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THE ANNUAL ART ISSUE

WILLIAM KENTRIDGE, TREVOR STUURMAN, KAREL NEL & MORE

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90 TRAVEL Beirut brims with raw energy and a brand of hospitality that’s entirely its own. In her hometown, Jade George takes a seat at the eateries where tradition, creativity and the city’s best falafel are on full display 96 GARDEN A rare oasis in Craighall Park combines old-world formality with a rambling suburban forest and ornate hidden charms 102 FOOD Grab your chopsticks and take your tastebuds on a flavour-filled trip around the globe with these five quick and easy noodle recipes 108 MOTORING The nextgeneration Range Rover Evoque luxury SUV proves that you can teach an old dog new tricks

46 ECLECTIC ECSTASY Colour, texture and pattern run riot in this exuberant New York City apartment 54 INTO THE COLOUR FIELD An opera-loving doctor’s Parkhurst abode exposes the bond between art, music and design 62 A MEETING OF TWO WORLDS A revamped house in Craighall boasts an array of contemporary art and vintage collectibles 70 LIMPOPO’S ART FARM Artworks by some of the country’s most iconic artists take pride of place in this Limpopo farmhouse 78 A LIFE OF ART The Rivonia home and studio of artist Karel Nel are like stepping into one of his mesmerising pieces

112 22 subscribe now For current print subscription offers, email subs@magsathome.co.za or call 087 405 2221. To download the digital edition of House and Leisure, visit houseandleisure.co.za

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112 GROUND CONTROL Give your interiors a good foundation with flooring solutions for any style, budget or space 118 SHOPPING Products for your bathroom, kitchen, lounge and bedroom

COVER IMAGE Elsa Young 6 TEAM LETTER The House and Leisure team welcomes our new editor, Charl Edwards, and discusses what we love most about art 10 DIGITAL Explore houseandleisure.co.za 127 STOCKISTS 128 STYLE PROFILE Meet FNB Art Joburg founding director Mandla Sibeko

PHOTOGRAPHS: TOP ROW OF IMAGES FEATURE ‘&’ (2019), ‘RING’ (2019), ‘FILL’ (2019) AND ‘OPEN’ (2019) BY WILLIAM KENTRIDGE FROM THE WHY SHOULD I HESITATE: SCULPTURE EXHIBITION AT NORVAL FOUNDATION. HOME IMAGE: STEPHAN JULLIARD

16 CURATE We asked Nico Krijno to create this month’s special montage-like feature 22 SHOPPING Find pieces inspired by sculptures around South Africa 28 TRENDS The rise of plinths in the decor world 30 SPOTLIGHT Inside FNB Art Joburg’s Gallery Lab 32 ART DETAIL William Kentridge’s work is brought to the forefront in two simultaneous retrospectives 34 ARCHITECTURE Discover Pretoria’s innovative new art destination, Javett-UP 36 DESIGN Traditional craft meets modern inspiration in the Hlabisa bench 38 STYLE PROFILE Globally acclaimed creative, Trevor Stuurman, invites us into his vibrant, Afrocentric world

HL / FROM THE TEAM

he annual Art Issue is one of the House and Leisure team’s favourites – we get to take you along with us as we explore homes owned by artists and art lovers, as well as cover some of the latest developments in the art world. In short, the art issue presents a summary of what we think is HERE / NOW in contemporary art. This year, we discovered an art-filled homestead in Limpopo (p70), persuaded artist and curator Karel Nel to show us around his house in Johannesburg (p78), and managed to get star photographer Trevor Stuurman to pose for a portrait and reveal his new home to us (p38). We also talked to iconic South African artist William Kentridge on the eve of the opening of his major retrospective shows at Zeitz MOCAA and Norval Foundation in Cape Town (p32), and found out more about the country’s latest art museum – the remarkable Javett-UP at the University of Pretoria (p34). This issue was planned by our outgoing editor, Tiaan Nagel, and had its final stages overseen by our new editor, Charl Edwards. Which is why we’re jointly authoring this ‘editor’s letter’ as a team – it gives us the opportunity to thank Tiaan for his years of dedication to House and Leisure, and to welcome Charl to the team and wish him well as he takes the brand onwards. We also thought we’d take this chance to reveal a bit about ourselves in relation to what we love most about art, hence the quotes below. We hope you enjoy this issue as much as we relished putting it together for you.

FROM TOP ‘Blue Nude II’ (1952) by Henri Matisse; ‘Amakholwa’ (2018) by Themba Khumalo; ‘Portrait in Green’ (1966) by Lee Krasner; ‘Under the Sea’ (2018) by Levi Wale.

‘Art can add colour, texture and shape to a space, and of course, it can add humour. Often a piece of art is a conversation starter… and if it does that, then you chose right.’ – Chrizanda Botha, Decor Editor ‘I love Themba Khumalo’s charcoal drawings. The messages they convey are strong, but also done with finesse.’ – Greer Krige, Key Account Director ‘Having been blown away by the recent retrospective of her work at the Barbican in London, I’d really like to own Lee Krasner’s “Portrait in Green”.’ – Robyn Alexander, Deputy and Digital Editor ‘When adding art to your home, choose pieces that speak to you – that you will love forever regardless of time, setting or value.’ – Karen Tennent, Managing and Copy Editor ‘If I could pick any artwork in the world to have in my home, it would be “Blue Nude II” by Henri Matisse.’ – Rosalynd Watson, Senior Project Manager ‘My favourite piece of art in my own home is a watercolour titled ‘Under the Sea’ by Levi Wale, my godchild. It sparks joy, plus the little chap is very talented.’ – Gemma Bedforth, Art Editor ‘What’s the one piece of advice I’d give someone who wanted to start a small collection of art? Support living artists in any way you can manage.’ – Garreth van Niekerk, Senior Story Editor

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LEE KRASNER’S ‘PORTRAIT IN GREEN’ (1966) OIL ON CANVAS (55 1/4 X 94 3/8 INCHES; 140.3 X 239.7 CM) © 2019 POLLOCK-KRASNER FOUNDATION / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK. COURTESY OF KASMIN GALLERY. PHOTO: CHRISTOPHER STACH

‘Art adds a sense of personal narrative and context to any interior.’ – Charl Edwards, Editor

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EDITORIAL Editor Charl Edwards charl@assocmedia.co.za Deputy and Digital Editor Robyn Alexander robyn@assocmedia.co.za Art Editor Gemma Bedforth gemma@assocmedia.co.za Managing and Copy Editor Karen Tennent karent@assocmedia.co.za Decor Editor Chrizanda Botha chrizanda@assocmedia.co.za Senior Story Editor Garreth van Niekerk garreth@assocmedia.co.za Editorial Contact 021-464-6200

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HOW TO USE THE QR CODES IN THIS ISSUE Wherever you see a QR code on a page, you can scan the code to either shop items featured there directly from the related online store, or view additional digital content including videos, profiles and Q&As on our website. Find the QR code scanner in your Facebook app by typing ‘QR code’ and scan the code. If you have an iPhone, use your camera app to scan QR codes with ease. Android users can also download a QR code scanner app from Google Play.

HAPPY HEARTS COLLECTION

HL / ONLINE

News. Inspiration. Ideas. Explore a world of decor-design content online

IT’S TIME TO GETSMARTER Want to redesign your career? House and Leisure readers currently get R2 000 off a selection of online courses from GetSmarter and presented by top SA universities. Scan the code to find out more – and to secure your discount.

BEHIND THE SCENES Discover the unique worlds of artist and curator Karel Nel, and photographer Trevor Stuurman – both of whose inspiring homes are featured in this issue (see pages 78 and 38). Simply scan the code to go direct to HL on YouTube and view exclusive videos of their spaces. And while you’re there, remember to subscribe to our YouTube channel.

READERS’ RENOVATIONS COMPETITION 2019 It’s that time of year again! Entries are open for our annual Readers’ Renovations competition, with features in our special Before & After edition of the magazine – as well as great prizes for the winners – up for grabs. To find out more and enter your home renovation (or update to a single room in the house, such as a bathroom, kitchen or kid’s room) scan the code or visit

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PHOTOGRAPHS: KARL ROGERS, ELSA YOUNG, ISTOCK

BRINGING ART HOME We all love art in galleries, but how do you make it an integral part of your home? We’ve been chatting to experts and homeowners alike to discover how best to bring art into personal spaces (even on a budget).

The details are not the details. They make the design. Charles Eames Architect & Furniture Designer

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HL / READY TO SHOP

Inject some green into your home with products you can shop from this page

CLOCKWISE FROM TOP LEFT Nimble sidetable in Green R1 299 and Poise pendant in Forest R449, both Superbalist.com; Stacked tray R470 (25×39cm), Skinny laMinx; Beetle velvet chair in Emerald Green R2 350 and Jade planters in small (13cm wide) R79 and Medium (18cm wide) R159, Elevenpast; Morrocotto ceramic tiles in Grass R34 each (6×24cm), Douglas Jones; Dolce alpaca wool and silk blanket R1 860, Knus; Cushion cover in Green R299 (30×50cm), Superbalist.com; Wall clock in Dark Green Corduroy R609, Zando.co.za.

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FOR SUPPLIERS’ DETAILS, SEE THE STOCKISTS PAGE

COMPILED BY CHRIZANDA BOTHA

HOLDING IMAGE FEATURES ‘&’ (2019) BY WILLIAM KENTRIDGE FROM THE WHY SHOULD I HESITATE: SCULPTURE EXHIBITION AT NORVAL FOUNDATION

VIEW Delve into the art world with photographic collages (p16), local sculptures (p22), art fair highlights (p30), an icon’s latest exhibitions (p32), a new South African gallery (p34), collectible design (p28, p36) and Trevor Stuurman (p38)

VIEW / CURATE

Known for his alluring photographic collages and montage-like works, Nico Krijno was the perfect artist to create this monthâ&#x20AC;&#x2122;s special Curate feature ARTWORKS NICO KRIJNO

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ROCKY ROAD CLOCKWISE FROM TOP Green cork wall panel by Wiid Design R3 500, Robert Sherwood; Ozoo chair in White by Marc Berthier POR, Roche Bobois; Campari wallmounted cabinet in solid oak, brass and antiqued brass R120 000, James Mudge; African cork stool with painted finish by Wiid Design R13 800, Robert Sherwood; Stool with antique bone inlay and brass shadowline R4 300, Cécile & Boyd; Vondel sidetable in Rosso Levanto marble R11 001, Lemon; Sidetable with hexagon bone and wood inlay R4 300, Cécile & Boyd.

ROLLING STONES CLOCKWISE FROM TOP LEFT Half-circle mirror in Smoked Oak R13 995, La Grange Interiors; New York square two-door chevron cabinet with interior in Spiced Tea R17 990, LIM; Ripped and Teared and Coloured carpet 3 by Joost van Bleiswijk POR, Nodus Rug; Ozoo chair in Yellow by Marc Berthier POR, Roche Bobois; Ania muse vessel by Ferm Living R1Â 410, Mezzanine; Harris walnut table with tapered legs R31 280, James Mudge; Ovado Colore carpet R16 209, KARE Design; CM coffee table in White Carrara marble R36 000, Tonic Design.

BRICK WORK CLOCKWISEI FROM TOP LEFTI Victoria tables R13 844I each, Lemon; Talia MuseI vessel by Ferm LivingI R1 620, Mezzanine;I ‘Unexpected Turn’ (2018)I stoneware artwork byI Jeanne Hoffman R15 000,I 99ILoop; Andesite stoneI candleholder R395,I Weylandts; TerracottaI vessels R788 (extraI large), R249 (small),I both Country Road;I Vondel sidetable in NaturalI Unfilled Red travertineI R8 446, Lemon; LidoI dining chair in FoxI

FOR SUPPLIERS’ DETAILS, SEE THE STOCKISTS PAGE

R1 290, SHF; StoneI planter R325, Weylandts;I Manhattan rocking chairI R8 159, KARE Design.I

SAND STORM CLOCKWISE FROM TOP LEFT Ceramic by Jeanne Hoffman R20 000, Tonic Design; Carter sofa R24 900, La Grange Interiors; ‘Nothing Moves’ (2018) stoneware artwork by Jeanne Hoffman R20 000, 99 Loop; Queen Nenzima server R38 500, TheUrbanative; Three-piece sofa R45 201, Leon at CCXIX; Terrazzo and cork table R69 000 and chair R28 750 both by Wiid Design, Robert Sherwood; Stella chair R13 900,

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VIEW / SHOPPING

Transform your home into a showcase of design with statement decor, furniture and lighting inspired by monumental sculptures in South Africa PRODUCTION CHRIZANDA BOTHA

CLOCKWISE FROM TOP LEFT Theia P floor lamp by Mathias Hahn R25 374, ELDC; Oxydes wallcovering in Vulcain by Élitis POR, St Leger & Viney; Reach standing lamp in Black and Smoke R2 790, SHF; Cal 3 rug in Olive by Nani Marquina R10 135, Créma; Cracked Earth handknotted rug R22 000 (1.7×2.6m), Lund Rug Gallery; Canotier cocktail table by Joel Escalona POR, Roche Bobois; Jenga coffee table R8 990, SHF; Oval antique brass platters R995 (small), R1 150 (medium), R1 300 (large), all La Grange Interiors; Grass and jute basket R299, @home; Mother in Law’s tongue R140, Plantify; Palermo leather sofa in Hydra Toffee R20 180, Weylandts. AUG

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CLOCKWISE FROM TOP LEFT Identities chair from the Nativ collection by Raphael Navot POR, Roche Bobois; Nuage wall light in Red by Philippe Nigro for Foscarini R12 575 and Acid marble table lamp by Lee Broom R59 875, both CrĂŠma; Savon engineeredmarble and fibreglass coffee table in White/Grey R17 990, SHF; Curvilinear Interdependence II bench by Houtlander POR, Galleria Rossana Orlandi; Bacha sidetable in White R2 500, SHF; Linear Labour cart from the Moving Matters ll collection by Douglas & Company R110Â 400, Southern Guild; Yellow stripe print tumbler R70 and Yellow stripe print wine glass R90, both Zara Home.

