorplate, creating cantilevered outside balcony spaces.

The structure is glassed in and covered with a veil of vertical cedar slats. ‘They create privacy at certain points and articulate the building in others,’ says Pieter. The lines they create echo the ‘verticality of the surrounding trees’, so the building blends

The front of the tree house has two-storey-high glass sliding doors that open a double volume space inside. In an interesting play on scale, this space creates a sense of the interior being connected to the vast space around it; the tree house is positioned in a clearing in the gardens of a tree-rich estate in the Constantia Winelands. Its slatted western red cedar envelope is designed to blend in with the trees so that it almost disappears in the landscape

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SHOWCASE

beautifully with its surroundings. The staircase drum is the only really solid mass in the building.

‘We wanted the contrast between something that is completely open and one really solid volume,’ says Pieter.

The architects found that their choice of materials provided clues to prompt many of their final design decisions as the building went up as much as the concept did. Pieter proves a useful example: ‘Generally the vertical elements are steel. They support the horizontal elements, which are timber beams and floor plates. Those connections are expressed in little turned brass, hand-machined connections. The idea of crafting the structural components, to express it, gave us an opportunity to design those things beautifully.

We turned them into elegant sculptural elements, so they would not appear too engineered.’

The architects used Corten steel, manufactured only in flat sheets, rather than standard, round mild steel sections. The idea of the steel being folded appealed to them, as well as the fact that it gains a patina in time, rusting and turning a coppery or ferrous orange colour. The cedar wood they used will also weather. ‘Materials are allowed to change,’ says Jan-Heyn. ‘It works in a natural, organic direction.’

CLOCKWISE FROM TOP LEFT The kitchen is from the Sine Tempore range by Italian kitchen manufacturer Valcucine (valcucine.com); you enter the cabin via a suspended timber and steel ramp, which enhances the sense that the building is floating or that once inside you are raised off the ground, as if in the branches of a tree. The architects chose Corten steel for the walkway mainly because it rusts with time and gains a beautiful red-brown ferrous patina; visible from the patio on the first level are four reflection ponds, which preceded the house OPPOSITE A half-round ring accommodates the patio. Their edges, also made from Corten steel, inspired the architects’ choice of the material for the cabin’s structural steelwork, executed

by Link Engineering

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‘ALL OF THE MECHANICS OF THE BUILDING ARE AESTHETIC, DESIGN ELEMENTS’ JAN-HEYN VORSTER, ARCHITECT

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SHOWCASE Due to the lush surrounding gardens, the architects steered away from green in their choice of fabrics and furnishings, instead using complimentary colours such as ochre, deep blue, taupe and browns. The furnishings are almost all Antonio Citterio-designed pieces by Flexform (flexform.it). The coffee and side table in black steel with marble tops are from Roche Bobois (roche-bobois.com). The circle and square motif of the coffee table and side table is a playful reference to the underlying geometry of squares and circles of the building itself. The dining table is by Moooi (moooi.com). The natural dyed linen fabrics of the sofa’s scatter cushions are by Mark Alexander from Romo (romosouthafrica.com) OPPOSITE, TOP TO BOTTOM The light-filled kitchen also looks into the surrounding gardens; a cedar-clad drum contains the staircase, which is the one solid form in the building, contrasting with the light, veil-like transparency of the rest

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‘I’M A FAN OF WARM MATERIALS AND TEXTURES – WOOD, STONE AND LEATHER’ GRAHAM PAARMAN, OWNER

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SHOWCASE

The colour of the Corten’s patination and its high copper content, lead to the decision to use warm metals such as brass and copper for the junctions.

This was picked up again in many of the other finishings such as the taps, showerhead and lamps.

The architects designed the interiors and chose the furnishings, too. As Jan-Heyn points out, ‘It’s lovely to have the opportunity to take the concept right through to the furnishings. The same care goes into choosing a piece of furniture as making the space.’

‘I’m a fan of warm materials and textures – wood, stone and leather,’ says Graham. This perfectly suited the architects’ idea to work with natural materials and metals. ‘We tried to keep the colours subdued and almost neutral so that you’re really more aware of what is going on outside the house rather than being colourful and flashy on the inside,’ says Pieter. They stuck predominantly to linens, wool and leather in ochre, deep blue, taupe and brown.

‘The architecture makes quite a strong, singular statement,’ says Graham. ‘But at the same time, it has become a sanctuary. It has almost become transformative as far as lifestyle is concerned.’

Just as the floating tree house immerses itself in nature and subtly mediates between its inhabitants and the nature surrounding them, it also provides a mediation on man’s relationship with nature, another way in which it is like those four ponds that proved to be the seeds of its inspiration. ‘It’s just a special space,’ says Graham. malanvorster. co.za; marymaurelgardens.co.za

CLOCKWISE FROM TOP LEFT The bedroom is the place owner Graham Paarman finds himself gravitating to most often. The shelving is by Versfeld Custom Furniture (customfurniture.co.za); the bed linen and mattress are by Hastens (hastens.com) while the bed comforter is from Mungo (mungo.co.za); the bathroom cabinets are by Versfeld Custom Furniture (customfurniture.co.za); the bedside lamps in the bedroom are by Rubn (rubn.com), available from Stile Milano (stilemilano.com) OPPOSITE The bed and other cabinetry were all custom made in solid oak with traditional jointing details; in the bathroom, the choice of copper by Vola (en.vola.com) was prompted by the high copper content in the Corten steel used throughout the house

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Trapezium Crystal Slabs Code: Q-KLCH-81502/5 or 8

LIGHTING TRENDS

LIGHT

YEARS

Often the initial focal point, good lighting design has the power to immediately pull a room together TEXT Julia Freemantle PHOTOGRAPHS Supplied

Danish architect and designer Jørn Utzon designed the Utzon pendant in 1947, inspired by his fascination with ships and boats. The structured shape, different angles and smooth surfaces offer a beautiful light play. Available through &Tradition (andtradition.com)

