8 FROM THE EDITOR Editor in chief Piet Smedy welcomes you to the youthquake issue, debuting the stars of tomorrow’s design scene
11 INSIDER Floral stylist Lana Fredericks and candle maker Michelle Rust masterfully combine flora and wax
16 SHOPPING Stora ge gets stylish with this month’s edit of shelves, consoles and side tables
19 ART In conversation with performance artist turned pioneer curator Jana ‘Babez’ Terblanche about embracing the unusual and her new role at Southern Guild
22 BOOKS Smart ideas to maximise space in compact homes
25 MENU Chef Nic Charalambous brings to life warmth and community with Greek Cy priot fare at his new Cape Town restaurant, Ouzeri
31 CUSP Earlier this year, House & Garden hosted Cusp: A Unique Exhibition of Collectable Design This ground breaking showcase saw 11 local designers creating custom pieces driven by concept and material that elevate their craft into the investment art space
44 DESIGN SOLUTIONS From weathered timber, rattan and stone for a characterful charm to br ushed steel cabinetr y and sleek marble finishes for a modern industrial aesthetic, these case study kitchens provide design lessons for a stylish heart of the home upgrade
48 H&G IT YOURSELF Cushions, cabinets, colour and clever lighting are but some of the ways to make your rental space more you without sacrificing your deposit
52 KNOW HOW First time gardening is not all that difficult once you know what plants require to thrive, says landscape designer Franchesca Watson
With a tailored approach to sculptural forms and textures, former House & Garden Decor Editor turned interior designer Dean van Aswegen re interprets a Hyde Park home as an aspirational haven for its globetrotting owners
Design wunderkind Ty Gillott’s complete home makeover makes the most of a compact space in Green Point with sensational views, using pops of colour, striking local design pieces and his signature profusion of greener y
For this family pad in Steyn City, Cocoon lifestyle’s Bilala Mabuza strikes a balance between a place to entertain and showcase art
Their soft spot for soil inspired urban farmers Anique and Jonathan Pickard’s mission to grow wholesome, organic veg gies in the heart of residential Albertskroon
Architectural designer and new homeowner Br yce Henderson transports a 60 year old Cape Town home into the 21st centur y, infusing his personality into its strapping old bones
Hendre Bloem turns his savoir faire to reima gining a herita ge row house in Woodstock with different contrasts darker and lighter tones and a bricola ge of textures p56. Annalize Nel
P I E T S M E DY EDITOR IN CHIEF
A RT
THEA PHEIFFER NOSIPHO NGQULA ALEX STEWART
SENIOR COPY EDITOR JUNIOR COPY EDITOR LISA ABDELLAH E SIHLE MNGINI
I N T E R I O R S & GA R D E N S ART DIRECTOR GRAPHIC DESIGNER GRAPHIC DESIGNER
GARDENS EDITOR DECOR EDITOR HEIDI BERTISH GEMMA BEDFORTH
GROUP MANAGING AND SYNDICATION EDITOR MANAGING AND SYNDICATION EDITOR
LESLEY MATHYS WALTER HAYWARD
CO N T R I B U T I N G W R I T E R S
TECLA CIOLFI S H A I RA M A JESSICA ROSS TSHIAMO SEAPE GRACIE WINKLER
CO N T R I B U T I N G E D I TO R S
ELANA BRUNDYN (ART) MARNUS NIEUWOUDT (ST YLE) FRANCHESCA WATSON (GARDENS) STEVEN WHITEMAN (BOOKS)
CO N T E N T N AT I O N M E D I A ( PT Y ) LT D C E O SAMANTHA SUBRAYEN
P E R S O N A L A S S I STA N T ISABEL KOUL OPERATIONS GENERAL MANAGER PAUL MYBURGH
F I N A N C E C O N T R O L L E R MARJORIE LOT TERIE
A DV E RT I S I N G
J O H A N N E S B U R G
H E A D O F S A L E S S H A N A R A H A M A N
AC C O U N T M A N AG E R S LO R R A I N E B R A D L EY , W E N DY R O B I N S O N ,
A N N E AT K I N S O N A N D D E RY N N E K L AV E R
CA P E TOW N
H E A D O F S A L E S CHARLOT TE NUTMAN
AC C O U N T M A N AG E R S N A D I A P E R E I R A A N D PA S CA L DAV R AY
S A L E S R E P R E S E N TAT I V E I TA LY ANGELO CAREDDU ( O B E R O N M E D I A )
D I G I TA L
D I G I TA L T RA F F I C M A N AG E R ARTHUR MUKHARI
D I G I TA L CA M PA I G N M A N AG E R VINÉ LUCAS
C O N T E N T P R O D U C E R LUTHANDO VIKILAHLE
B R A N D P R O P E RT I E S A N D EV E N T S
B RA N D M A N AG E R DESIREE KRIEL
E V E N T S M A N AG E R LERATO MOLEFE
P R O D U C T I O N & C I R C U L AT I O N
G R O U P P R O D U C T I O N M A N AG E R JEAN JACOB S
P R O D U C T I O N C O O R D I N ATO R CHARNÉ PHILLIPS
C I R C U L AT I O N S M A N AG E R FREDERICK SMIT
C I R C U L AT I O N S C O O R D I N ATO R BERTINA ELLIS