CLOCKWISE FROM TOP LEFT Waldo floor lamp in Forest R1 499, Superbalist.com; Misty cupboard in Dark Green R18 800 (1.2×2m), Pazz Modernist; Haskell three-seater couch in Maurice Green velvet R11 999, Coricraft; Cha Cha occasional table in Emerald Green R5 175, Haldane Martin; Zed mirror by Ricardo Bello Dias for Gallotti & Radice from R30 900, Casarredo; Foil handtufted silk and wool rug POR (custom sizes available), Rug Society; Clay bowls in Stormy by Mud Studio R255 each, Pazz Modernist; Tray sidetable in Dark Green R1 699, Superbalist.com; Tripod bowl R350, Elevenpast; Woven planter in Green R3 900 (excluding plant), Design Store.

FOR SUPPLIERS’ DETAILS, SEE THE STOCKISTS PAGE

CLOCKWISE FROM TOP LEFT Stripes+ wallpaper in Black/White by Eijffinger R1 675/10m, Dreamweaver Studios; Poppy lamps R1 870 each, LIM; Lawson armchair by Rodolfo Dordoni R56 500, Minotti; Formentera sofa R26 000 (excluding upholstery), Tonic Design; Tiggy table in Yellow from R1 950, Pazz Modernist; Gilberto sidetable from the Bossa Nova collection by Pepa Reverter for Bosa R35 250, Limeline; Softology 301 custom rug in Downy with Jet herringbone trim R11 167 (3×4m), Yudu; Velvet ottoman in Ochre R700, MRP Home; Vase sidetable R1 799, Zara Home; Clio vase from the Muses collection by Ferm Living R1 620, Mezzanine.

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VIEW / TREND

The rise of the plinth in home decor is a nod to the fluid line that exists between art and design TEXT TRACY LYNN CHEMALY STYLING SANRI PIENAAR PHOTOGRAPH INGE PRINS

accessories, both calling attention and urging deeper consideration. The trend to display one’s favourite collector’s sneakers on a pedestal in the passageway, or to place a single bloom in a vessel on a cylindrical stand in the entrance hall, is turning homes into exhibit-like showrooms. That’s not to say there’s a sterility to this leaning. On the contrary, showrooms themselves are becoming more like homes, portraying covetable living environments where the art hanging on the walls and the glass collections in the cabinets are as important as the comfort of the sofa, the ambience of the lighting and the limited-edition candlestick perched on a plinth. The lines are blurred between the ‘product’ these stores sell and the ‘lifestyle’ they encapsulate. The plinth acts as the visual connector between these two worlds of real-life house and concept shop. It enables homeowners to grant hero status to items in their living spaces, literally raising them closer to eye level and inviting them into the foreground of the home’s overall narrative. And plinths allow stores the ability to conceptualise clever vignettes that best show off their offering, while portraying a realistic mode of stylish living. Although a coffee table stacked with books and scattered with travel paraphernalia speaks to the interests of its owner, it’s the one or two items that are given prominence on the plinth that talk to the inhabitant’s most dearly held aesthetic sensibilities and prized possessions. A piece carefully positioned on a tall marble base becomes a centrepiece in the dining room – art that communicates a reverence for the material, the artist and the craft. As with the High Line Plinth, it’s about placing something precious on a pedestal, raising it on a platform that allows it to be the focus of the room, and inviting the viewer to wander around, and wonder. O thehighline.org/art

new Insta-worthy addition to New York City’s skyline made its appearance this June. Far from being another starchitect building of dazzling proportions, this newbie is a bronze sculpture that’s been cleverly positioned to form part of the surrounding cityscape. ‘Brick House’ by US-based architect Simone Leigh is a 5m-high bust that is part of a rotating commission of public art on the city’s High Line, a picturesque walkway that’s been created on a former overhead railway line. Placed on what has been named the High Line Plinth, it will be elevated above shoulder level until September next year, when another work will take its place on the large-scale display plinth. Plinths are not new to the world of art, where they’ve been used for centuries, appearing as heavy bases or boxes on which statues or sculptures are positioned. That the High Line is employing this method is nothing revolutionary. What is notable, however, is the way it causes passers-by to regard the artwork outside of an art gallery environment. Raised off the floor, it becomes something to look up toward – admiration inadvertently fabricated in the mind’s eye. The High Line Plinth gives prominence to the sculpture it holds – setting it apart from the other public works along the walkway. It asks you to pause, cast your eyes upward, walk around and study. This gentle cue of curation is moving even further away from the art gallery and sculpture garden. It’s finding its way into our homes, offering an artistic approach to interior displays that turn us into contemplative decorators – and our guests into engaged observers. In the same way that a frame completes a painting, plinths have become the ultimate exclamation mark for revered objets d’art, showstopper plants and beloved fashion

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THIS PAGE The Vondel sidetables by Lemon (madebylemon. co.za) in marble and travertine are both sculptural plinths and functional furniture. An item placed on this becomes a visual statement elevated to artistic status.

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VIEW / SPOTLIGHT

THIS PAGE ‘Blackwall Experiment’ by Nigerian gallery Revolving Art Incubator (left) and ‘The Big Wall II’ (2019) by Hussein Salim (right) can be seen at FNB Art Joburg 2019, taking place from 13-15 September at Sandton Convention Centre in Johannesburg.

TEXT GARRETH VAN NIEKERK

he yearly Joburg Art Fair has been reimagined as FNB Art Joburg 2019, and one of the highlights of the refreshed event is its innovative Gallery Lab. Spanning over 600m2 , the 2019 iteration takes the form of a pavilion where, according to FNB Art Joburg organisers, ‘galleries and hybrid spaces from the continent and beyond gather for an annual conference of collaboration, discussions and sharing of best practices’. This year’s Gallery Lab is curated by FNB Art Joburg fair manager Nicole Siegenthaler, and artist and founding director of Braamfontein art hub BKhz, Banele Khoza. ‘Gallery Lab will serve as an incubator, a space to develop and nurture AUG

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emerging galleries and programmes as well as a space for exploration; to present and test new artists, ideas and business models relevant to the contemporary African arts landscape,’ the organisers say. As well as institutions from across Africa, it will see participation from many Nigerian galleries, such as 16/16, Revolving Art Incubator and Rele Gallery, none of which have been at the art fair before. ‘Gallery Lab is grounded by play in the form of experimental narratives, educational elements and new conversations that are happening on the margin,’ Khoza says. ‘We need these and they need to be shared – that’s what we hope to deliver with Gallery Lab.’ O artjoburg.com

PHOTOGRAPHS: SUPPLIED

FNB Art Joburg’s Gallery Lab brings together galleries from across the continent in an ‘annual conference of collaboration’

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VIEW / ART DETAIL

Two simultaneous retrospectives of William Kentridge’s sculptures and drawings at Zeitz MOCAA and Norval Foundation in Cape Town offer a rare chance to explore the acclaimed artist’s oeuvre TEXT GARRETH VAN NIEKERK PHOTOGRAPHS THYS DULLAART, STELLA OLIVIER

THIS SPREAD, FROM LEFT ‘Bicycle Wheel’ (2017) by William Kentridge forms part of the exhibition Why Should I Hesitate: Sculpture, on show at Norval Foundation from August. See more pieces from this exhibition on the opening pages of each section of this issue; Kentridge stands in his studio with a plaster version of his piece ‘Open’ (2019).

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‘I’M BY NO MEANS UNIQUE OR ALONE NOW, AND THE COMPANY OF OTHER ARTISTS IS VERY COMFORTING.’ – WILLIAM KENTRIDGE rying to keep up with William Kentridge can become fatiguing, especially for those of us born later than his early success. With his vast body of work, and endless list of exhibitions in museums and galleries around the world, it’s a lot of time to catch up on. This is the reason why there’s so much excitement about the artist’s upcoming retrospectives in Cape Town. From 24 August to 23 March 2020, an unprecedented selection of Kentridge’s work from the past 40 years will be on show at the prestigious Zeitz MOCAA and Norval Foundation, in what Zeitz MOCAA describes as ‘the largest exhibition to be held in Africa in over a decade’. At the gallery in the Silo District, visitors will get to experience the artist’s drawings, stop-frame animations, videos, prints, sculptures, tapestries and installations in the exhibition Why Should I Hesitate: Putting Drawings to Work. Further afield in Tokai, Norval Foundation will host Why Should I Hesitate: Sculpture – the first ever exhibition that will consists solely of Kentridge’s sculptures.

Both exhibitions will feature a wide selection of Kentridge’s work, including early creations and newer pieces on view for the first time in South Africa. It’s a chance for local art lovers to look back on the artist’s rich past, engage with works only ever exhibited internationally, and speculate about what he could do next. And for Kentridge, the exhibitions offer a rare opportunity to create access to his work for South African audiences, which he hopes will make it more understandable and less intimidating. ‘The South African art world has changed so much in the 40 years or so that I’ve been around, working in the studio,’ he says. ‘During that period, we saw the end of apartheid, before which South African artists were very isolated from the rest of the world. Now, there is a large number of South African artists who are very much part of the international art scene – at exhibitions and biennales, with galleries representing them all over the world. So even though I’ve been doing it for a long time, I’m by no means unique or alone now, and the company of other artists is very comforting.’

Kentridge was recently voted ArtReview magazine’s Africa’s Most Powerful Artist, but he doesn’t agree with the nomination. ‘To be the most powerful artist in Africa… really, it’s not a term I was familiar with, and I don’t think it’s true either,’ he says. ‘I think, thank goodness, there isn’t a single figure that has to represent a country, far less a whole continent. But there are moments of solidarity between artists in Africa relating to what it is to be at the margins, to be in a post-colonial situation. To have this as a central point of consideration, not just in one’s work, but in one’s life, and the relationship of Europe to the people and place where one lives.’ Most importantly for Kentridge is that when audiences leave his exhibitions, ‘they come away with the sense that it’s possible to make things, and that they think about the agency of making,’ he says. ‘A lot of the objects here are really stupid. There’s a big space for non-reflective, physical making, rather than theoretical analysis before the work is done. I hope people come away thinking, “ I could do that” or even, “My six year old could do that.” And I think that’s fine.’ O zeitzmocaa.museum, norvalfoundation.org

Javett-UP, a revolutionary new public-private art destination at the University of Pretoria, sets out to explore and probe the question ‘What is the Art of Africa?’

THIS SPREAD Designed by Mathews & Associates Architects, Javett-UP art institution in Pretoria includes the Mapungubwe Museum (this page) and the Bridge Gallery (opposite page).

PHOTOGRAPHS: SUPPLIED

TEXT GRAHAM WOOD

VIEW / ARCHITECTURE

inally, the landlocked interior of South Africa has an answer to Cape Town’s Norval Foundation and Zeitz MOCAA: Javett Art Centre at the University of Pretoria (abbreviated to Javett-UP). And it’s not in Joburg! Leaping the fence of the University of Pretoria’s Hatfield campus and forming a bridge over Lynnwood Road, the gallery and museum touches down on the university’s south campus, where it will be open to the public. Like its Cape Town counterparts, JavettUP occupies the middle ground between being a public art gallery and a private collection, and creates a new landmark and destination for the capital city. On the one hand, it houses the collection of retired businessman, philanthropist and lead donor Michael Javett, and on the other, the historical Mapungubwe gold collection (often called SA’s ‘Crown Jewels’) – the iron-age artefacts discovered in Limpopo in the 1930s. Included in the offering is the Golden Rhino, one of the items that proved that complex, prosperous early African civilizations predated colonial incursions. The development of the centre has been overseen by Christopher Till, the current director of the Apartheid Museum. Till was director of Johannesburg Art Gallery in the 1980s and Joburg’s director of culture in the 1990s, and curated the South African Pavilion for the 2015 Venice Biennale – and that’s just scratching the surface. Apart from the Javett collection, and that of various donors, he’s secured the famous 13m-long, 3m-high mural ‘Discovery’, by Alexis Preller, for the foyer. It was originally commissioned for the old Transvaal Provincial Administration building in Pretoria. ‘It’s been hidden for

years,’ says Till. ‘It needs some restoration, so we will be doing that in public view.’ In addition, the centre will also be the new home of the BHP Billiton collection from the ’80s and ’90s, which will be on 10year loan. And, to be shown along with the Mapungubwe collection, he’s also secured the Gold of Africa Museum collection, an array of jewels and artefacts crafted by 19th century West African goldsmiths. The Javett-UP building, designed by Mathews & Associates Architects, is as much a symbol as it is a magical bit of urban acupuncture. Lead architect Pieter Mathews has worked at the intersection of art, architecture and urbanism for years, experience he brought to bear here. ‘I think you can see from the geography of it, it’s spectacular in the sense that it straddles Lynnwood Road – one foot in the street and one foot in the university – and that is a bit of a metaphor for what we’re doing and how we’re doing it,’ says Till. The Mapungubwe Museum, a faceted sculptural, concrete building – a kind of abstracted architectural interpretation of the Mapungubwe Hill, where the treasures were found – is on South Campus, and is open to the public and includes an outdoor exhibition space and a restaurant. Then, the Bridge Gallery – for student exhibitions and the like – carries you across the road to a range of other galleries and event spaces. Parts of the building will be functioning areas of the university. Mathews explains that he selected the centre’s position to reactivate the university’s former main entrance and historic ‘Tukkielaan’, which was once a public road running through the campus. ‘Tukkielaan links the entire campus, and AUG