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LIGHTING TRENDS

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Reflective materials and metallics allow a light fitting to elevate and accessorise a room 01 The smoky Walter anthracite glass and satin brass pendant

by Original BTC (originalbtc.com) is understated in shape but glamorous in finish. Tailored details such as a braided black cotton cable and brass ceiling rose make it ultra-polished 02 The Inarchi Geo orbs in either onyx or marble celebrate craftsmanship through a simple shape that shows off the material. What’s extra appealing about this particular design is its asymmetry. Available through Euro Nouveau (euronouveau.co.za) 03 Lee Broom’s Mini Crescent Three-Piece Chandelier (leebroom.com), available from Crema Design (cremadesign. co.za), plays with levels and geometry: the ‘sliced’ orbs reveal a flash of brass inside. Opaque glass provides a diffused glow – much more sophisticated than bright light 04 The anthropomorphic shape of Arne Jacobsen Bellevue Floor Lamp for &Tradition (andtradition.com) gives it a quirky effect, while the brass finish warms up the room. It’s a good height for reading, too, unusual in a standing lamp 05 The different coloured glass of these Arts and Crafts-inspired Flora pendants by Rothschild & Bickers (rothschildbickers.com) make a feature out of the lighting, which would serve as a focal point in a neutral room or equally, as paired here with Osborne & Little (osborneandlittle.com) wallpaper, which adds depth to a layered space. It’s also a good reminder that a vintageinspired aesthetic can be design forward. Rothschild & Bickers is available from Newport Lighting (newport.co.za) 06 Mia Widlake’s Lian Swing Lamp (studio19.co) is an unusually versatile wall light: it moves to where you need it but it also hugs the wall so it’s not in the way. The combination of brass and black gives it a modern industrial yet elegant feel 07 Copper is still having its moment and the Stanley table lamp

by Original BTC (originalbtc.com) adds immediate warmth

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ACHIEVE MAXIMUM DRAMA WITH LIGHTING THAT TAKES STRENGTH IN NUMBERS

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Achieve maximum drama with lighting that takes strength in numbers 01 The Marble light by Studio Vit, through &Tradition (andtradition.com), is all about purity of form. The different proportions make for an engaging installation – almost artlike, a quality echoed by the luxury of its materials – carrara marble and borosilicate glass 02 For a high-ceilinged space, you couldn’t get a more perfect statement piece than the Plane Drop Chandelier by Tom Dixon (tomdixon.net). Multifaceted yet simple, it commands a space and looks good from every angle. Tom Dixon is available from Crema Design (cremadesign.co.za) 03 Apparatus Studio’s (apparatusstudio.com) dreamlike Cloud pendant is an excellent example of simplicity of form having a big impact. Completely unadorned, it’s the details – the multiple orbs and milky glass (inspired by 19th century frosting techniques) – that makes this a showstopper 04 Muuto’s Ambit Rail by TAF Architects gives you the enmasse effect of numerous lights with just one unit. A billiard table lamp inspires the linear take on a chandelier, while the matte finish is contemporary. Perfect for above a dining table.

Available from Crema Design (cremadesign.co.za) 05 Blown glass vessels in varying shapes and sizes make up the whimsical Ceraunavolta suspension lights from Karman (karmanitalia.it). The different patterns in the glass give it texture and cast interesting patterns as the light shines through.

Best used in a space where atmosphere is more important than clarity. Available though Streamlight (streamlight.co.za)

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LIGHTING TRENDS

BLACK LIGHT FITTINGS ARE AN ALTERNATIVE TO METALLICS FOR AN EQUALLY DRAMATIC BUT MORE MASCULINE EFFECT

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Black light fittings are an alternative to metallics for an equally dramatic but more masculine effect. They can look classic or contemporary – that’s down to the shape and setting 01 These Shadow pendants by Brokis play with texture – matte and gloss – to add interest to what is otherwise a simple silhouette. Hang a few together for extra wow factor. Brokis is available from Crema Design (cremadesign.co.za) 02 The Davey Lighting York Pendant from Original BTC (originalbtc.com) makes a feature of the filament, a trend that can toughen up a traditional space or fit right in with an industrial look 03 More sculpture than light fitting, the Inarchi D’Arc suspended lights’ slender profile belies their impact on a room. They’re the ultimate statement in minimalism. Available through Euro Nouveau (euronouveau.co.za) 04 The Samar pendant from Weylandts (weylandts.co.za) has an instantly graphic effect. The geometric shape and sharp lines lend it to a contemporary setting 05 FontanaArte Yumi light from Casarredo (casarredo.co.za) is minimalism at its best. A simple arc, it’s sculptural, functional and subtle all in one. Combining it with a decorative classical sofa such as this achieves perfect balance

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LIGHTING TRENDS

A return to cultural roots in the creative world has meant there’s a revival of traditional craft, techniques and materials in high design 01 Karman’s Mademoiselle design plays with soft feminine motifs of lace and decorative moulding to give it an old-world feel despite it being ceramic and completely contemporary – a beautiful balance of old and new. Available through Streamlight (streamlight.co.za) 02 The Tutu 2.0 by Mash T Design Studio (thabisa-mjo. squarespace.com) is the perfect marriage of traditional beadwork and contemporary expression. Designer Thabisa Mjo’s graphic interpretation takes the medium from ethnic to edgy – a total statement piece 03 The natural texture of timber juxtaposed with modernistinspired curved bands make Minima’s (minima.co.za) Fusion light an interesting contrast of rough and polished. Made from sustainable birch plywood and bamboo veneer, it comes assembled or, taking crafting to the next level, in a flat pack you can put together yourself without fuss 04 Simple but so effective, the Hemp pendant from Weylandts (weylandts.co.za) would be at home in a laidback beach house or a super-modern apartment. The shape is organic but universal and the lack of a shade makes it modern

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CRAFT

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PHOTOGRAPHS Adam Letch, supplied

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18/05/2017 10:31

Everything is in the remix for three leading South African artists who work with familiar materials to create intriguing new forms signalling original ways of being TEXT Alexandra Dodd PHOTOGRAPHS Igshaan Adams/Blank Projects, Billie Zangewa/Afronova Modern and Contemporary Art, Gerhard Marx/ Goodman Gallery

RECONSTITUTING

THE REAL C

ould it be that we are living in the era of the epic fail? Failures of democracy and governance, failures of urban and spatial planning, the failure of the fossil fuel system that powers the global economy… These are no minor glitches. There are myriad ways in which the tried and tested, timeworn ways of doing things are quite plainly drawing a big bad blank.

In a world in which repetitive systematic failure is a daily reality we navigate, there’s something particularly gratifying about art that doesn’t just represent or critique reality as we know it, but takes what we’ve got, scrambles the code and comes up with something magnetically unfamiliar.

I’m thinking about three artists whose work was in circulation at this year’s Cape Town Art Fair: Billie Zangewa, Igshaan Adams and Gerhard Marx. Adams and Marx have much in common in that they both explore arcane, semi-abstract languages

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of sign and code – calligraphy, maps, mazes and immersive (rather than objective) perspective. But aesthetically their work is far from proximate.

Zangewa stands apart. In terms of content, her work is more directly representational, unabashedly inhabiting and playing about in the territory of pop. Take, for example, her silken self-portrait that was selected for the Bus Expo initiative at this year’s Art Paris Art Fair and circulated around the City of Love. In stitched-together cloth she depicts herself wearing a sleek turquoise blouse and pants, and a pair of slip-on black stiletto heels. So far, so glam…

More incongruously, she is holding a teddy bear and a toolbox in her hands, and stands in the centre of a lounge surrounded by her son’s toys. The two worlds of glamour and motherhood unexpectedly collide in a refreshingly sassy portrait of everyday life.

In this sense, Zangewa’s work is less speculative and abstract, but in casually mashing together domestic and cosmopolitan realities she also forges a fresh vocabulary of being.

19/05/2017 08:06

A R T I S T S T O WAT C H

Q&A: BILLIE ZANGEWA YOU RECENTLY HAD A SELL-OUT SHOW AT THE ART PARIS ART FAIR – WHAT WAS THE EXPERIENCE LIKE? It was surreal.

Really affirming but at the same time overwhelming. I am truly appreciative of all the love and support I received, not only from collectors and press, but also from the people who visited the booth and had so many positive things to say. It was an unforgettable experience.

YOU’VE BEEN REPRESENTED BY AFRONOVA GALLERY IN JOHANNESBURG FOR MANY YEARS, BUT APPARENTLY YOU’VE ALSO JUST SIGNED UP WITH BLANK PROJECTS IN CAPE TOWN. HOW DID THAT PARTNERSHIP COME ABOUT? Jonathan [Garnham] approached me and we had a few meetings and discussions, then after a few months he suddenly made me a concrete offer. I liked his decisiveness.

IT’S CLEAR THAT YOU HAVE A SPECIAL RELATIONSHIP WITH THE VARIOUS TEXTURES AND EFFECTS OF CLOTH AND THREAD. HOW DID THIS SPECIAL AFFINITY ARISE? Whenever I’m asked this, the image that comes to mind is of myself as a little girl stroking the overgrown grass in the garden for hours, mesmerised by the sound, smell, texture and colour.

We also used to collect clay from a clay-bed after the rains and I really loved making my own dolls out of it. They inevitable broke once dry but I could always have another go after the next rains…

I started sewing by hand when I was young and enjoyed making useful things, such as embroidered tablecloths and clothes; I found it calming.

Along the way I discovered fashion and fell in love with the fantasy of it as well as the luxurious haute couture fabrics. Then at university I majored in printmaking so I was introduced to different textures of paper such as Fabriano and Japanese paper. The dupion silk came a few years later.

HOW WOULD YOU SAY YOUR CURRENT BODY OF WORK DIFFERS FROM EARLIER CREATIONS? WHAT NEW DIRECTIONS/TECHNIQUES ARE YOU EXPLORING? In the beginning I was trying things out, trying to find my voice. That was when I depicted cityscapes. Then I started to develop my personal narrative, which is now my preoccupation. I am using the same medium but I was more crafty and experimental in the beginning. Now I’m just totally obsessed with the silk and what it can do. For me now, silk is the hero – no acrobatics necessary.

WHAT IS YOUR WORKING STYLE? I do most of the work in my head, working on something until I see it clearly. Then I take what I call research photos, which I use for line drawing on newsprint paper – this is where the elements of the narrative come together.

From there, it’s cutting and pinning using the drawing as a template and then finally, sewing.

I work everywhere in my home; in my bed, on the floor in front of the TV, on the dining table… It’s always been like that. I’m a bit allergic to any space that says ‘work’ – then I can’t do any. The sewing part is definitely like meditation in its repetition. It’s calming.

I listen to music while working, mainly Beyoncé because she gives me courage with her lyricism and passion. I love Rihanna for her rebellion; Busi Mhlongo for her raw energy; Idir for his spirituality and Chet Baker for pure bliss. For the sewing part, I pretty much always watch Sex and the City. It’s a ritual.

IT’S A KIND OF MAGIC

There is a sensual aspect that spans the surfaces and textures of each of these three artists’ work. But mostly it is their mode that sounds a common chord. Each of them works with known materials – stuff that comes with its own familiar clutch of associations and correspondences – breaks it down into pieces and reconstitutes it anew to propose a fresh grammar, manner or way of thinking/being.

For Zangewa it is lushly hued silks and thread; for Adams it is nylon rope, string, beads and found fabric; for Marx, it is organic plant matter and archival maps. In each instance, the artist performs a kind of alchemy of making on their base materials to emerge with a fresh proposition that is alluring, provisional and hypothetical in equal measure. The open-ended phrase that seems to run between the textured layers and hum across the sculptural surfaces of their work is ‘what if’…

HOW WOULD YOU DESCRIBE THE RELATIONSHIP BETWEEN THE MATERIAL AND CONTENT OF YOUR WORK? I’m dealing with feminine issues and telling stories about a female protagonist using a technique that is traditionally a female pastime. The stories are of a strong yet delicate figure, while silk itself is visually powerful yet incredibly delicate and fragile. I also enjoy the fact that silk is a by-product of transformation and I am transforming personal experience into empowering self-expression.

WHERE DO YOU DRAW INSPIRATION FOR THE SCENES AND VIGNETTES DEPICTED IN YOUR ARTWORKS? My scenes mainly depict personal experiences, daily life and shared universal experience, mostly on the domestic front, but in other contexts as well. Motherhood has been an important influence and my son is my biggest inspiration; with him I am having so many new life-enhancing experiences.

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A R T I S T S T O WAT C H

‘OPPOSING THINGS CAN BOTH BE TRUTHFUL EVEN THOUGH THEY CONTRADICT EACH OTHER’ ARTIST IGSHAAN ADAMS

A DEEPER TRUTH

Adams lives in Cape Town where he works in a studio at Atlantic House artists’ studios in Maitland with a team of experimental weavers: Busisa Mahlahla, Phumeza Mgwinteni and Lindokuhle Mzila. Drawing on his interest in Sufism, the inward, mystical dimension of Islam, he forges elaborate calligraphic tapestries from everyday materials.

Growing up Muslim in his Christian grandparent’s home, he faced the struggle of balancing his faith with his sexuality, and emerged with an abiding respect for the paradox. Drawn to the numinous aspects of knowledge and experience, his works are extraordinary hybrid constructions that evidence his inner states of wrestling and coming to peace with the contradictory weave of daily life.

‘Opposing things can both be truthful even though they contradict each other,’ he says. ‘There’s always a further level of truth. I began working with things that are recognisable, but I’ve deliberately moved through a process of abstraction.

I started out with identity and the politics around being queer, and at the same time, Muslim and Christian. But that developed into this whole mystical avenue of Sufism, which is a lot more abstract. Part of my desire is to bring about an element of subtlety and I find that with sculptural forms there is a lot more scope for abstraction.’

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His work is in high demand internationally; he was selected for the curated section, Present/Future of Artissima in Turin, where Blank Projects presented a solo booth of his work in November last year. And an epic six-metre landscapeinspired tapestry is currently showing as part of Le jour qui vient, curated by Marie-Ann Yemsi at Galerie des Galeries for Gallery Lafayette in Paris (until 6 June 2017).