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we’ve taken it over Lynnwood Road and linked it to South Campus,’ he says. The triangular roof at the entrance of the bridge makes a prominent focal point, and both draws you in and directs your gaze towards the Mapungubwe Museum. The patterns on the panels over the bridge are simplified abstractions of shweshwe fabric, which symbolises the intertwined and overlapping cultural heritage of the university’s three official languages: Sepedi (shweshwe), Afrikaans (sislap) and English (the famous Three Cats brand was printed in Manchester). ‘We just reduced it and randomised it, and made it a bit more architectural,’ says Mathews. The raison d’etre of the centre is not only to make artistic treasures available to the public, but to ‘create a space, an institution, on the continent that looks at what I’ve described as “the Art of Africa”,’ Till says, pointedly making a distinction between ‘the Art of Africa’ and the misleading and devalued term ‘African Art’. ‘What is the Art of Africa?’ asks Till. ‘That’s exactly what Javett-UP is setting out to explore. We would be a place where we exhibit, research, identify, and discuss what the Art of Africa is, and try to present that within the future profile of the centre.’ Javett-UP’s opening exhibition brings together 100 works drawn from private and public collections across the country. ‘I’ve approached all of the public art institutions in South Africa, as well as corporate and private collections, and we’ve asked them each to nominate what they consider to be their most significant work,’ says Till. What a place to start! Javett-UP will open to the public on 24 September 2019. O javettup.art

VIEW / DESIGN

TEXT JULIA FREEMANTLE PHOTOGRAPHS BRETT RUBIN

A convergence of the skills and stories of three local design forces, the Hlabisa bench elevates craft to collector status

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eople talk about the power of collaboration, and its ability to bring forth newness and innovation. But in their recent joint venture, woodworking specialists Houtlander, interior designer Thabisa Mjo and master weaver Beauty Ngxongo delved into African heritage to create something that combines the traditional and the contemporary in the form of the remarkable Hlabisa bench. After being asked by the curator of Révélations fine craft and creation fair in Paris to participate at this year’s event, Mjo of Mash T Design Studio approached Houtlander to team up on a curvilinear bench, similar in style to the Houtlander bench voted 2019’s Most Beautiful Object in South Africa, but woven with a delicately patterned basketry backrest by Ngxongo. ‘Everyone said it couldn’t be done, but I wasn’t taking no for an answer,’ says Houtlander co-founder Phillip Hollander. ‘We loaded the bench into a van, and drove from Joburg to Kwa-Zulu Natal to meet with Beauty.’ Happily, Ngxongo agreed, and began a mammoth weaving project that would take five months to complete.

THIS SPREAD The Hlabisa bench is a collaborative design project by Houtlander, Thabisa Mjo of Mash T Design Studio and the Hlabisa weavers. It’s also a personal piece that speaks of Mjo’s aesthetic journey and childhood landscape (the curves depict the rolling hills of Queenstown in the Eastern Cape) and offers insight into master weaver Beauty Ngxongo’s artistic heritage (it features her signature pattern, which was taught to her by her mentor, Zulu weaver Laurentia Dlamini).

Based in Hlabisa, a rural centre in Zululand renowned for its weaving heritage, Ngxongo is revered for her skill, and has designs in the Smithsonian and Metropolitan museums in the US. While in Ngxongo’s home village, Mjo and Hollander saw first hand the intricate process and economy that surrounds the craft. From the people who dig up the plants to those dyeing the materials, it’s a local industry that wholly revolves around the ilala palm. While the Hlabisa bench represents a juncture between traditional craft and modern manufacturing methods, at the heart of it is a story about collaboration across cultures and disciplines. ‘This project is so important to us because we want people to know that weaving is a living craft, and that we need to support the people who keep it alive,’ Mjo says. Because Révélations is craft-oriented, the piece had to speak to traditional local culture, and this drove the design. ‘What’s amazing about the Zulu aesthetic is how contemporary it is, while also being rooted in tradition,’ says Hollander. This ability to straddle modernity and heritage is something Houtlander and Mjo share,

resulting in a successful collaboration that also allowed both to grow as designers. Working with the women in Hlabisa was eye opening for Hollander and Mjo, and the pair has resolved to find a way to support these skills in a real way – in addition to being a valuable art form, weaving is also a source of income for the crafters. ‘We take this skill for granted because we, as South Africans, are so familiar with it. But when I go overseas, I stand out because they don’t have this sort of craft there, or anyone who can do it like we can,’ Ngxongo says. Hollander adds, ‘There’s a lack of interest among the younger generation to continue the tradition, and a real danger of the skill dying out.’ To combat this, both he and Mjo will be adding more woven elements to their ranges, and introducing local creatives to weaving as a resource, encouraging future design collaborations. ‘I want people – especially women – to know that with this skill, I have supported my family,’ says Ngxongo. ‘I want people to know that if you do it properly, you too can build a life with this work.’ O beautyngxongo; mashtdesignstudio; houtlander.co.za

THIS SPREAD,I FROM LEFTI A portrait of MantheI Ribane taken by TrevorI Stuurman for the BlackI Panther global premiereI takes pride of place in theI living area of his home inI Sandton, Johannesburg.I A lamp from WeylandtsI (weylandts.co.za)I illuminates a trolley fromI @home (home.co.za),I which is piled with artI and fashion books; TrevorI is known for his vibrant,I pattern-rich self-portraits,I with photographs takenI in front of a work byI David Brits (top); and inI Cotonou, Benin (middle)I and Gaborone, BotswanaI (bottom) filling hisI Instagram accountI ( trevor_stuurman).I

VIEW / STYLE PROFILE

style South Africa’s globally acclaimed creative invites us into his colourful, Afrocentric world

‘This is the first place I moved into in Jobur and it has iven me the room to pla more.’ – Trevor

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TEXT GARRETH VAN NIEKERK HOME PHOTOGRAPHS ELSA YOUNG PORTRAITS TREVOR STUURMAN, LULAMA WOLF

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rom his beginnings as a street-style photographer documenting South Africa’s most fabulous cool kids; to becoming a cover star of magazine titles like GQ; and recently being tasked with taking official portraits for the likes of the Obama family, Beyoncé and Naomi Campbell, it’s beginning to seem like there’s nothing Trevor Stuurman can’t do. But far from the fashionable world he lives in, his home in Johannesburg is a relaxed escape from the bright lights and flashing cameras – albeit one just as colourful, patternlaced and Afrocentric as his famous imagery. The Kimberley-born photographer and creative director’s Cape-Dutch inspired cottage is located at the end of a long, leafy driveway in Morningside, Sandton, where its thatched roof is covered year-round in a layer of fallen pine needles. Sunlight streams into the cosy space through the windows onto zebra hide rugs, illuminating walls and shelves lined with a growing collection of artworks by friends and longtime creative collaborators. The works by artists Esther Mahlangu, Manthe Ribane and Nelson Makamo are among Trevor’s most treasured possessions, he says, reminding him of their time together, and each person’s place in his life. ‘Esther is like a grandmother to me,’ he says. ‘Our relationship started when I was commissioned to shoot her for a film project, and I got the chance to stay with her. Over time, our relationship grew, with us collaborating on artistic projects and me taking close friends to meet her whenever

I could so that they could learn from her as well. Living with her work is very special because Esther doesn’t see what she makes as art, but as a way of life. I take those lessons from her, and I try to live with my own art now as a daily practice.’ Trevor explains that his home’s decor came together organically, and that there isn’t one strict guideline to his aesthetic choices. ‘There wasn’t a moodboard or anything. In fact, I never thought about decorating,’ he says. ‘This is the first place I moved into in Joburg, and it has given me the room to play more and to include my travels into my interiors. I’m a pan-Africanist, and very pro African, so I source a lot of inspiration from the continent, which I think comes across in the space. But most of all, at home, deadlines and disappointments don’t exist, and that’s what makes it important. It’s a space that I fully own; a world that I created for myself.’ O trevorstuurman.com

‘I’m a pan-Africanist and ver pro African so I source a lot of inspiration from the continent.’ – Trevor

THIS SPREAD,I CLOCKWISE FROMI OPPOSITE TOPI Trevor in his signatureI Simon and Mary fezI (simonandmary.co.za);I a leather couch fromI Weylandts is the perfectI spot for afternoon naps,I surrounded by an arrayI of African pieces, likeI a watercolour portraitI of Hugh Masekela byI Nelson Makamo overI the fireplace; a bus inI Dakar provides a brightI backdrop for one ofI Trevorâ&#x20AC;&#x2122;s self-portraits.I

THIS SPREAD, FROM LEFT The master bedroom is resplendent in Ndebele motifs, with a mural by Esther Mahlangu crowning the bed. A quilt from the former-KwaNdebele area complements a bedspread from Trevorâ&#x20AC;&#x2122;s grandmother, while a bust by Mahlangu is adorned with a handcrafted harness from Kenyan brand Moyo by Bibi ( moyobybibi); Trevor wears a fez from former-KwaNdebele and a jacket from Sol-Sol (sol-solmenswear.com) in a photo by Lulama Wolf.

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‘Livin with her work is ver special because Esther Mahlan u doesn’t see what she makes as art but as a wa of life. I take those lessons from he and I tr to live with m own art now as a dail practice.’ – Trevor

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HOLDING IMAGE FEATURES ‘RING’ (2019) BY WILLIAM KENTRIDGE FROM THE WHY SHOULD I HESITATE: SCULPTURE EXHIBITION AT NORVAL FOUNDATION

HOMES Inside an eclectic apartment in New York City (p46), a colourful abode in Parkhurst (p54), an updated home in Craighall (p62), an art-filled farmhouse in Limpopo (p70), an artist’s property in Rivonia (p78)

THIS SPREADI Doug Meyer’s Chelsea apartment in New York City is full of the designer’s own otherworldly creations. This is immediately apparent in the living room, with its Deep Space pink partition wall, The Good Earth psychedelic handknotted rug, Excursion Module blue coffee table, and Positano green and yellow sidetables. Jedd Garet’s ‘Vase’ (1981) artwork adorns the back wall.

HOUSE / NEW YORK CITY

Colour, texture and pattern run riot in a New York City apartment whose characterful aesthetic reflects the infectious enthusiasm of its designer owner TEXT AND PRODUCTION IAN PHILLIPS PHOTOGRAPHS STEPHAN JULLIARD

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THIS PAGE, FROM TOP Doug stands in the entrance hall of his home, where a blue cameo hangs against back-painted glass wall panels decorated with motifs inspired by microorganisms; in the library, a custom bookshelfcabinet clad in mirrored Plexiglas is stacked with an assortment of Doug’s artworks and objets, including a pink papier mâché head that dates back to the 1960s and is from Andy Warhol’s personal collection.

ew York Citybased designer Doug Meyer is not into monochromatic interiors. ‘I’ve been in some beautiful rooms that are beige and grey and monotone, but they don’t make me happy. Good sually,’ he says. Doug prefers things that are ‘odd’, and sees his own design schemes as ‘more conceptual, like a piece of art’. His former apartment in Manhattan was a perfect case in point. There, he covered the walls in almost 3 000 sheets of paper: there were vertical stripes of 13 different colours in the living room, and rectangles with more than 500 distinct motifs in the bedroom. Doug’s new home, which he shares with his husband Meade Ali, is equally fantastical, but it required a fair amount of work to get it that way. Located in a nondescript brick hi-rise in Chelsea, the interior was previously unprepossessing and littered with the remains of its previous inhabitants, a young family of hoarders. ‘It was crazy,’ says Doug. ‘Literally, there were paths where you could walk and the rest was just stuff – boxes and kids’ toys and clothes.’ Still, he and Meade loved the apartment’s location, and the layout worked perfectly for them, especially the fact that the living area was large enough to be split in two. One part is now home to a sitting area; the other to a guestroomcum-library. ‘We wanted to be able to put people up, but we didn’t want them to stay that long,’ says Doug. ‘It’s comfortable for just one or two nights.’ He compares the space in question,

THIS PAGEI Dougâ&#x20AC;&#x2122;s Excursion Module coffee table was designed especially for the apartment and is made from wood, metal, epoxy, resin and organic pigments. Crystals and coloured Plexiglas are inset into its surface.

THIS PAGE, FROM TOP The library doubles up as a guestroom, complete with a handwoven blanket bedspread and embroidered cushions from Morocco. Doug’s Deep Space partition separates the space from the rest of the living area, while an Ara table light by Philippe Starck for Flos (flos.com) introduces a chrome element to the predominantly blue and green scheme; four pink images from Doug’s BOD collection are displayed to the right of the kitchen, providing a contemporary counterpoint to the 17th century portrait of a woman in the living area.

which includes a blue mirrored bookshelf, to a fish tank. ‘A lot of my references come from my childhood, and I remember as a kid there were always aquariums in dentists’ offices,’ Doug says. ‘I was fascinated looking at those little worlds.’ The apartment’s most striking feature is, without question, the candy pink sculptural partition that divides the living area. Christened ‘Deep Space’, it takes its inspiration from sci-fi movies and topographical maps, and features a series of portholes and antennae sticking out from it. Made from wood, metal, epoxy and painted plaster, it took Doug four months to construct, and its eclectic aesthetic is echoed in many of the home’s walls. Glazed ceramic panels influenced by Brutalist architecture and the works of Louise Nevelson feature throughout, while back-painted glass cladding decorated with micro organism-like motifs greets visitors as they enter the home. In the living area, one wall is adorned with an expanse of mirrored Plexiglas, a material for which Doug has a particular predilection. ‘When light hits it, it warps reflections and just creates this bizarre quality,’ he says. On top of it, a 17th century portrait of a woman takes pride of place, reflecting Doug’s love of layering art over mirrors. ‘It adds so much depth to a space,’ he says. This bold explosion of colour and texture is balanced out by a few quieter moments, and several walls are finished in a simple red-oak veneer – a nod

THIS PAGE Light wood cladding combines with blue wall tiles from Fireclay (fireclaytile.com) in the kitchen, which is surprisingly subdued in comparison to the rest of the home. Alfi highback bar stools by Jasper Morrison for Emeco (emeco.net) surround a bespoke table with a steel base and marble top.