For his latest solo show, Oorskot [Remnants] at Blank Projects in Woodstock in 2016, he collaborated with sculptor Kyle Morland to create an installation of 3D sculptural forms that were similarly organic or biological in feel, conveying a sense of primordial swamp-like proliferation, augmentation and growth.

‘Of course, with this idea of growing, it could have gone bos [wild] but I consciously pulled back and kept it restrained,’ he says. ‘I edited out a lot. What is important to me is the detail.

‘With that body of work, the titles became important to introduce abstract ideas.

The one piece I called Standpunt, for instance – a viewpoint or position. The other I called Stam, which is more to do with my lineage or my ancestry. Another was called Ontgroei, which is “outgrow”. And there was Stoflike Oorskot, which is “remnants, bodily remains”…’

19/05/2017 08:05

Beyond his titles, Adams also plays with the abstract codes informing language and text. His tapestries draw on words, prayers and expressions in Arabic, highlighting the non-fixity and constant variation that permeate both translation and mystic experience. Twins or counterparts that interpret the same expression in different ways accompany many of his works.

Woven into his tapestries are lines from prayers that he has personally grappled with, ‘wanting to know more of what the text reveals’. For instance, one says: ‘Bismillah, ar-Rahman, ar-Rahim’ [In the name of Allah, the beneficent, the merciful] – an everyday incantation to invoke the presence of God in everything you do.

‘The calligraphy that I mostly use is called Square Kufic, which was developed around the 13th century, possibly influenced by Chinese calligraphy,’ Adams explains. ‘It’s a style of calligraphy associated with builders or architects, so you find entire mosques covered in it. It basically reduces the Arabic text to its most basic square form. What draws me to it is that it is one step away from the original text, so there is one process of stylisation that has already happened and then I take it further into abstraction. Although someone who reads Arabic would be able to read it.’

CLOCKWISE FROM OPPOSITE Igshaan Adams, Shahada (2016), woven nylon rope, string and mild steel, approximately 210cm x 223cm x 68cm; Igshaan Adams, Standpunt (2016), in collaboration with Kyle Morland, woven nylon rope, string and mild steel, approximately 245cm x 230cm x 60cm; Igshaan Adams, Unseen (2016), wire scarf hangers and nylon rope, approximately 145cm x 150cm x 38cm; Igshaan Adams, Oorskot (2016), wire, beads, string, wire coils, nylon rope and fabric, foor to ceiling, approximately 100cm x 100cm PREVIOUS PAGE, TOP TO BOTTOM Artist Billie Zangewa in her studio at home in Johannesburg; for Zangewa, silk is visually powerful yet incredibly delicate OPENING IMAGE Billie Zangewa, Return to Paradise, silk tapestry, 157cm x 135cm

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OFF THE MAP

Like Adams, Marx is similarly preoccupied with embodied processes of making and unmaking meaning. His work is primarily concerned with the development of original drawing and sculptural techniques, each of which opens a new field of exploration and philosophical potential.

In his current work, Marx uses cut-up map fragments and physically reassembles them to create two-dimensional collage drawings that play with the illusions of depth, volume and three-dimensional space. The titles of last two solo exhibitions – Lessons in Looking Down (2013) and A Geometry of Echoes (2015) with the Goodman Gallery – impart a lot about his dizzying relationship with cartography.

Other recent exhibitions include Skelet at The Hague, Netherlands and Imaginary Fact: South African Art and the Archive at the 55th Venice Bienale, Italy. His work is regularly shown at international art fairs, including Art Basel, Frieze (London and New York) and FIAC (Paris).

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‘I am interested in the notion of de-territorialisation. The act of cutting into a map is a kind of violation somehow, an act of violence against the ideological structures through which the world was filtered to you,’ he says.

Like Adams, who is interested in the metaphysical dimension of his materials, Marx’s abstract constructions explore the potential for subjective perspectives within the flat surface of the map. ‘From an ecological point of view, we tend to experience landscape with an implicit sense of nostalgia, tragedy, inevitability and loss,’ he says.

‘So I’ve been trying to make maps for the groundless, maps of vertigo.’

Although they reference an inner world, his map drawings also refer outwards to geography, history and shifting patterns of territorial power in the present.

His current Transparent Territories series is constituted not only of South African map fragments. ‘They are chaotic amalgamations of fragments of Europe (many of these maps referred to the First World War), Syria, Romania, Africa… Anything I can get my hands on,’ he explains. ‘In piecing them together to make the drawings I am

19/05/2017 08:05

A R T I S T S T O WAT C H

‘WE TEND TO EXPERIENCE LANDSCAPE WITH AN IMPLICIT SENSE OF NOSTALGIA, TRAGEDY, INEVITABILITY AND LOSS’ ARTIST GERHARD MARX

conflating space and also historical time (some are recent maps, whereas some date back to the early 20th century) into what I think of as migrant maps.’ Several of the works in this series have a raft-like look about them. Fragmented forms floating through space, they directly reference the kind of makeshift vessels we’ve seen people resorting to in the migration crises of Europe. The raft as an object becomes an intermediary form of land, a temporary man-made island of sorts. ‘The raft is unfixed, floating, temporal, usually hybridised in nature,’ says Marx. ‘It is a desperate fabrication of a foothold in the space between land(s).’

Groundless and obliquely representational, Marx’s reconstructed rafts/crafts transmit a strange sense of disorientation that is simultaneously disquieting and liberating. Yes, there is that terrifyingly vertiginous sci-fi sense of being cut loose from the umbilical chord of the mother ship to float indefinitely through all time and space. But there’s also an ecstatic sense of possibility in being released from the grip of inherited systems of knowledge, measurement, power and control.

Ecstatic Cartography II (2017), cut and reconstituted map fragments on acrylic ground with canvas and wooden substrate, 50cm x 60cm CLOCKWISE FROM TOP LEFT Archival map fragments in Gerhard Marx’s studio; Gerhard Marx, Prayer Carpet (Map) (2014), plant material, tissue paper and acrylic ground on canvas board, 120cm x 80cm; Reiteration (Transparent Territory) (2016), cut and reconstituted map fragments and acrylic ground on canvas, 180cm x 120cm; artist Gerhard Marx salvaging decommissioned maps from an archive

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PRIME NUMBER, PRIME LOCATION Canary Wharf Group recently launched One Park Drive, a 58-storey building designed by Swiss architects Herzog & de Meuron. The 483 apartments range from studios priced at £575 000 to threebedroom units at £1 625 000. The attractive cylindrical-shaped building is part of the next phase of Canary Wharf’s expansion, an area of London increasingly attracting young, dynamic companies. residential.canarywharf.com; herzogdemeuron.com

ONE PARK DRIVE IS PART OF THE NEXT PHASE OF CANARY WHARF’S EXPANSION

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MARKETPLACE

TOUR DE FORCE Architectours aims to connect architects and interior designers with Italy’s renowned manufacturers, in the process changing the worlds of these design disciplines. The website provides insight into Italy’s creative and industrial output, with excursions aimed at discovering places, artefacts, structures, manufacturing processes and people influencing design. architectours.it

NOT SUCH A MAD IDEA The issue: finding design solutions for Los Angeles’ homeless. The solution: the Homeless Studio, a collaboration between The Martin Architecture and Design Workshop and the University of Southern California (USC) School of Architecture.

As part of the coursework, students needed to produce three different designs that focused on temporary, modular and expandable solutions, as well as transitional housing. A book, published by USC School of Architecture, will be released later this year to showcase the course and the tremendous effort of the students. madworkshop.org

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18/05/2017 10:39

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THE FUTURE OF VEGGIE GARDENS Imagine being able to grow your own fresh, pesticide-free produce in your home by using an app. How? CityCrop is an intelligent, soil-free indoor garden that uses hydroponic technology to allow crops to grow. A monitor connects to your device and helps you to control the garden. citycrop.io

ONE OF THE TOP-RATED WATER-WISE COMMERCIAL BUILDINGS IS GROWTHPOINT PROPERTIES’ GRUNDFOS BUILDING IN GERMISTON

EVERY DROP COUNTS With the current drought, property owners need to think seriously about creating water-wise buildings. One of the top-rated water-wise commercial buildings is Growthpoint Properties’ Grundfos Building in Germiston.

A rainwater harvesting and filtration system purifies water to drinking quality and supplies both the office block and the warehouse. Municipal water is used for top-up only in the dry winter months. za.grundfos.com

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18/05/2017 10:41

MARKETPLACE

PROPERTY INVESTOR ADVICE COLUMN

SECTION BY

TEXT Genevieve Putter PHOTOGRAPHS Francesco Dolfo, supplied

SECTION

How the new Sectional Title Schemes Management Act affects you TEXT Patrick Cairns PHOTOGRAPH iStock by Getty Images

S

ectional title ownership has become popular: many enjoy the security and sense of community gained from living in a complex.

But residents are also bound by the rules of a body corporate and don’t have full control over what they can do with their property.

Sectional title schemes are, however, governed by laws that every owner and member of a body corporate should understand. Late last year, the government brought into effect the Sectional Title Schemes Management Act and the Community Services Ombud Service Act to update the law in this space.

The introduction of the ombud office deals with disputes between sectional title owners and their body corporates, giving both parties an affordable way to reach resolution. It, for instance, assists body corporates to recover levy payments from members.

The ombud also fulfils a compliance function. All body corporates have to register their complexes with the ombud’s office. They must also file the conduct rules, as well as any changes that have been made. What is important here is that the ombud must approve and certify any rules that have been amended as it has a duty to ensure that the rules are compliant with legislation.

All complexes also have to file their audited financials with the ombud every year. These must be accompanied by a budget for the next 12 months.

The second important change introduced by the new legislation is that all sectional title schemes will have to establish and maintain a reserve fund to cover major maintenance projects and unexpected expenses. This fund must be at least 25% of the scheme’s total levy budget.

The act states that body corporates can use a 15% annual levy increase to collect the necessary capital for this fund. They will also have to keep this money in a separate bank account and submit separate audited financials for it.

This is not, however, just a rainy day fund that may never be used. The trustees will have to prepare a detailed 10-year plan for how they intend to use this money and report back every year to owners on how this plan is being implemented.

The intention is to ensure that there is always funding to cover maintenance to all major capital items on the common property. Trustees will therefore have to consider well in advance at what point certain jobs will need to be done and what they are likely to cost, so that the money is always used in the best interests of the members.

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A HAND-PICKED COLLECTION OF MAGNIFICENT PROPERTIES

Welcome to Luxury Homes of the World. Join us on a journey through some of the most beautiful homes for sale. Selling your home in South Africa or abroad? We invite you to showcase your property along with branding and a personalised message to Real Estate magazine’s property investors at the top of each page.

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HOUGHTON ESTATE, SANDTON, GAUTENG, SOUTH AFRICA

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R78 MILLION

This ‘mansion in the sky’ at The Houghton, an exclusive golf course precinct in Johannesburg, offers approximately 1 200m2 of living space over three storeys. The fully furnished penthouse includes a rooftop terrace and pool, security, spectacular views across the northern suburbs, private elevator access, home technology and interior design by the Pellerade Design Group. Residents of The Houghton also have access to 7.9km of secure walking trails in the precinct, a wellness centre, business meeting rooms and a chauffeur service.

Bedrooms 6 Bathrooms 5 Garages 5 Living areas 2 Rory O’Hagan +27 (0)83 328 8888 rory@everitt.co.za Jorge Santoro +27 (0)71 986 8248 jorge.santoro@everitt.co.za www.chaseveritt.co.za web ref: CVSA-3240

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FEATHERBROOKE ESTATE, GAUTENG, SOUTH AFRICA • R12.5 MILLION

This 850m2 contemporary home is situated on a double stand with views over the Crocodile River. It offers openplan, flowing receptions with natural light pouring in, a theatre room leading into a wine cellar that can double up as an entertainment room, a large enclosed patio with a pub and a built-in braai flowing onto a sparkling pool and landscaped garden, with separate boma area. Features also include a central vacuum system, underfloor heating, a heated pool and an automated sprinkler system Bedrooms 4 Bathrooms 5 Garages 3 Living areas 3 Paul Smulders +27 (0)76 758 0586 paul@remax-masters.co.za www.remax.co.za web ref: WLTP-4900

EAGLE CANYON GOLF ESTATE, GAUTENG, SOUTH AFRICA • POA

Open-concept living is visible in the flow from the living room, with its vaulted ceilings, to the dining room and kitchen. A gourmet kitchen offers a large central island, housing for double-door fridge and a separate scullery.

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Extras include a loft room, ideal for use as a study or teenage pad, staff accommodation and recessed lighting.

Bedrooms 4 Bathrooms 4.5 Garages 3 Living areas 3 Lance Heroldt +27 (0)82 553 7321 lance@remax-masters.co.za Zelda Caddie +27 (0)83 327 0500 zelda.caddie@remax-masters.co.za www.remax.co.za web ref: WLTP-5191

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BRYANSTON, JOHANNESBURG, GAUTENG, SOUTH AFRICA •

R29.95 MILLION

This triple-storey manor home is set over 10 000m² of park-like paradise in Eccleston Crescent. Expect a meandering driveway with towering trees, an impressive entrance with marble flooring, well-appointed receptions and a chef ’s gourmet social kitchen with a walk-in cold room.