THIS PAGE The grey master bedroom is accented by a blue-hued glazed ceramic wall panel and Componibili sidetable by Anna Castelli Ferrieri for Kartell (kartell.com). Atop a plinth stands a wood, plaster and black rubber bust of photographer Robert Mapplethorpe from Doug’s Heroes series, which comprises portraits of creative icons lost to AIDS.

to an apartment decorated by the late iconic designer Angelo Donghia, that Doug visited in the 1970s after moving to Manhattan from his native Kentucky. ‘It was just so grand and cool, and very modern for that moment in time. It always stuck with me,’ he says. Meade, meanwhile, insisted on the bedroom being grey, a design decision that led to Doug jokingly referring to it as ‘The Prison’ – and sneaking in a few select touches of pink and blue. When it came to the apartment’s furniture, a large majority of it was custom-made. There is a cabinet Doug designed specially to display his book, Heroes, which features portraits of 50 artistic figures who died from AIDS. There is also a jewel-like console with protrusions sprouting from it. ‘I love things that look like they’re growing out of something,’ he says. ‘I always find it boring for the surface of a piece of furniture to be flat.’ His own creations may be highly decorative, but he also wanted other elements that were freer and easier. The Warren McArthur chairs in the sitting area, for instance, were specifically chosen because they fold up. ‘I love that things are movable,’ Doug says. ‘That way, they’re not that precious or permanent.’ His enthusiasm about the apartment is certainly quite infectious. “When you create something, whatever it is, you just get so excited,’ Doug says. ‘I love looking at this stuff.’ Still, not everyone shares his fervour – an attitude that constantly bemuses him. ‘A lot of people say, “How do you live like this?” But for me, this is totally normal. This is just how I think!’ O dougmeyerstudio.com

THIS PAGEI An art wall in the master bedroomI is home to pieces by Nicholas Takis,I Richard Haines, Cecil Beaton and Warhol among others. The 1960s teak desk is by Arne Wahl Iversen and the iconic Nod chair is by Omar De Biaggio.I

UR The exuberant Parkhurst home of an opera-loving doctor exposes the bond between art, music and design TEXT MILA CREWE-BROWN PHOTOGRAPHS ELSA YOUNG

OPPOSITE PAGE In the kitchen of this Johannesburg home, a glass-fronted cabinet from Spaces and Places (spacesandplaces.co.za) houses the homeownerâ&#x20AC;&#x2122;s treasured crockery. On the table is a tea set bought in Prague, while a portrait of the owner, painted by his colleague Dr Antonie de Beer, hangs high on the wall.

HOUSE / PARKHURST

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n the evening I arrive to interview the owner of this punchy Parkhurst home, classical music wafts a background melody throughout every room, upstairs and down. The homeowner – a Melville-based doctor – is dressed in neat black jeans, a sunny leather jacket, Italian leather shoes and yellow polka-dot socks. His sense of personal style and predilection for the finer things in life is emulated in his home choices too. Colour abounds here; yellow velvet curtains are a spirited match for checkerboard floors, a custom canary deep-buttoned sofa dominates the library, and vintage Peter JA Stuart dining chairs reupholstered in pink and green fabric team with a modern faceted server by Nowa. ‘I have a weakness for Champagne,’ says the owner, opening the server doors to reveal numerous pigeonholes stocked with bubbly. In this home, art, music and colour form an exuberant union, indicative of the man who lives within. There’s a fusion of contemporary and classical, expressed in the mix of French and Italian antiques, and slick pieces from brands like Tom Dixon, Seletti and Pazz Modernist. A set of sofas bought on sale from Waterhouse Interiors has been recovered three times; now sporting Ralph Laureninspired navy fabric with chartreuse piping, they are in direct conversation with a trio of prints of Maria Callas by Lawrence Lang.

THIS SPREAD, CLOCKWISE FROM TOP A Monkey Paradise Flame scatter cushion from Ardmore Design (ardmore-design.com) is a vibrant addition to the living area’s navy sofa; the space features an array of contrasting works, including a white ceramic by Astrid Dahl paired with a portrait from Mary Sibande’s 2009 Long Live the Dead Queen series; ‘Invoking the Fever Dream (Pink)’ (2018) by Neill Wright acts as a counterpoint to a photograph from Nandipha Mntambo’s iconic 2008 Praça de Touros III collection.

Having just moved into this Georgian house two months prior, there wasn’t a huge amount to be done to tailor the space to the owner’s taste. Truck loads of terracotta tiles were lifted and replaced with his favourite checkerboard flooring, a fireplace was installed and the walls were painted in various shades – a delectable tangerine in the main bathroom, electric blue in the kitchen and ‘Dior grey’ in the rest of the home. The latter was his brief to Francois Burger of Top Paints, who matched the shade used in the Dior shop in Paris. ‘I love this grey; it’s soothing and warm and you can really play other colours off it,’ the homeowner says. I’m lucky to catch him; he has just returned from singing a concert in Bloemfontein and by morning, he’ll fly out to Munich to watch Pretty Yende perform Lucia di Lammermoor. Directly after, he’ll head to Italy to sing at a friend’s wedding on the island of Ischia. Of course, he works like the rest of us, seeing to a loyal client base as a GP, but travel is dedicated to his passion. ‘I plan every holiday around opera and concerts. I was last in Berlin for my birthday, where my friend Elza van den Heever sang Richard Strauss’ Vier letzte Lieder,’ he says.

THIS SPREAD, CLOCKWISE FROM TOP The vivid blue kitchen was inspired by an image the owner saw on Instagram and features a server by Jacques Erasmus; upstairs, a custom yellow sofa by Executive Designers (executivedesigners.co.za) is juxtaposed with a stark fashion photograph by Mario Testino; Walter Battiss’ ‘Orgy 1’ silkscreen print crowns a violet antique table, upon which stands a Doggy lamp by Philipp Bruni; the living room coffee table is a repository for cherished pieces, such as a replica terracotta warrior on a horse, gifted to the owner for his 40th birthday.

The walls of his home are adorned with an array of artworks, most of them by South African artists like Nandipha Mntambo, Wilhelm Saayman, Deborah Bell, William Kentridge, Norman Catherine and Walter Battiss. There’s a common thread – many are portraits and music related, whether they’re of musicians and singers or operatic posters. The first work that he ever purchased was a pencil drawing of a musician – bought in 1987 from an exhibition at the medical campus library – and this was the beginning of his love of art. When we ask the owner’s thoughts on the ties between medicine and the arts, he speaks of emotional connection. ‘I practice medicine with my heart… it’s a human science, and the same emotional connection exists in art and music,’ he says. O

THIS SPREAD, CLOCKWISE FROM TOP A four-poster bed from @home (home.co.za) that was painted gold makes a grand statement in the master bedroom; one of the main bathroom’s walls is adorned with nine portraits by Erasmus. ‘I think he’s the most creative man I know,’ says the homeowner; a cherry sculpture from Plaisir du Jardin (plaisirdujardin.co.za) is placed on a sidetable from Pazz Modernist (pazzmodernist.co.za) in the marble-clad spare bathroom; books and accessories gather in curated groups on a vintage table in the guest bedroom.

HOUSE / CRAIGHALL

A revamped house in the suburbs of Johannesburg is home to an extensive array of contemporary art and vintage collectibles

TEXT LAYLA LEIMAN PHOTOGRAPHS ELSA YOUNG

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THIS SPREAD,I FROM LEFTI A carved jelutongI sculpture by PeterI Schütz is one of MarinaI Appelbaum’s favouriteI works in her CraighallI home in Johannesburg;I the living room is awashI with colour, featuring limeI green occasional chairsI from interior decoratorI Stephen Falcke as well asI Brett Murray’s bright redI satirical piece, ‘In the LandI of the Blind...’ (2015).I

he notion of terroir is a familiar one in winemaking, referring to the way in which the precise environmental context of a vineyard contributes to the unique characteristics of a wine. Similarly, Marina and Robert Appelbaum’s Craighall home in Johannesburg, which they share with Marina’s three children, is an expression of their individual personalities, interests and stories. The house, originally designed by renowned South African architect Michael Sutton, underwent a major year-long renovation in 2015. ‘As happens when you start doing a small renovation, you very quickly realise that everything has to change,’ Marina says. For the job, she called in the same team who built her previous home in Morningside, which included her good friend Joe van Rooyen of JVR Architects and landscaper Patrick Watson. The characteristic poky layout was reconfigured to create open-plan living spaces with an abundance of natural light. The entire interior of the house was revamped and modernised while maintaining the integrity of the original design. For the garden, Watson created a minimal yet lush indigenous backdrop (complete with winding cement pathways for Marina’s son to skateboard on) that allows the many artworks, objects and collectibles in the house to shine as the star features. The couple are both avid collectors. Robert, a partner at Webber Wentzel and an owner of Strandveld wine farm in Cape Agulhas, collects vintage cameras, figurines and Art Deco furniture, while Marina has developed an impressive eye for contemporary art, and has a considerable collection to match.

THIS SPREAD, CLOCKWISE FROM TOP LEFTI Vanessa Mitrani’s No Limit vase from Roche Bobois (roche-bobois.com) adds a characterful touch to the interior; most of the fine art on display was acquired from Goodman Gallery (goodman-gallery.com), including the idol wrapped in red chevron tape from Kendell Geers’ Twilight of the Idols series; a central staircase divides the home’s renovated ground-floor kitchen, entrance hall and living areas.

THIS SPREAD, CLOCKWISE FROM LEFT A photographic piece by Broomberg & Chanarin hangs behind a vintage reupholstered LC4 chaise longue by Le Corbusier and Charlotte Perriand for Cassina (cassina.com); colourful Oriental-inspired pieces reflect Marina’s husband Robert’s love of India; Marina stands beside a work from Diane Victor’s Theatrical Character series.

On the veranda is a set of limited-edition ceramic artist plates in Perspex housings. These are from the Orange Babies Plate Project, which Marina organised in partnership with Goodman Gallery. In addition to serving on the board for the organisation, Marina is a successful entrepreneur and restaurateur, as well as an author and an HIV/AIDS education programme developer. Her love of art goes back many years. She began collecting more than two decades ago, and has built her collection in close collaboration with Liza Essers of Goodman Gallery. Marina says that her approach to collecting centres around having an emotional connection with a work and wanting to live with it, even if this is challenging. One such work – and a favourite of Marina’s – is a 2.5m-high drawing from Diane Victor’s Theatrical Character series that depicts a woman (modelled on the artist) kneeling in prayer on a chair. For Marina, it represents the inevitability of time passing and the corporeal changes that come with it. The piece hangs in the doublevolume stairway adjacent to a painting by William Kentridge from his 2007 The Nose series. Downstairs, a carved jelutong wood sculpture by Peter Schütz of a woman holding a basket of eggs is Marina’s most beloved artwork; the eggs, she says, remind her of the omnipresent evil eye in her native Greek culture. Marina has similar personal connections to all of the artworks in her collection. A photographic work by Broomberg & Chanarin from the duo’s Bandage The Knife Not the Wound exhibition is the newest addition to Marina and Robert’s joint collection. She was drawn to the piece from a theatrical, sartorial perspective, while for Robert, the striped garments depicted conjured up the garb of Jewish concentration camp inmates. Like the two oceans that meet at Cape Agulhas, Robert’s and Marina’s home is an amalgamation of each of their distinct styles, as well as a host to their extensive collections. The result is a quirky, unfussy family abode with a whole lot of personality. O jvrarchitects.co.za

THIS SPREAD, FROM LEFT The Appelbaumsâ&#x20AC;&#x2122; individual aesthetics merge in the master bedroom, where antique furniture collected by Robert over the years sits side-by-side with Marinaâ&#x20AC;&#x2122;s contemporary influences; Robert is an avid figurine collector, and these pieces bring a playful tone to the home. The bathroom is a prime position from which to admire the indigenous landscape design by Patrick Watson.

â&#x20AC;&#x2DC;The entire interior of the house was revamped and modernised while maintaining the integrity of the original design.â&#x20AC;&#x2122;

THIS SPREAD, FROM LEFT The Limpopo home of Jaco Roux and Menno Venter has slowly evolved to accommodate the couple’s ever-expanding art collection, which is on display in the garden, interiors and a main gallery room. In this space, Claudette Schreuders’ ‘Romance’ (2012) horse sculpture stands between ‘Prism: Dead Pieta’ (2006) and ‘Prism 30 (Maquette for Dead Laocoön)’ (2017) from Wim Botha’s Heliostat exhibition, as well as a large-scale painting by Serge Alain Nitegeka.

Limpopo’s

ART FARM

HOUSE / LIMPOPO

Gallerist Menno Venter and artist Jaco Roux’s fruit and nut farm in rural Limpopo is the unexpected home of artworks by some of the country’s most iconic artists TEXT GARRETH VAN NIEKERK PHOTOGRAPHS ELSA YOUNG

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s far as farmhouses go, there surely can’t be many that boast two art galleries among their basic amenities. But in the Limpopo home of Jaco Roux and Menno Venter – an artist and a gallerist – these spaces are, quite simply, essential. Practically, the pair have amassed one of the country’s largest collections of contemporary African art, and their house has gradually evolved to display more and more of these works. But more indulgently, Jaco says, ‘When you have the space, and no kids, why not build an art gallery just for the two of you?’ Located at the end of a dirt road winding through 500 hectares of banana plantations on one side, and macadamia and pecan trees on the other, the unassuming homestead welcomes you to its door with one of Deborah Bell’s towering bronze sentinels. The extraordinary work from the artist’s most recent exhibition at Everard Read Gallery in Johannesburg looks out over a sculpture garden of other familiar pieces.