Features also include a pyjama lounge, gentleman’s study, a bespoke dine-in cellar, theatre, gym and spa, entertainer’s covered patio, pool deck, cocktail bar pavilion and a tennis court. There’s also a dedicated guard house and Fort Knox security.

Bedrooms 5 Bathrooms 5.5 Garages 3 Living areas 7 Regan Harris +27 (0)82 320 6464 regan@hamiltons.co.za Colin Cloete +27 (0)76 536 1529 colin@hamiltons.co.za www.hamiltons.co.za web ref: 13470620

BRYANSTON, JOHANNESBURG, GAUTENG, SOUTH AFRICA • R22 MILLION

This French-inspired chateaux is set over 2 700m² of manicured grounds within an exclusive estate. The impressive entrance spills onto an entertainer’s covered patio overlooking rose gardens and water features. The cocktail bar and receptions flank the patio and offers a wonderful indoor-outdoor flow. There’s also a gourmet social dine-in kitchen with top integrated appliances and fireplace, a private study, spa facilities and superb security.

Bedrooms 5 Bathrooms 5.5 Garages 5 Living areas 6 Regan Harris +27 (0)82 320 6464 regan@hamiltons.co.za Colin Cloete +27 (0)76 536 1529 colin@hamiltons.co.za www.hamiltons.co.za web ref: 13470702

SPECIAL REPORT

MOVING

WITH THE TIMES Living in the 21st century has redefined residential requirements globally. Savvy developers have found innovative ways to keep pace with the trends TEXT Jocelyn Warrington PHOTOGRAPHS Brandon Nagel, David Sundberg/Esto, Designed by BKSK Architects Renderings courtesy of BLKHaus and Richport Group and Supplied

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LONDON

SPECIAL REPORT

TREND #1

UPWARDLY MOBILE IMMOVABILITY Europe’s largest capital may have a history that dates back to Roman times. But it’s very much a 21st-century mega-city where the lifestyle demands of its residents are changing its iconic skyline at an unprecedented rate.

Increasingly, the desire to eliminate the time-intensive drag of the daily commute is among the requirements of those who call London home.

Enter Southbank Place, a new 799-unit mixed-use development set on one of London’s most coveted Thames-side locations, adjacent to Westminster and overlooking the London Eye, and developed by Braeburn Estates. On completion in May 2018, it will feature everything from studios to penthouses and state-of-theart offices to a diverse selection of retail, restaurant and bar facilities, along with direct entrance to Waterloo Station.

Southbank Place is also located on the site of the famous Festival of Britain, conceived in 1951 as a showcase for the best of British design, architecture, art

and culture. The festival’s legacy was the opening of the Royal Festival Hall, which continues to reinforce the area’s reputation as the epicentre of London culture.

The emblematic hovering Skylon (the so-called ‘Festival Star’) is reiterated in the design of Southbank Place’s buildings and interiors, including in the perforated aluminium panels that line the exterior of Belvedere Gardens, the development’s most recent phase. These interact with sunlight to create the illusion of the structure changing shape throughout the course of the day. According to lead architect Craig Casci of GRID Architects, these are part of a singular design that will ensure that Belvedere Gardens becomes a landmark.

‘This unique location has provided an exciting opportunity to shape a vibrant new quarter, one that responds to its context and neighbouring developments to create a world-class place to visit, work and live,’ says Harriet Linnell, senior account executive at Spider PR, marketers for Southbank Place. ‘Incorporating public domains into large developments is an increasingly popular trend which, in turn, helps the developments give back to the local area.’

LEFT TO RIGHT Contemporary yet timeless interiors define Belvedere Gardens, the most recent phase of Southbank Place (southbank-place.com), a new mixed-used development in London. Designed by Goddard Littlefair (goddardlittlefair.com), the apartments, which include one- to three-bedroom residences as well as collection of top-level penthouses, are arranged across a pair of adjacent 10- and 20-storey buildings. ‘The interior spaces have been carefully considered to make the most of the open aspect, the natural light and the superb river views,’ says designer Martin Goddard. ‘The rich mix of materials and textures harmonise with the architectural concept and link to the mid-century design of the surrounding area’; situated on the banks of the Thames River, three minutes’ walk from the Royal Festival Hall and 12 minutes from The National Gallery, Southbank Place provides residence in London’s cultural ribbon. Views from the development’s 799 units take in Big Ben and the London Eye

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TREND #2

WELLNESS AS A WAY OF LIFE Where, for many years, architecture was preoccupied with surface aesthetics, and ‘starchitects’ designed to either wow or shock, attention has turned to creating buildings that improve the health of those who reside or work in them. ‘Living buildings’ that grow their own energy; responsive architecture that tailors indoor health experiences for every inhabitant; dawn-simulating lighting that eases inhabitants into their days; rooftop relaxation areas; indoor air, sleep and sound quality… All are being reengineered with wellness top of mind.

Southbank Place residents, for instance, enjoy access to a private health and fitness club that includes an infinity pool, a gym and personal training area, his-and-hers spa facilities with saunas, Jacuzzis, treatment rooms and a hammam, and an amenities floor with a hair salon and nail bar.

‘The increased attention to building health impacts is just the beginning,’ says Stephen Jones, senior director of Dodge Data & Analytics. ‘The construction industry is poised for a shift towards building methods and design practices that enhance the health and wellbeing of occupants – one that is likely to follow a similar trajectory to that of the sustainable- or green-building trend that started several years ago.’ southbank-place.com

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CLOCKWISE FROM TOP Catering to the increasing desire for health and wellness, Southbank Place’s residents’-only health and fitness club features a 20m infinity pool, a gym and personal training area, treatment rooms and changing facilities; the six-storey podium on which 35XV stands – and which houses an expansion of Chelsea’s Xavier High School – is clad in granite in a striking aesthetic contrast to the surrounding context of mostly brick structures. Balancing its solid base, the residential tower rises above its surroundings in a sculpted glass volume that is prominent on the skyline when viewed from afar but less intrusive when experienced from the street; a classic example of urban developers working in partnership with local communities to the benefit of all, 35XV features a 25-storey glass tower of residential units built atop a Catholic high school.

The developer, Alchemy Properties (alchemy-properties.com), paid the school $13.7 million for their ‘air rights’ and then purchased the former Union Hall at the back of the school for $16.6 million. The demolition of the Union Hall allowed the school to expand from its current frontage on West 16th Street through to West 15th Street, while the new arrangement with the school, the ‘community space’ directly below the apartment tower, allowed the developer to build higher and denser than it would have otherwise been permitted to do

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TREND #3

BEING A GOOD NEIGHBOUR Located at (and named after) 35 West 15th Street in vibrant Chelsea, 35XV – conceptualised by FXFOWLE Architects – sets new standards in the growing trend of air rights development while meeting housing demands in a dense Manhattan neighbourhood.

This mixed-use luxury development was given the green light on condition that it incorporates facilities for an historic neighbouring high school. The base includes classrooms, a lab, a rehearsal space and a campus commons area. The upper 18 floors are occupied by a mix of one- to four-bedroom units, while the 17thfloor amenity space includes a gym, lounge, children’s playroom, shared wine cellar and a communal terrace.

Despite the building’s considerable size, it was also designed to be sensitive to the adjacent streetscape.

A granite-clad cubic base anchors the structure and continues the scale of the block’s street wall while simultaneously accommodating the school’s functions.

Poised above, the building’s cantilevered form rises 5m above the existing school building, its fish-scaled glass cladding reflecting the sky. In so doing, it appears to dematerialise its bulk. Its sky-exposure plane, a zoning bulk restriction that would traditionally limit design, was instead used to sculpt a unique form that offers residents light, airy interior living spaces with unparalleled views of the surrounding cityscape from all 55 units.

As a result, 35XV’s design establishes two distinct identities: one for the school, addressing the street realm, and one for the residential tower above to address the needs of its well-heeled inhabitants. 35xv.com

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LIKE THE EXTERIOR, THE INTERIORS OF THE COMMON SPACES AND LOFTS HAVE BEEN DESIGNED TO REFLECT THE AIR OF AN ART GALLERY TREND #4

BUILDING AS ART Inspired by the artistic legacy of Manhattan’s famous Bond Street, which has attracted contemporary artists since the 70s, 22 Bond Street is a living gallery.

Designed by BKSK Architects, the slim, 11-storey loft-apartment block is bracketed by a pair of steel facades that enclose an art garden with landscaping, sculpture and elevated trees. The industrial texture of the oxidised steel used to the north and south of the building is designed to connect visually to the architectural style of the neighbourhood. It also works with a new generation of installations that cement Bond Street’s reputation as an incubator for art: the buildings on either side of the development are studded with artwork, most notably the golden nymph statues on 24 Bond.

Like the exterior, the interiors of the common spaces and lofts have been designed to reflect the air of an art gallery. Double-volume ceilings are connected with floating staircases built of custom steel. Illuminated acrylic and wall surfaces are pre-blocked with plywood to allow for artwork to hang in any location.

Other features conducive to viewing art include floor-to-roof windows and ceilings that extend to nearly seven metres. Kitchens, meanwhile, are disguised as volumes within a volume and an airy sculptural staircase is suspended above some of the units’ main rooms. Entrances and guest bathrooms are carved from the building’s core and rendered as inky-black spaces, heightening the contrast between inside and out. bkskarch.com

LEFT TO RIGHT A creative warehouse district once home to Basquiat and Warhol, New York’s historic NoHo (North of Houston Street) district includes the artsy new 22 Bond Street boutique residential building. The purposeful inclusion by BKSK Architects (bkskarch.com) of large-scale art keeps the neighbourhood’s creative history in play. On entering the building, visitors walk through a 230m2 atrium, where even the overhead steel beams are planted with vegetation; also designed by BKSK to ‘cater to an artistic resident’, the interiors of 22 Bond Street’s six residences offer 3m to 5m ceilings, uninterrupted walls reinforced with plywood to hang paintings and sculptural staircases and fixtures

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PASSPORT TO PARADISE A brand-new partnership between global investment-migration pioneers, Henley & Partners, and Pam Golding Properties offers those seeking alternative citizenship by means of property investment in Europe or the Caribbean an all-encompassing service.

Pam Golding Properties’ International Division offers an extensive knowledge of the local real estate market in a selection of the countries currently offering citizenship-by-investment programmes, including Malta, Cyprus, Portugal and Grenada, and presents a customised portfolio of preselected properties based on investors’ preferences and criteria. Henley & Partners’, meanwhile, provides an all-inclusive service throughout the entire citizenship-application process, as well as concierge services and support after a client’s citizenship is granted. For more information, email southafrica@henleyglobal.com or theresa.fernandez@pamgolding.co.za

TREND #5

TOP TO BOTTOM Refurbished using funds invested by foreigners seeking Green Cards through the US EB-5 visa programme, Miami’s iconic Surf Club Four Seasons (thesurfclubinfo.com) offers 119 luxury residences on a pristine stretch of South Florida beachfront; Joseph Dirand (josephdirand.com) – the Parisian designer known for creating high-fashion flagships for brands such as Givenchy and Alexander Wang – conceived the interiors as sleek and minimal, punctuated by green Connemara marble, custom furnishings and floor-to-ceiling windows overlooking the Atlantic

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INVESTING FOR VISAS The Surf Club Four Seasons Hotel, designed by Richard Meier (the award-winning architect responsible for the famous Getty Center in Los Angeles), reopened in March this year. In its heyday, Grace Kelly, Winston Churchill and Frank Sinatra frequented the iconic 1930s Miami property. Today, it features a 77-room hotel, two 12-storey residential towers, 12 penthouses and 40 beach cabanas, two restaurants by Michelinstar chefs Thomas Keller and Antonio Sersale of Positano’s famed Le Sirenuse, a spa and two retail outlets.

The hotel was refurbished using funds invested by foreigners taking advantage of the American EB-5 visa programme. The US Citizenship and Immigration-administered initiative enables applicants and their immediate families to obtain Green Cards by investing $500,000 in businesses or property projects.

‘EB-5 investments have backed many high-profile real estate projects all over America,’ says Rogelio Caceres, co-founder of LCR Capital, a private equity investment firm for high-net-worth individuals. These include the SLS Hotel & Casino project in Las Vegas, and Trump Bay Street, a 50-storey luxury rental apartment development in Jersey City.

Hollywood Circle, a similar residential opportunity available to visa-seeking investors, is a 25-storey mixed-use development currently being built in Downtown Hollywood. It features 397 residential units, a 104-room hotel, a residents’ recreation deck with a swimming pool, clubroom and health club, a supermarket, shops and restaurants. The project also offers foreign investors the chance to obtain Green Cards through the US investment-migration programme.

‘The EB-5 visa process takes between 16 and 18 months, after which a temporary Green Card is granted to investors and their immediate families,’ Caceres says.