THIS SPREAD,I CLOCKWISE FROMI FAR LEFTI On one end of theI room, ‘Prick’ (2013) byI Willem Boshoff hangsI above a server fromI Amatuli (amatuli.co.za)I topped with a maquetteI by Deborah Bell; aI totem by EdoardoI Villa is one of the manyI works in the sculptureI garden; Menno standsI in the gallery toweringI over Ed Young’s selfI portrait leaning againstI the wall. The yellowI brick sculpture is byI Cameron Platter andI the painting on the rightI is by Matthew Hindley;I a compacted earth andI grass bustIby AngusI Taylor adds an organicI element to the space.I

THIS SPREAD, CLOCKWISEI FROM THIS PAGEI An early reverse glassI painting by Conrad BotesI takes pride of placeI above the kitchen’s openI hearth, in front of whichI stand three sculptures byI MJ Lourens atop the kitchenI table; in the TV lounge, anI Eames lounger is the perfectI place from which to admireI artworks by the likes ofI PieterIHugo (far left), JakeI Aikman (above the TV) and I Wayne Barker (far right).I ‘Along The Shiny Road’I (2013), a bronze-cast ponyI by Sanell Aggenbach, sitsI in the foreground; BrettI Murray’s ‘Portrait’ (2018)I sculpture from his HideI exhibition casts an eye overI the verdant garden.I

Furthest from its imposing form stands an Edoardo Villa totem, its topmost bauble peeking out from behind a mass of scarlet bromeliads in which its plinth is mounted. There is Brett Murray’s evocative ‘The Party vs The People’ sculpture, featuring two mating gorillas, and just a few steps away from that is the couple’s newest acquisition, ‘and obsession,’ Menno says – Murray’s ‘Portrait’ piece from his Hide show, also held recently at Everard Read gallery. Inside the house, Jaco and Menno’s impressive collection continues, but is brought into more dramatic focus by the space’s charcoal walls and gallery-style lighting. Overlooking the TV lounge in a small salon-style gallery stands a bronze bust by Mohau Modisakeng next to a photographic still from the film work he showed at the Venice Biennale in 2017. The bust shares space with a dark work by Conrad Botes, while in an adjoining sitting room stands one of Athi Patra-Ruga’s unbelievably complex and detailed busts, glistening and glimmering with a fabulously camp sort of shine. On the walls are pictures by the likes of Pieter Hugo, Robin Rhode, Cameron Platter and Jake Aikman.

But this profusion of works is just a precursor to the main gallery room. Located at the end of a polished concrete patio walkway, this is where the couple listen to records, read and experiment with the curation of their most treasured art. At one end of the room, Claudette Schreuders’ ‘Romance’ horse sculpture creates a weird, almost sci fi-like presence in its place in the foreground, standing between two major works by Wim Botha and a monumental painting by Serge Alain Nitegeka. In contrast, the earth tones of a rusted Amatuli server draw your eye upward to Willem Boshoff’s iconic ‘Prick’ piece, which is layered with hundreds of Acacia thorns. On the far side of the gallery (best appreciated from a Polder sofa by Hella Jongerius) is a nearcomplete installation of Penny Siopis’ ‘Pinky Pinky’ paintings – their eyeballs staring out from the plastic-looking impasto. Giant works by Portia Zvavahera and Matthew Hindley adjoin the installation, their scale dwarfing one of the collection’s most curious figures: a 63cm-tall sculpture of controversial artist Ed Young, with his pants pulled down and complete with tiny body hairs, leaning against the wall. The work was the only item in an empty gallery at Cash or Card, Young’s 2013 solo show at SMAC Gallery. Jaco’s landscape paintings also feature throughout the home, and his works have been exhibited at several local and international galleries over the years – most recently at Menno’s Galleria Menno in Rovinj, Croatia. ‘This farm has been in my family for four generations, but even as a small boy, I was drawn to the visual aspect of it, the beauty of it,’ Jaco says. ‘Being an artist, I’ve come to love it even more. When I moved back here after teaching art for eight years, I had some small means to begin collecting, and then once we really started, our house grew from that – and we had to expand it to make space for it all. But our whole lives revolve around the arts, and this place, far away from everything, is where we get to keep it.’ O

THIS SPREAD,I CLOCKWISE FROM TOPI Menno and Jacoâ&#x20AC;&#x2122;s home isI located on 500 hectares ofI farmland, which includesI a thriving macadamia treeI plantation; black walls formI an ideal backdrop forI the coupleâ&#x20AC;&#x2122;s burgeoningI collection of works from allI over the world, such asI six oil nudes by Brooklyn-I based artist Adam Chuck inI the main bedroom. AboveI the bed, the two smallI paintings on the right are byI Hindley, the large paintingI is by Anton Karstel and theI painting on the far end is byI Walter Meyer; a charmingI 1970s era bathroom wasI updated with mosaic tiles.I

HOUSE / RIVONIA THIS SPREAD Mudhif, named in memory of architect Norman Eaton and artist Alexis Preller and inspired by the traditional reed structures of the Marsh Arabs of Southern Iraq, is the Johannesburg home and studio of the artist and curator Karel Nel.

a life of art Alive with the emblems and icons of his extraordinary life and travels, the home and studio of renowned artist Karel Nel are like stepping into one of his mesmerising works TEXT GARRETH VAN NIEKERK PHOTOGRAPHS ELSA YOUNG

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ew private homes figure so prominently in the story of South African art as that of curator, educator and artist Karel Nel. The Modernist structure, known as Mudhif, has become iconic for its place in the imagery of Karel’s life and work. It is also the space where the artist’s collection of African and Oceanic art is housed, resulting in Mudhif becoming a sort of museum for those with an interest in the field. Karel grew up on the property, which is located in the quiet Johannesburg suburb of Rivonia, and it’s here where he began collecting and cataloguing objects as a young child. When the property was subdivided on his return from Berkeley, Karel began work on what would become a semi-enclosed house and studio space built around a large, dark pool. The structure is reflected in its waters as a series of shallow barrel vaults held up by thick mud-coloured walls and large sliding doors that stack away unobtrusively, allowing the interior to flow freely into the articulated courtyard. London-based architect Dexter Moren worked closely with Karel, and designed the building to incorporate a series of treasured

THIS SPREAD, CLOCKWISE FROM FAR TOP LEFT An 18th century Zanzibari door welcomes visitors at the entrance to Karel’s studio; the view past yet another Zanzibari door towards the library-guest room reveals an ebony Lamu throne stepped back in an alcove, a daybed designed by Allan Schwarz, and a Baule bush-cow mask; African and Oceanic objects stand on a platform in the lobby entrance, in front of photographer Richard Cutler’s leather-bound library; a 17th century Thai Buddha head and a canoe prow from Borneo are displayed on plinths next to a stack of works in Karel’s studio.

THIS SPREAD, CLOCKWISE FROM THIS PAGE The brightly lit, barrel-vaulted kitchen in black was designed by Heidi and Selwyn Arenstein of Future Classics (futureclassics. co.za); in the library, two Chinese Ming hardwood chairs flank an 18th century Dogon Toguna post from Mali; this view of the library reveals the Schwarz daybed, a Tutsi milk screen and an overflow of books stacked on a Nagashima bench.

Zanzibari doors. The largest and earliest of these was collected in the 1930s, while the remaining four were acquired in 1945 by the Modernist architect Norman Eaton. On Eaton’s death in 1966, two of the doors were bequeathed to artist Alexis Preller, who built his own mudhif to house them, referring directly to the ancient tradition of the reed guest houses created by the Marsh Arabs of Iraq. Preller died before the doors were ever installed, and they were auctioned off and disappeared from knowledge. Then, many years later, Karel tracked them down, and they became the inspiration for his studio. This is where Karel prepares for his exhibitions, surrounded by a collection of historical, sacred objects made by artists from around the world. In light of this collaborative energy, we wanted to see how Karel’s closest colleagues and friends view his home, in order to better understand its importance. Fashion designer Marianne Fassler and visual artist Joni Brenner share their thoughts and memories with us.

MARIANNE FASSLER

‘I remember when Karel lived in a tiny room in his parents’ home, which is still on the property. He has been a collector for years, but I had no concept of just how much he had accumulated until it was “revealed” in the larger space. ‘My overriding memory is not necessarily the bricks and mortar of the building. It is the warmth and glow of the long dinner table, and the delicious vegetarian dishes Karel conjures up in his all-black kitchen. I have many memories of the conversations around that table, of the people who stay over on that Mies van der Rohe daybed. They are scientists, astronomers, photographers, protectors of apes, and collectors of fossils and stars. ‘Karel has an eye and a heart. I remember when he acquired the library of a friend fallen on hard times, and installed it in the entrance of his home. I remember the times we cried, the times we bowed our heads and the times we laughed and celebrated. I remember the giant leaves, the single frangipani flower, the sprig of prunis in a vase. I remember the solitary futon, the Eileen Gray screen, the altar around the bed, and the projected consciousness and inner journeys while dreaming in this bedroom.’

JONI BRENNER

‘Karel’s home is a potent site of co-existence: plants, trees, leaves, animals, objects, artworks and the narratives of all their makers and custodians through time are comprehensively enmeshed in the thoughtful life of Karel Nel. ‘Identified by specific trajectories, storylines and the pathways along which they’ve travelled, each object encapsulates a set of relations that weave Karel and his vision into a broad community of past and present artists, designers, dealers, collectors, historians, writers, palaeo-scientists and astronomers. ‘The giant Senufo guardian bird sculpture was bequeathed from the personal collection of the African art dealer Vittorio Meneghelli, and other impressive works of art joined this home when Esmé Berman, Phillip Tobias and Egon Guenther died. These objects and their creators continue and are again enlivened here through the mind and vision of Karel Nel. ‘So, in different ways, each object represents lines of life and loss, change and continuity.’ O

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THIS SPREAD, CLOCKWISE FROM FAR TOP LEFT A collection of Oceanic currency objects; a wooden Trobriand Islands canoe ornament presides over the bathroom, with its large vessel and basins by ceramicist Digby Hoets (digbyhoets. com); the view into the bedroom’s courtyard, a pair of Hoets vessels and a stool by Pierre Chareau are positioned beside Karel’s bed and an Eileen Grey lacquer screen; Alexis Preller’s oil, ‘You Will Never Know’ (1071), forms a backdrop to a collection of stone lingams from South East Asia, placed at the foot end of Karel’s sleeping platform.

D L E IS U R E

THIS SPREAD Works by Karel lean against the working wall of the studiolounge, a space punctuated by tall Pacific pieces and a long refectory table that doubles as a dining table and a work surface.

‘I have many memories of the conversations around that table, of the people who stay over on that Mies van der Rohe daybed. They are scientists, astronomers, photographers, protectors of apes, and collectors of fossils and stars.’ – Marianne Fassler

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LEISURE Explore the raw energy and diverse eateries of Lebanon’s capital, Beirut (p90), a whimsical sprawling garden in Johannesburg (p96), and five quick and easy noodle recipes from around the globe (p102)

BEST IN Beirut brims with raw energy and a brand of hospitality that’s entirely its own. In her hometown, Jade George takes a seat at the eateries where tradition, creativity and the city’s best falafel are on full display TEXT JADE GEORGE PHOTOGRAPHS TANYA TRABOULSI/ BAUERSYNDICATION.COM.AU/MAGAZINEFEATURES.CO.ZA

BEI UT LEISURE / TRAVEL

THIS SPREADI Beirut is the capitalI and largest city ofI Lebanon, and hasI been called the ‘ParisI of the Middle East’I for its impressiveI Iarchitecture.I

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here’s nothing orderly about Beirut. The traffic is chaotic, the music loud, the architecture piecemeal, bearing the decorative flourishes of 23 years of French rule – then the wounds of 15 years of civil war and, more recently, the growing pains of breakneck development. This beachside city is my hometown. It’s also the capital of a country of 6 million people, nearly a quarter of whom are refugees and migrant workers. Despite the occasional difficulties of living here – against a backdrop of explosive regional geopolitics and entrenched domestic political divisions – so many of us Beirutis couldn’t imagine living anywhere else. It’s where I started an ‘ideas factory’, Art And Then Some, working on cultural projects across the Middle East and publishing a biannual food-culture journal called The Carton. In Beirut, your next-door neighbour might spend an inordinate amount of time prying into your personal business, yet never fails to send you a box of apples from her family’s orchard at the start of each harvest. A cabbie will throw the book at you if your car breaks down and blocks his way, and another will stop his day’s service to help you fix it. It’s a city of raw energy, where old-fashioned hospitality is deeply ingrained, where creativity in the arts, research and music thrives. And where all debates are conducted over shared plates of raw fava beans, mixed nuts and arak. Here’s a handful of my favourite places to visit in Beirut, where Lebanon’s food traditions and the capital’s special brand of hospitality are a way of life.