‘Permanent residency can be acquired within five years and the initial capital is returned, with interest, to the investor.’ hollywoodcirclefl.com; lcrcapital.co.za; thesurfclubinfo.com

CAPE TOWN

MIAMI

SPECIAL REPORT

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SPECIAL REPORT

WIN AN APARTMENT WORTH R2.5 MILLION

Wealth Migrate is giving one lucky wannabe property investor the opportunity of a lifetime: to win an apartment in the Zero-2-One Tower development valued at R2.5 million.

Simply sign up, free of charge, to the Wealth Migrate online platform: wealthmigrate.com. You’ll gain an automatic entry into their #LikeAMillionaire competition.

TREND #6

CROWDFUNDING FOR CAPITAL RETURNS In the same way that technology has disrupted the taxi, travel and accommodation industries, so it’s doing the same to real estate. ‘Previously, being able to invest directly with the developer was only available to those who had access to R10 million or more,’ says local entrepreneur Scott Picken, CEO and founder of Wealth Migrate, a global online property investment marketplace.

Picken’s start-up launched directly into the offshore marketplace and, over the last three years, has a track record of $54 million property investments. It has now extended its footprint to include the domestic market. Facilitating investments directly with developers, Wealth Migrate is able to offer competitive returns by allowing investors the opportunity to participate higher up the property value chain.

For an investment of as little as R1 000, would-be homeowners have the opportunity to capitalise on the targeted capital growth of a new R1.5 billion development in Cape Town’s City Bowl, scheduled for completion in March 2020.

Strategically positioned on the historic corner of Strand and Adderley Streets, Zero2-One Tower will be the tallest building in Cape Town – and one of the most iconic in Africa – with 42 storeys of residential (618 apartments) and retail space.

With an influx of international business interest in Cape Town, Picken says the city’s unbeatable lifestyle and a growing technology community are factors for global investment interest in Cape Town.

Known for partnering with local experts, Wealth Migrate has collaborated with FWJK Developments, one of the larger commercial, industrial and residential developers in the country, on this particular project. ‘With a global team of real estate partners and market experts in our USA, China, UK and Australian offices, we’re one of the only global investment platforms to offer users transparent and direct investment opportunities around the world,’ says Picken. He adds that the global wealth gap continues to grow steadily, explaining that ‘our purpose is to use technology and real estate to solve that.’ wealthmigrate.com

TOP TO BOTTOM Using Wealth Migrate’s (wealthmigrate.com) online propertyinvestment marketplace, those wanting a foothold on the Cape Town property ladder can invest directly with FWJK Developments (fwjk.co.za), the developer of the new Zero-2-One Tower in the CBD. With 42 storeys of residential and retail space, the building, which will be located on the corner of Strand and Adderley Streets, is set to be the tallest in the Mother City. Construction is scheduled to start in August and will be completed in March 2020; set 36m above ground level, the 618 apartments in Zero-2-One will allow for unobstructed 360-degree views.

The building has been designed to make full use of its north orientation, thereby making the apartments sunny, comfortable and, most importantly, energy efficient

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estlake

eco-estate

m o d d e r f o n t e i n

DREAM HOME

I WANT TO INVEST IN…

Z

en aesthetic meets natural beauty in this Hout Bay home: turn off the main road into Riverside Terrace and the serene feeling of the estate is tangible. Ponds filled with koi almost surround the property; the grounds lead you down to the river where a boardwalk takes you to the opposite (landscaped) bank – take a picnic to enjoy on the lawns.

Vertical gardens, a ‘fern-atrium’ and a walking trail surrounded by palms add to the appeal.

Glass is used extensively in the design by Shaun Adendorff of Rennie Scurr Adendorff, adding to the indoor-outdoor flow, while marble, kiaat and Caesarstone are also used in the finishes, countertops and flooring. The suspended staircase is a definite focal point.

Hout Bay itself is attracting investors for its ease of location – the Southern Suburbs on one side and the Atlantic Seaboard and CBD on the other. You’ll also find great value compared with the neighbouring suburb of Constantia, particularly for executive rentals, a community feel (join Hout Bay Organised on Facebook for online insider info) and proximity to Hout Bay International School and some excellent restaurants (Kitima, Massimo’s, Tinstwalo Atlantic, Quentin at Oakhurst). This contemporary home is on the market through Seeff Properties for R35 million, web reference 421627.

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USEFUL CONTACTS n Seeff Properties, Hout Bay +27 (0)21 790 1032, seeff.com n Department of Home Affairs dha.gov.za n Rennie Scurr Adendorff archrsa.com n Hout Bay International School houtbay.iesedu.com n Cape Town Tourism capetown.travel n Relocation agencies relocation-online.com; intergateimmigration.com; spacesa.com

TEXT Kirsty Wilkins PHOTOGRAPH Supplied

HOUT BAY

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TITLE CONDITIONS AND ZONING PROVISIONS: TAKE IT SERIOUSLY The recent judgment in Nelson Mandela Bay Metropolitan Municipality v Harlech-Jones draws attention to some interesting issues regarding the use of land contrary to applicable zoning regulations and title deed restrictions and serves as a reminder of the risks the offending owner faces.

WHAT IS THE DIFFERENCE? Title deed conditions pertain to a property owner’s exercise of rights on his property. They are contained in the property’s title deed and insofar as they limit the owner’s exercise of property rights, they are called ‘restrictive’. The conditions vary in nature but often determine that only one home may be erected on a property or prohibit a property from being used for a specific purpose.

Zoning is a tool used by a municipality to regulate and control development of land within its jurisdiction. A land owner may not use property for purposes other than that for which it is zoned (such

as, for example, residential, commercial or industrial zoning. A property’s zoning details are not recorded in its title deed and an owner will have to approach the relevant municipality to ascertain which zoning requirements apply to his property.

LAND USE CONTRARY TO THE ZONING REGULATIONS AND TITLE DEED CONDITIONS In the Jones-Harlech matter the property owner (X) allowed Y to run a pizzeria on the property despite the existence of a restrictive title deed condition which provided that property may only be used for the “purpose of erecting thereon one dwelling together with such outbuildings as are ordinarily required to be used therewith.” The property was zoned for residential use. After opening the restaurant, X applied for rezoning of the property to ‘special purposes’ (which would then allow use of the property for restaurant purposes). The authority was refused, but subsequently granted on appeal to the Executive Council.

The municipality nonetheless successfully approached the Court for an order interdicting X from using the property in contravention of the restrictive title conditions. The Court confirmed that the MEC’s re-zoning approval could not be interpreted to automatically include authorisation for the removal of the existing restrictive title condition because these are two very different applications.

The significance of the judgment is clear: a property owner acts unlawfully if he uses property in defiance of either zoning regulations or title deed conditions.

A Court will halt such use, until such time as the required authority has been obtained. If the land owner’s application to the municipality is unsuccessful, he may face substantial financial loss.

MASTERING THE INTRICACIES OF HOME OWNERSHIP

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