BARON

I met Athanasios Kargatzidis, known to all as Tommy, a decade ago. The Greekborn chef had moved temporarily – or so

he thought – from a job in China to work for a restaurant group in Beirut. But then he married a Lebanese and stayed. In 2016, he and local business partner Etienne Sabbagh opened Baron, an unassuming restaurant in the fashionably boho neighbourhood of Mar Mikhael, with the aim of celebrating distinctive Lebanese produce – such as daily catches from Tripoli’s fishing boats, sea salt from Anfeh and wine from Zahlé – in a relaxed space that harmonises with the eclectic, creative character of the area. Choice seats are at the bar, close enough to eyeball the Baron kitchen team at work, as well as out on the back terrace. At least half the menu is focussed on vegetables and seafood, and all of it is perfect for sharing. My standard order is the spiced butter cauliflower, baked whole then topped with crushed walnut, pomegranate seeds and rose petals, and drizzled with tahini yoghurt. Or soujouk sausage and dates wrapped in pancetta, dressed with roasted tomato sauce and pomegranate molasses and sprinkled with pistachio nuts and herbs. The kitchen smarts and an extensive list of Lebanese wine by the glass makes Baron a great place to introduce visitors to Beirut dining. tastykitchens.com/baron

HANNA MITRI

Widely regarded as one of the city’s finest booza parlours, this tiny family-run shop in Mar Mitr has been making its masticbased ice cream since 1949. Commonly referred to by locals as ‘booza arabiye’, or Arabic ice cream, the sticky, elastic texture is created by adding mastic resin and salep to milk and sugar. One of Hanna Mitri’s most popular ice cream flavours is ‘milk’, which simply adds rosewater to the milk-sugar base. Other

favourites, served in a cup or wafer cone, are classic pistachio studded with crushed roasted nuts; almond croquant loaded with a crumble of dried caramel and homemade ground almond praline; and amareddine, based on apricot fruit leather and topped with crunchy, cold pine nuts. The most photographed detail in the shop isn’t the ice cream, but the impressive 1960s gas oven in which the praline is baked. Hanna Mitri Best Bouza Ice Cream

KALEI COFFEE CO

When master roaster and barista Dalia Jaffal returned to her hometown after a stint working in agricultural sustainability in Africa, she wanted to make great coffee and support farmers in the most direct way possible. In 2016, she opened her specialist roastery and café in an abandoned 1950s house in a backstreet in Mar Mikhael, and has succeeded on both fronts. In my view, Jaffal and barista Shant Ghazar make the finest coffee in Beirut, buying beans direct from growers around the world and selling their roasts online as well as in the Kalei Coffee Co café. They’ve also added a bar offering local craft beer, a list of small-batch Lebanese wines, and signature cocktails made with freshly brewed coffee. The simple menu includes playful takes on popular farmhouse dishes, such as awarma – a lamb confit – and ambariz – rolled balls of fermented goat’s cheese. I met Jaffal in 2015 when she was scouting locations for her café and roastery and I was looking for a place to open The Carton Shop, a retail extension of The Carton. Now we share space; The Carton Shop’s range of small-production Lebanese wines, our own arak and olive oil soap, and limited-edition prints fill what was the original kitchen. A second

THIS PAGE, CLOCKWISE FROM TOP The kitchen at Falafel Al Nawwar in Ain El Remmaneh, Beirut, features a prep counter surrounded by summery white and blue tiles; named after the city in Syria, the Aleppo pizza served at Molo in Badaro does not disappoint; chef Athanasios Kargatzidis of Baron restaurant in Mar Mikhael holds a dish of roasted cauliflower with tahini yoghurt and pomegranate; diners tuck into lunch at Tawlet, a canteen in Mar Mikhael that offers authentic, homecooked meals; a corner shop sells an array of fresh produce, ranging from fruit and vegetables to nuts, spices and grains.

branch of Kalei opened earlier this year in the western suburb of Ras Beirut, in a distinctive 1920s mansion. Above it is our first guesthouse, The Carton Townhouse, overlooking Beirut’s old lighthouse. kaleicoffee.com; artandthensome.com

MOLO

If you’re an aspiring actor trying to get discovered by a film director, Molo, in the recently gentrified district of Badaro, is the place to be. The venue’s terrace, reasonable prices and fusion soundtrack of modern and classical Arabic music and jazz attract an arty, creative crowd. The owners – musician and artist Raed Yassin, scriptwriter and film director Bassem Breche and his partner Sarah Nohra, who runs Metro al Madina, an entertainment venue on Hamra Street – hire new migrants, and the staff create a neighbourhood bar full of character. (Molo is the name of one of the bar’s longstanding employees, who comes from Ethiopia.) There’s a large collection of gins and single-malt whiskies, and a pizza menu on which Italian sausage is replaced by merguez, oregano by za’atar and hot sauce by pomegranate molasses. molobadaro

ANISE

Anise in Mar Mikhael is the long-lost Lebanese brother of a New Orleans speakeasy, and I often come here for the textbook Vieux Carré cocktail. But, as the name suggests, the house specialty is arak – in this case, craft arak from all over Lebanon. ‘This one is from Zahlé, that’s from Jezzine. The one next to it is from Bhamdoun,’ says one of the bartenders, Avo, running through an impressive collection lined up behind the woodpanelled bar inset with a smoky old mirror. Dapper in black ties and waistcoats, the staff remember patrons’ names and what kind of gin they prefer in the bar’s signature cocktail, the Last Word. Anise is also known for its range of absinthe and, not for the faint-hearted, its own moonshine. Happy ‘hour’ runs nightly from 6-9pm, and the bar closes at 1.30am. Night owls and regulars, meanwhile, stay for the single dish on the menu: kibbe stuffed with labneh. Anise

FALAFEL AL NAWWAR

Never discuss politics or falafel with a Beiruti – raising either of these topics will spark hours of heated debate. I’ll add fuel to the fire by naming my current favourite falafel shop: Falafel Al Nawwar, a modest shopfront barely large enough for half a dozen customers to stand in,

with charming white and blue tiles wrapped around the prep counter. It’s one of about 50 in the city serving variations on the falafel sandwich: hot falafel balls, chopped parsley, sliced tomatoes and red radish, turnip pickles and tarator (the essential tahini, lemon and garlic sauce) all wrapped in pita baked that morning. The family-run shop in Ain El Remmaneh may be small, but the balance of crispness, tang and punch makes its falafel sandwich just right.

TAWLET

Kamal Mouzawak founded Beirut’s first farmers’ market, Souk El Tayeb, in 2004. The farmer’s son and former TV host wanted to support producers and preserve

food traditions in a city that had largely lost its celebrated bazaars during French rule and civil war. The market was the first step in a slow-food movement that is still gathering pace, and Mouzawak now oversees a network of markets, lunchrooms, guesthouses and community projects around Lebanon. Among his most popular initiatives is Tawlet, a canteen off busy Armenia Street in Mar Mikhael that aims to bring authentic homecooked meals to city dwellers. Home cooks from villages around Lebanon prepare dishes that express their heritage, on a roster that changes weekly. The generous buffet includes a bottomless glass of homemade lemonade, arak or house sharab, and a range of savoury and sweet dishes like mjaddara, a southern dish of lentils and bulgur topped with fried onions, or kibbe Zghertewiyye from the northern village of Zgharta, the minced lamb and bulgur patty stuffed with a lump of fat, which melts during frying and oozes out at the first slice. Branches of Tawlet have since opened in Ammiq in the Bekaa Valley, the historic city of Saida in the south, and Deir El Qamar in the Chouf mountains. There’s also a summer pop-up version at the organic farm Biomass in the hills of Batroun in northern Lebanon. Most of these regional canteens have a guesthouse attached to them. Last year, Mouzawak’s team opened Beit El Tawlet, a stylish guesthouse of five rooms on the fifth floor above the original Tawlet. His next project? To revive the dekkeneh, Lebanon’s traditional neighbourhood grocery store. soukeltayeb.com/tawlet

ADDITIONAL PHOTOGRAPH: RAMY KABALAN/UNSPLASH.COM

SEPT

Some of the best day trips from Beirut are to regional wineries – the revival of the industry in the past few decades has spawned more than 30 in Lebanon. My favourite wine destination is the biodynamic vineyard and winery Sept in the Batroun Mountains north of Beirut. Its winemaker Maher Harb works with vintners around the country to celebrate the diverse terroir of Lebanon, using Viognier grapes grown in Riyaq, the indigenous grape Obeideh grown in Zahlé, Cabernet Franc from Ain Treiz and Tempranillo from Deir El Qamar. With his own winery’s Syrah and Cabernet Sauvignon grown in the hills of Nehla, Harb is making some of Lebanon’s most interesting wines. levinsept.com O

THIS SPREAD, CLOCKWISEI FROM TOP The plethora of dishes servedI at Baron are a celebrationI of the area’s distinct foodI products and wine; designerI stores and outdoor restaurantsI line the paved streets ofI downtown Beirut; bartenderI Avo mixes drinks behind theI wood-panelled bar at Anise inI Mar Mikhael; the lunch buffetI at Tawlet boasts traditionalI Lebanese dishes such as wildI purslane and beetroot salad;I Hanna Mitri in Mar Mitr offersI extensive flavours of iceI cream, including pistachio.I

HID EN CHARMS

LEISURE / GARDEN

THIS SPREAD, FROM LEFTI Mary Jane Darrollâ&#x20AC;&#x2122;s 1940s home in Craighall Park, Johannesburg, looks out onto a formal garden, whereI buxus hedging contains irises and roses; Germiston Gold is one of the many rose varieties in the garden.I

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A rare oasis in Craighall Park combines old-world formality with a rambling suburban forest TEXT TESS PATERSON PHOTOGRAPHS CHRISTOPH HOFFMANN

THIS SPREAD, FROM LEFT Water features throughout the garden in the form of trickling fountains and a natural stream; an arbour near the main terrace creates an ornate focal point.

rom the road, Mary Jane Darroll’s house looks much like any other of its era. A neat 1940s bungalow, it’s part of a Johannesburg suburb that, just a century ago, was a series of farms. It’s only when you walk through the door and out to the patio on the opposite side that something astonishing appears. We’re talking a towering, wall-towall verdancy, stretching over half an acre. Shielded on all sides, there’s not a single impediment to the view. It’s a peaceful green marvel free of power lines and fences. ‘My mother was a great gardener,’ says Darroll, who is a fine art specialist. ‘We lived in Bryanston, and the garden was her absolute passion. When I saw this house on the market three years ago, I just knew that I would buy it. They say you shouldn’t buy a property for the garden alone, but I did, and it was definitely the right decision.’ The previous owner had established the garden, transforming the unkempt slope into an expansive terrace before undertaking all the planting. A gravelled path leads from the patio through a formal

rose garden, with buxus hedging containing blooms ranging in hue from delicate pinks to rich, deep golds. ‘The garden is about 15 years old now, and it represents an extraordinary amount of love, time and investment,’ says Darroll. ‘My predecessor, Pam Sylvester-Curr, gave me a list of all the different roses she planted. There are countless classics, like Roberto Capuccis, Claire Austins, Crimson Glories and Germiston Golds – each bed planted with roses of a specific hue. I’ve become the new guardian, and it’s a remarkable thing to come home to this spectacle each day.’ Boasting an enticing, symmetrical layout, the garden draws you right in, presenting crisp paths just wide enough for a bit of unhurried meandering. On the east-west axis are two viewing seats, each topped by an arbour and backed by dense green hedges. ‘The first flush of roses appears in mid-October, with a second flowering in March,’ says Darroll. ‘Each year revolves around this cycle, and in June, we spend at least three full days pruning.’ Roses aside, fragrance abounds in star jasmine and murraya, gardenia and wisteria. ‘The first year was a real joy because plants kept popping up unexpectedly. Out of the blue, I’d find irises or Tiger and Inca lilies. There are some gorgeous hellebore too,’ Darroll adds.

The sense of peace here is tangible. Ambling around the orderly beds, you’re constantly drawn back to the towering green canopy beyond. ‘It reminds me of the very mannered Italian gardens that merge into the bosco – a wilder foresttype garden,’ says Darroll. At the far end of the rose garden is a visual pause, a shady escape marked by an arbour that’s predominantly green and white. Acanthuslined paths amble past a picturesque shed before dropping down to a stream below. ‘My son Nicholas and I love to spend time here,’ Darroll says. ‘It’s far more natural and rambling, and there’s such a sense of being in the heart of nature.’ With its varied vegetation, the garden has become a magnet for birds. ‘In summer especially, the birdsong is incredible,’ says Darroll. ‘Sometimes you can’t hear yourself think!’ Grey turacos, southern masked weavers, hoopoes and barbets are regular visitors, and recently, a longcrested eagle made a welcome appearance. ‘There is definitely a micro-climate here,’ she adds. ‘We keep the large trees trimmed to allow sufficient light in, but it’s incredibly lush – it almost feels like certain parts of KwaZulu-Natal. Although the winter frosts can be severe, there’s a year-round beauty to this garden. I have to believe that this greening has some positive effect on local weather patterns.’ O

‘THE GARDEN IS ABOUT 15 YEARS OLD NOW AND IT REPRESENTS AN EXTRAORDINARY AMOUNT OF LOVE TIME AND INVESTMENT. IT’S A REMARKABLE THING TO COME HOME TO THIS SPECTACLE EACH DAY.’ – MARY JANE DARROLL

THIS SPREAD, CLOCKWISE FROM OPPOSITE PAGE Stepping stones wind through the bottom of the property, which Darroll describes as ‘far more natural and rambling’ than the rest of the garden; Crimson Glory roses introduce a rich splash of red to the landscape; gravelled pathways are accented by stonework and sculptures.

LEISURE / FOOD

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CHEATâ&#x20AC;&#x2122;S PHO.

COLD SESAME SOBA

400g soba noodles ½ cup light soy sauce 1T mirin 2t sesame oil 1t caster sugar 5cm piece ginger, peeled and finely grated 2t toasted sesame seeds 250g piece sashimigrade tuna 1 cup shelled edamame 2 spring onions, thinly sliced 1 sheet nori, sliced into thin strips Bring a large pot of water to the boil. Cook the noodles according to the packet instructions. Drain and refresh in iced water, then drain again. For the dressing, combine the soy sauce, mirin, sesame oil, sugar and ginger in a small bowl. Set aside. Sprinkle the sesame seeds onto a plate. Roll the tuna in the sesame seeds to coat, then slice thinly. Transfer the noodles to a large bowl. Drizzle over half the dressing and toss to combine. Divide the noodles among four bowls. Top with the tuna, edamame, spring onions and nori, drizzling over the remaining dressing. SERVES 4

JAPCHAE

300g sweet potato noodles 2T extra virgin olive oil 400g ribeye steak, thinly sliced 2 garlic cloves, finely grated 1 brown onion, peeled and thinly sliced 1 carrot, julienned 1 red pepper, thinly sliced 6 shiitake mushrooms, sliced 2 cups baby spinach 1½T light soy sauce 1½T dark soy sauce

1T sesame oil 1t fish sauce 1t caster sugar 1T toasted sesame seeds Bring a large pot of water to the boil. Cook the noodles according to the packet instructions. Drain, reserving ¼ cup of the cooking liquid. Meanwhile, heat half the oil in a large frying pan over high heat. Add the steak and cook for 4-5 minutes or until cooked through. Remove from the pan and set aside. Return the pan to the heat with the remaining oil. Add the garlic, onion, carrot, red pepper and mushrooms. Cook for 8 minutes or until the vegetables are soft, but not mushy. Add the spinach and cook for another minute. Meanwhile, in a small bowl, combine the soy sauces, sesame oil, fish sauce and sugar. Set aside. Transfer the vegetables to a large bowl and add the steak, noodles and soy sauce mixture. Add the sesame seeds and reserved cooking liquid if needed, and toss to serve. SERVES 4

DAN DAN MIAN

400g fresh egg noodles 1 bunch pak choi, quartered 1T extra virgin olive oil 2 garlic cloves, finely grated 3cm piece ginger, peeled and finely grated 300g pork mince 1T dark soy sauce 1 cup roasted peanuts, chopped, to serve

For the spicy sauce ⅓ cup crunchy peanut butter 3T Chiu Chow chilli oil 1½T black vinegar ½T light soy sauce

1T sesame oil 2t caster sugar 1t toasted Sichuan pepper, ground 2 garlic cloves, finely grated Bring a large pot of water to the boil. Cook the noodles according to the packet instructions. Add the pak choi 1 minute before the noodles finish cooking. Drain, reserving 1 cup of the cooking liquid. Meanwhile, heat the oil in a large frying pan over high heat. Add the garlic and ginger, and cook for 1 minute or until starting to soften. Add the mince and cook for 8 minutes, or until well browned, breaking up any lumps. Add the soy sauce, stir through and set aside. Combine the spicy sauce ingredients in a medium bowl with the reserved cooking liquid. Divide among four bowls, and top with the noodles, pak choi, mince and peanuts. As an optional extra, drizzle over a dash of chilli oil. SERVES 4

and the yolks are still runny. Remove from the pan and drain on paper towel. Transfer the noodles to a bowl. Add the remaining ingredients, a pinch of salt and the reserved liquid, and toss to combine. Divide among four bowls, topping each with a fried egg. SERVES 4

CHEAT’S PHO

MI GORENG

1t extra virgin olive oil 2 garlic cloves, finely grated 5cm piece ginger, peeled and finely grated 2ℓ vegetable stock 2 star anise 1 cinnamon quill 2t fish sauce 1t caster Lemon sugar prawns and chorizo. Sea salt, to taste 400g flat rice noodles 150g mixed mushrooms, such as shiitake and enoki, sliced if large 1 cup bean sprouts, to serve 2 spring onions, thinly sliced, to serve Lime wedges, to serve Red chilli, finely sliced, to serve Fresh herbs, such as Thai basil, Vietnamese mint and coriander, to serve

Bring a large pot of water to the boil. Cook noodles according to the packet instructions, or until al dente. Drain, reserving ¼ cup of the cooking liquid. Meanwhile, heat the oil in a large non-stick frying pan over medium heat. Fry the eggs for 4 minutes or until the whites are cooked

Heat the oil in a large saucepan over medium heat. Add the garlic and ginger, and cook for 1 minute or until just starting to soften. Add the vegetable stock, star anise, cinnamon, fish sauce, sugar and a pinch of salt, and bring to a simmer. Add the rice noodles and cook according to the packet instructions, adding the mushrooms 2 minutes before the noodles finish cooking. Discard the star anise and cinnamon. Divide the pho among four bowls, topping with the remaining ingredients. SERVES 4 O

400g instant noodles 1T extra virgin olive oil 4 eggs, to serve 4 spring onions, sliced into thin rounds 2T kecap manis (sweet soy sauce) 1T Sriracha ⅓ cup fried shallots Sea salt, to taste

LEISURE / MOTORING

The next-generation Range Rover Evoque luxury SUV proves that you can teach an old dog new tricks COMPILED BY CAIRA-LEE DURAND

Living up to its Land Rover heritage, the new Evoque comes loaded with impressive and sophisticated off-road features. Its integral Link Rear Suspension offers incredible comfort and support on bumpy or uneven surfaces, and gives you a great sense of confidence on any road. Terrain Response 2 is now available as standard for the first time, and drivers can choose between four off-road modes (Comfort, Sand, Grass/Gravel/Snow and Mud/Ruts) to help tackle specific terrains. If you’re planning on taking your Evoque through water, you’ll be pleased to note that the new model has an increased wading depth that goes up to 60cm (that’s essentially to the height of the driver’s seat). A reverse camera is also standard on all models, as well as a host of advanced driver assistance systems, that include Autonomous Emergency Braking, Lane Keep and Blind Spot Assist, and a Driver Condition Monitor, which detects the AUG 108 SEP

driver’s state of awareness and gives a warning when you need to take a break. In regular driving conditions, the combination of the Evoque’s All-Wheel Drive, nine-speed automatic transmission gearbox and efficient diesel engine options make it a consummate cruiser. That, paired with the supple suspension, allows the new Range Rover Evoque to be the perfect traffic companion for off-road adventures as well as your daily commute. O Caira-Lee Durand is the digital editor of womenonwheels.co.za.

UNDER THE BONNET Model: New Range Rover Evoque 5 Door 2.0 D180 SE Engine: 2.0ℓ (Diesel): 132kW and 430Nm Combined fuel consumption: 5.8ℓ/100km CO2 emissions: AWD Auto 153g/KM Price: R843 800

PHOTOGRAPH: SUPPLIED

he launch of the highly anticipated Range Rover Evoque in 2011 was greeted with excitement from the who’s who of the premium car-buying market – especially when rumours emerged that Victoria Beckham was involved in the design process. This luxury SUV went on to claim 217 global awards and become the fastest selling Range Rover model, with over 700 000 sales in 116 countries. Now, the new Range Rover Evoque is continuing the legacy of its predecessor, with an exterior that looks relatively similar to that of the original Evoque, but boasting new bodywork, narrower head- and tail-lights, a sleeker design and an updated cabin. There’s a distinct influence from its bigger sibling the Velar, especially in the flush glazing along its side profile and its handles, which discreetly disappear into the car’s doors when locked. Inside, high-resolution screens and ambient lighting really bring the cabin to life. Plush, quilted leather adorns most of the surfaces, and there’s also a vegan, leather-free trim option that features a lightweight performance textile made from eucalyptus fibres. Thanks to an increased wheelbase, the new Evoque has more leg room and stowage space in the cabin, while the boot can hold up to 591ℓ of luggage. A standout feature is the Clear View Rear-view Mirror, which can be switched to an HD video screen to display everything that’s happening behind the vehicle. When flipped from a regular rear-view mirror to HD Video Mode, the passenger headrests and any other obstructions in the cabin seemingly disappear so that the driver can see only what is behind their tail.

PROMOTION / TBE

THE ART OF THE WORKSPACE

PHOTOGRAPHS: SUPPLIED

our work environment should be more than just an office: it should inspire you to do more and dream bigger. This is why The Business Exchange has called on artist and curator Kim Liebermann to create working spaces full of bold ideas and fantastically imaginative visuals by some of Africa’s most acclaimed artists. As well as boasting artworks by the likes of William Kentridge, each TBE space celebrates its surroundings, as seen in the recently opened TBE Rosebank CBD. Located within walking distance of the Gautrain, TBE Rosebank CBD not only offers a fully serviced office space to rent in the heart of the city, but striking views of the area’s exciting new architecture. Because productivity and efficiency are at the core of all TBE offices, each workspace features state-of-the-art technology that allows for seamless connectivity. This includes high-speed fibre optic internet, audio-visual conferencing and secure biometric access, as well as environmentally friendly lighting optimised with motion sensors.

The cherry on top of the full TBE offering is the collaborative energy that each conveniently located space exudes, as like-minded entrepreneurs work alongside one another in an inspiring setting that encourages personal development and creative thought. With its cutting-edge facilities, ease of access, versatile interiors and contemporary styling, TBE is more than just a shared workspace – it’s a place where companies and individuals alike can create their ideal working environments and find inspiration from a selection of the most beautiful artworks on the continent.

For more information, visit tbeafrica.com or connect with The Business Exchange on social media: TheBusinessExchange.Africa TBEAfrica The Business Exchange TBE

PROMOTION / WIN

WIN A FIVE-STAR CAMPS BAY ESCAPE FIVE LUCKY COUPLES WILL EACH WIN A LUXURY STAY AT SOUTH BEACH CAMPS BAY WORTH R12 350

to explore the area. All of this combines with an unrivalled view of the Atlantic Ocean to make South Beach Camps Bay the perfect summertime retreat.

For more information, visit southbeachsa.com or connect on social media: South Beach Camps Bay southbeachcampsbay

HOW TO ENTER

Visit houseandleisure.co.za/win before 14 October 2019 and fill in the entry form on the South Beach competition page. Alternatively, use your Facebook app’s QR code reader and snap this code. Ts&Cs apply. For rules, visit houseandleisure.co.za/content/terms-and-conditions House And Leisure houseleisureSA houseandleisure

PHOTOGRAPHS: SUPPLIED

ituated less than 50m away from Cape Town’s world-famous Camps Bay beachfront and Blue Flag beach, South Beach Camps Bay offers premium self-catering accommodation in a luxurious hotel setting. All of its awardwinning suites are sea-facing and include either a balcony or a private patio area, as well as the exclusive use of two swimming pools. Added extras are a private gym and bicycles that guests are encouraged to use

HOLDING IMAGE BY STELLA OLIVIER AND FEATURES ‘OPEN’ (2019) BY WILLIAM KENTRIDGE FROM THE WHY SHOULD I HESITATE: SCULPTURE EXHIBITION AT NORVAL FOUNDATION

FOCUS Find terrazzo tiles, handmade rugs, marble finishes and other statement flooring solutions (p112), plus everything you need to update your lounge (p118), kitchen (120), bathroom (p122) and bedroom (p124)

FOCUS / FLOORING

Flooring forms the foundation of any interior, making it a worthwhile investment. From terrazzo tiles to rubber pavers, choose new surfaces based on style and the amount of wear and tear they need to endure

FROM TOP Black Slate Rivens mosaic sheet R40 (30Ă&#x2014;30cm) and White Granite terrazzo R407/40kg bag, both Terrazzo Tiles; Terrazzo Nero porcelain tile with matt finish from R321/m2, WOMAG; Segni Tappetto Rabat porcelain tile R1 121/m2, Douglas Jones.

Bucchero Maxi terrazzo-look tiles with glazed porcelain finish R799/m2 (60Ă&#x2014;60cm), Stiles Tiles.

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VINYL AND LAMINATE

RECLAIMED WOOD

FROM TOP Diamond Core vinyl in Agate R582/m2, Authentic Herringbone laminate flooring in Mixed Pattern R667/m2 and Diamond Core vinyl in Black Diamond R582/m2, all Finfloor.

Imondi American salvaged reclaimed wood flooring POR, Zimbo’s Trading.

WOOD-LOOK TILES FROM LEFT Italian barkwood tiles in Burnt and Natural, both R950/m2 (30×180cm), Italtile; Cabrio Siena wood-look porcelain tile in a herringbone layout R299/m2 (50×100cm), WOMAG.

HARDWOOD FROM TOP HeartOak wide wood floor planks by Dinesen POR, Domum; Cerrato hardwood flooring in Mink Grey R1 436/m2 (26×220cm), Oggie. CLOCKWISE FROM TOP LEFT FL2 scuff-proof, high-density polystyrene skirting from R72/m, NMC; Handmade square pencil trim skirting POR (available in various sizes; can be colour matched), Italcotto; Torino smooth-step step-edge skirting R359/m (5.5×100cm), Italtile; Meranti weathered wooden skirting R234 (9cm long), Flooring Depot.

BELOW, FROM LEFT Bengal broadloom carpet in Natural from the Wildlife collection by Nourison R3 200/m2; Gonsenhausers; Softology S201 carpet in Swoon R483/m2, Belgotex; Snow Leopard broadloom carpet in Snow from the Wildlife collection by Nourison R3 200m2, Gonsenhausers.

Wilton pure new wool carpet from the Chroma Edition range POR (available in custom hue, pictured top right), Monn.

I CLOCKWISE FROM BOTTOM LEFT Cliff handwoven mohair rug from R20 700 (1.8×2.5m), Bofred; 100% mohair and wool rug POR (custom size and design), The Collection Studio; Siba k2 handtufted rug by Katrin Mylo for Rugalia POR, Rugalia; Sculpt handprocessed wool and bamboo silk rug in Rose Smoke and Soft Mint POR, Lund Rug Gallery; Pricey Sunset handwoven mohair and Karakul wool rug by Claire Oswalt R5 500/m2 (available in sizes up to 5×6m), Coral & Hive.

CONCRETE EFFECTS FROM LEFT Great Metals steel porcelain slabs in Steel R2 700/m2, Studio Masson; RenoCrete concrete resurfacing spray-on textured overlay POR, Cemcrete; Black Shimmer terrastone R493/m2, Terrazzo Tiles; Bianco cemento concrete-look porcelain tile R349 (60×120cm), WOMAG.

THE KLOMPIE BRICK

GREY PAVERS

JACQUES ERASMUS INTERIOR: GREG COX. FOR SUPPLIERS’ DETAILS, SEE THE STOCKISTS PAGE

Hemelhuijs owner Jacques Erasmus’ heritage farmhouse in the Klein Karoo boasts original klompie brick pavers. For a similar look, try the Klompie brick from Revelstone, R569m2/R6 each (3.5×22.5cm). CLOCKWISE FROM TOP LEFT The Black brick in Satin POR, Corobrik; Solid Maxi 14 mpa bricks R3 each (11.5×22cm), Cape Brick; Jura cobble bricks in Charcoal from R6 each (22.5×6.5cm), Revelstone.

FROM LEFT Hexagon terracotta tile R200/m2, Shawtec; Terra Rossa terracotta ceramic tiles from R130/m2, Tiletoria.

MOSAICS CLOCKWISE FROM FAR LEFT Denia tiles in Marino by Geotiles R449/m2 (22×22cm), Stiles Tiles; Euphoric natural stone R294/ sheet (30×30cm), Douglas Jones; Panello 1 tiles from the Colour Studio collection by Porcelaingres R2 200/m2, Studio Masson.

SEMI-PRECIOUS FINISHES CLOCKWISE FROM TOP Dark Marquina porcelain marble/ granite-effect slabs from the Marmi Maximum range by Fiandre R2 700/m2 (1.5×3m), Studio Masson; Verde Guatamala marble slab in Green R549/m2, WOMAG; Uniquestone tiles in Nite by Ceramiche Piemme R699/m2 (60×120cm), Stiles Tiles; Vetrite GemGlass sheet in Boulder by Sicis R40 000 (1.2×2.8m), Studio Masson; Grey Galaxy marble tile R899 (61×61cm), WOMAG.

Rubber pavers R500/m2, Van Dyck Floors.

FROM TOP CreteStain in Rust and Copper, both POR, Cemcrete.

BE INSPIRED

Floor: Bengala Dark wood-look In/Out Technology Tiles – 1200x230mm Feature Wall: Bolonia Gris decorative porcelain tiles – 225x225mm Back Wall: Black Beauty porcelain tiles – 600x600mm

CLOCKWISE FROM TOP LEFT Bath towel R299 and hand towel R100, both in Dark Yellow, Zara Home; Bronte Tobacco chest pedestal R3 490 (76×76cm), SHF; Damier vinyl flooring R150/m2, Airloom.co.za; Ribbed rattan laundry basket from R1 795 (40×56cm), Weylandts; Pro S Drop-In basin by Laufen R4 029 (44×56cm), Italtile; Linked woven cotton rug in Mustard R975 (1.6×2.3m), Superbalist.com; Adler poster frames in Black R899 each (A1), Country Road; Britannia bath mixer and overrim standpipes in Black R11 900, Victorian Bathrooms; Parquet teak bathmat in Black R595, Weylandts; Bathroom accessories R299 (for set of five), Zara Home; Tractor Seat potted plant R150, Opus Studio; Natural activated charcoal soap R80, Weylandts. CENTRE: Silk matt glazed ceramic floor tiles in Anthracite and Blanco both from R249/m2 (33×33cm), Italtile. AUG

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FOR SUPPLIERS’ DETAILS, SEE THE STOCKISTS PAGE

FOCUS / SHOPPING

Ask more from your roof

Perspective concrete tiles with maintenance-free Dry Ridge application

There’s more to roofs than meets the eye, and we’re here to help you see the potential and help you find the right roof for your needs. Whether it’s protecting what is important to you, or helping your business and community thrive, our starting point is always you. Available nationwide. Enquire about our products: info.sa@bmigroup.com Bloemfontein 051 492 0210 Brits 010 492 8800 Cape Town 021 492 2230 Durban 031 565 3260 East London 043 492 0041/2 Germiston 010 492 8780

www.bmigroup.com/za

Nelspruit 013 492 1930 Pietermaritzburg 031 489 9880 Polokwane 015 495 0070 Port Elizabeth 041 492 0130 Queensburgh 031 489 9860 Richards Bay 035 797 2160

www.coverland.co.za

AUG 120 SEP

HOLDING PHOTOGRAPH GREG COX. FOR SUPPLIERS’ DETAILS, SEE THE STOCKISTS PAGE

CLOCKWISE FROM TOP LEFT Beechwood bowl from R245 (small) and Wicker pendant R2 295, both Weylandts; Utensil set in White R998 (for four utensils and stoneware holder), Le Creuset; Two-tone double-layer tablecloth in 100% linen R1 999 (1.7×2.5m), Zara Home; Deluxe herb mill R479, Yuppiechef; Dinner plates R499 (for four), Superbalist.com; Classic Aesthetic double built-in electric oven with black Eclipse glass and brushed anti-fingerprint stainless steel R19 999, Smeg; Tumblers in Rosemary R780 (for four), Le Creuset; Raised wavy design stoneware bowl in Grey R199, Zara Home; Malcolm metal stool in White R799, Cielo.co.za.

AUG 122 SEP

FOR SUPPLIERS’ DETAILS, SEE THE STOCKISTS PAGE

CLOCKWISE FROM TOP LEFT Arrow cushion cover in Teal R299 (50×50cm), Superbalist.com; Marine Design ceramic R899, Zara Home; Classic jute carpet R2 499 (2×3m), Coricraft; Solid brass tray R2 490, LIM; Leonardo sidetable R2 495, Weylandts; Rain Finger daybed from the Sorbet collection R10 000, Something Desired; Skyworth S9 Oled Android Smart TV R24 999 (55in), Pick n Pay Hyper; Cloe pouffe/coffee table in Crete Dusty Green R3 850, Sofacompany.com; Rylee swing R4 865, Douglas and Douglas. CENTRE: 675 Maralunga 40S three-seater sofa in Everest 1 Noise by Vico Magistretti for Cassina, 381 Torei coffee tables in Wood and Marble by Luca Nichetto for Cassina and 194 9 sidetables in Marble by Piero Lissoni for Cassina, all POR, True Design.

I love the earthy, natural textured look that Cemcrete is able to achieve. It is the perfect blend of elegant, modern refinement and a down-to-earth honest expression of material.

Alexandra Singer

SatinCrete Pewter

Colour Hardener Grey

Visit one of our showrooms for a personalised tour Johannesburg . 227 Jan Smuts Avenue . Parktown North . 011 447 3149 Centurion . 15 Coachmenâ&#x20AC;&#x2122;s Park . 26 Jakaranda Street . Hennopspark . 012 653 6808 Cape Town . Eagle Park . Computer Road . Montague Gardens . 021 555 1034

Manufacturers of Distinctive Decorative Coatings www.cemcrete.co.za

0860 CEMCRETE

enquiry@cemcrete.co.za

AUG 124 SEP

FOR SUPPLIERS’ DETAILS, SEE THE STOCKISTS PAGE

CLOCKWISE FROM TOP LEFT Lyric waffle-weave throw in Cinnabar and Clay R439 (1.5×2m), Thebedroomshoponline.co.za; Paint in Freckle O3-C1-2 and Canyon Wall O3-C1-3, both POR, Plascon; Hanging pendant lamp in Black and Gold R6 800, Cécile & Boyd; Shaggy hot water bottle R549, Country Road; Lunar rug in Hunter R14 600 (3×4m), HAUS by Hertex; Solid oak bench R9 990, LIM; Dwaine Kubu rattan chair R4 900 (including cushion), Cécile & Boyd; Diabolo metal stool with hammered finish R2 299, Zara Home; Mirror with solid oak frame on legs R3 500 (60×180cm), LIM; Amphora ceramic pot R699, Zara Home. CENTRE: Alice bed linen set in Blush by Linen House from R1 599 (double duvet cover and two standard pillowcases), Superbalist.com.

CELEBRITY CHEFS LIVE ENTERTAINMENT COOKING & PAIRING DEMONSTRATIONS BARS & RESTAURANTS TO GET YOUR TASTE BUDS TINGLING

MEAT US THERE OPEN FRIDAY 12PM - 8PM SATURDAY 10AM - 8PM SUNDAY 10AM - 6PM EAT, MEAT, FEAST AND REPEAT AT THE ULTIMATE MEAT, BRAAI AND MUSIC FESTIVAL. This proudly South African weekend-long love affair of meat, food, fire, braais and music promises to be the event of the year for all discerning diners, foodies, braai-masters, butchers and industry experts.

COMPLIMEATARY

TICKET

Admits ONE This ticket allows you complimentary access to Fire & Feast Meat & Food Festival on Friday the 6th of September 2019 ONLY. This ticket is valid for one person and one day only. (Vaild 6 September 2019 ONLY. T’s & C’s apply.)

HL / BUYERS’ GUIDE

99 Loop 99loop.co.za @home home.co.za Airloom airloom.co.za Belgotex belgotex.co.za Bofred bofred.co.za Cape Brick capebrick.co.za Casarredo casarredo.co.za Cécile & Boyd cecileandboyds.com Cemcrete cemcrete.co.za Cielo cielo.co.za Coral & Hive coralandhive.com Coricraft coricraft.co.za Corobrik corobrik.co.za Country Road woolworths.co.za Créma cremadesign.co.za Design Store designstore.co.za Domum domum.co.za Douglas and Douglas douglasanddouglas.co.za Douglas Jones douglasjones.co.za Dreamweaver Studios dreamweaverstudios.co.za ELDC eldc.co.za Elevenpast elevenpast.co.za Finfloor finfloor.co.za Flooring Depot flooringdepot.co.za Galleria Rossana Orlandi rossanaorlandi.com Gonsenhausers finerugs.co.za Haldane Martin haldanemartin.co.za HAUS by Hertex hertexhaus.co.za Italcotto italcotto.co.za Italtile italtile.co.za James Mudge jamesmudge.co.za KARE Design kare-johannesburg.co.za

Knus knus.co La Grange Interiors lagrangeinteriors.co.za Le Creuset lecreuset.co.za Lemon madebylemon.co.za Leon at CCXIX leonat219.com LIM lim.co.za Limeline limeline.co.za Lund Rug Gallery lundruggallery.co.za Mezzanine mezzanineinteriors.co.za Minotti minotti.com Monn monn.co.za MRP Home mrphome.com NMC nmcsa.co.za Nodus Rug nodusrug.it Oggie oggieflooring.com Opus Studio opusstudio.co.za Pazz Modernist pazzmodernist.co.za Pick n Pay Hyper pnp.co.za Plantify plantify.co.za Plascon plascon.com Revelstone revelstone.co.za Robert Sherwood robertsherwooddesign.com Roche Bobois roche-bobois.com Rug Society rugsociety.eu Rugalia rugalia.com Shaw Tec shawtec.co.za SHF shf.co.za Skinny laMinx skinnylaminx.com Smeg smeg.co.za Sofacompany.com za.sofacompany.com Something Desired something-desired.com Southern Guild southernguild.co.za

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St Leger & Viney stleger.co.za Stiles Tiles stiles.co.za Studio Masson studiomasson.co.za Superbalist superbalist.com Terrazzo Tiles terrazzotiles.co.za The Bedroom Shop Online thebedroomshoponline.co.za The Collection Studio thecollectionstudio.co.za TheUrbanative theurbanative.com Tiletoria tiletoria.co.za Tonic Design tonicdesign.co.za True Design truedesign.co.za Van Dyck Dloors vandyckfloors.co.za Victorian Bathrooms victorianbathrooms.co.za Weylandts weylandts.co.za WOMAG womag.co.za Yudu yudu.co.za Yuppiechef.com yuppiechef.com Zando zando.co.za Zara Home zarahome.com/za Zimbo’s Trading zimbostrading.co.za

COMPETITION TERMS AND CONDITIONS

For full competition terms and conditions, visit houseandleisure.co.za/content/termsand-conditions

While all product information was checked before going to print, House and Leisure cannot guarantee that prices will not change or that products will be available at the time of publication.

HL / STYLE PROFILE

Visionary. Art entrepreneur. Bagel lover

I am the founding director of FNB Art Joburg. FNB Art Joburg is a moment to allow us, after 12 years, to reimagine ourselves and our futures as South Africans when it comes to our art. The contemporary art scene in Africa is vibrant and finally getting the world’s attention, however the most important moment will be when Africans themselves understand and celebrate this art scene on African soil. Art fairs are important because more than 40% of sales are now made globally at art fairs. In South Africa, they play both the role of supporting a creative economy of artists and of education. Viewers will be able to see the best of South African and African art from around the world. Visitors this year can expect content that is of the highest standard and a generally open fair for all residents of Johannesburg. The most exciting changes in the art world have included Okwui Enwezor curating the Venice Biennale, and the change to build a brand-new fair from scratch. Art for me personally is our culture. When we are gone, all that remains is our culture. Artists are truth tellers. A highlight of living in South Africa is that you can go through a full range of emotions in one AUG 128 SEP

day, from despair to hope! My hidden gem in Johannesburg is Service Station Café in Melville, which has been operating for 20 years. The best view in South Africa is from Westcliff during jacaranda season. My perfect weekend would involve running, walking, reading, spending time with family and, every once in a while, travelling out to Franschhoek or Stellenbosch, or anywhere in nature. I never miss a chance to eat a bagel when landing in New York City. A great dinner party is where the guests come from varied backgrounds, and enjoy excellent wine and food. A treasured item at home is my Italian chandelier from the 1800s, and my art and book collections. The greatest storyteller is a tie between Ben Okri and Hugh Masekela. Both brilliant. Travelling abroad is always inspiring and allows me to dream of what could become of my country one day. My personal style is fit for all purposes, from meeting a president to hanging out with artists. The code I live by is I invest my time and money in my passions. I’m reading the autobiography Cyril Ramaphosa: The Road to Presidential Power by Anthony Butler – an inspiring story of Ramaphosa’s life. It matters who our president is.O msibeko

PHOTOGRAPHS: ISTOCK, LUKE STACKPOOLE/UNSPLASH SUPPLIED

COMPILED BY GARRETH VAN NIEKERK