T here i s no shor ta ge of ne w ne s s i n t he world If a ny t h i n g , t here i s to o muc h of it a slu r r y of ps e udo p ol it ica l propa ga nd a , meme s , i n s a ne t h i n g s E lon Mu sk h a s done t h i s we ek , ca ncel c u lt u re a nd c l ic k ba it, a l l con s ta nt l y c hu r ne d up l i ke a content l a nd sl ide pl a y e d on a lo op by i nex h au s t ible I n s ta g r a m re el s a nd Ti kTok fe e d s , s ubre dd its a nd p o dca s ts , a nd fl a she d a c ros s t he my r i a d s t re a m i n g s er v ice s t h at s e em to b e mu lt ipl y i n g , hyd a l i ke, by t he d a y. A nd t hen t here i s t he lo om i n g s p e c t re of t he meta ver s e I n a s o c iet y w here ne w ne s s for ne w ne s s ’ s a ke s e em s to b e t he on l y m a nd ate on t he a gend a ( bl a me t he ‘ v ib e sh i f t ’ , a h a nd y ne w z eit gei s t y ter m brou g ht to you by t he s a me g u y S e a n Mon a h a n w ho coi ne d t he ter m ‘ nor mcore ’ to de s c r ib e ou r c u lt u r a l e phemer a l it y), m a k i n g a ny s en s e of t he noi s e ca n b e a t r ic k y, i nex a c t, s c ience
TW h i le t he Yout hq u a ke i s s ue m a y not b e a dow si n g ro d for t u r n i n g up c u lt u r a l u nderc u r rents , it do e s of fer a g l i m mer of t he SA de si g n i ndu s t r y ’ s f ut u re Ta l k i n g a b out te c ton ic sh i f ts , e a rl ier t h i s y e a r, H& G hos te d t he fi r s t e d it ion of ‘C US P: A Un iq ue E x h ibit ion of C ol le c ta ble D e si g n ’ . I n col l a b or at ion w it h cer a m ic de si g ner Ja n E r n s t, 11 le a d i n g creat i ve s were ta sked w it h creat i n g conce pt d r i ven , m ater i a l le d pie ce s of f u nc t ion a l a r t, ele vat i n g t hei r c r a f t i nto t he s t r ata of i nve s t ment de si g n Re a d a b out it on pa ge 3 1
From cover to cover, we debut t he bre a k i n g s up er s ta r s of tomor row ’ s s cene t he de si g ner s a nd c u r ator s , ta s tem a ker s a nd i n novator s w ho w i l l u ndoubte d l y c h a n ge t he w a y we l i ve i n s ome w a y T he t r ut h i s , a s we a re pi nba l le d a c ros s t he c u lt u re s phere, we h a ve no ide a w h at to ex p e c t, but t here i s one t h i n g I k now for s u re: t he k id s a re a l r i g ht
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Clearly the best way to view your world.SF20 Multi Sliding System
ver y once in a while, a collaboration comes along that so effortlessly fuses the talents of two brands that it is a wonder they never got together sooner.
Michelle Rust, co founder of Okra Candle, and Lana Fredericks, floral stylist and founder of Myuzu, are one such match. Individually, Lana and Michelle have elevated their respective crafts to heights beyond many of their contemporaries and expanded the expectations and artistic credentials of floral design and candle making
Their description of how they came to work together is somewhat whimsical, reminiscent of the work they create In their own words, it was ‘in between secateurs and slangbos’ that they were introduced to each other. One of Okra Candle’s original designs, the ‘Trident’, was even inspired by Lana’s travels Over time, custom requests have grown into unique events curated by Myuzu and Okra Candle
The motivation to collaborate was born of the desire to elevate and curate, as they put it. ‘We cannot master ever y skill, but tapping into other like minded creatives and crafters results in a much more refined look and execution to a project that only years of master y can bring ’ The blending of their two crafts may not seem so apparent to some, but they see it as something with a long and established histor y, citing the Dutch and Victorian art movements as evidence of flora and wax ’ s shared heritage.
E TOP DOWN A FLORAL ARRANGEMENT OF COASTAL CORAL TREE, RED PEPPER TREE BERRIES AND FENNEL ATOP A CHINESE SERVER FROM ACREATE; HAND DIPPED DINNER CANDLES IN VARIOUS SHADES AND DIAMETERS BY OKRA CANDLE
In a previous installation titled Death Row Dinner, hosted by The Fourth earlier this year, heritage turned to innovation. The pair used new wax manipulation techniques that were more in line with their artistic expression, which allowed them to ‘push the boundaries of floral and wax ’ . And this has been a year of continued success, with exhibitions at Decorex Africa in Cape Town and Joburg the ideal place to showcase their collective creativity and a boon for the profile of both mediums
‘We have adored showing the versatility of wax and letting the public know that exploring an ordinar y medium, one that has been around for centuries, can evoke a child like joy and still yield innovative and novel results,’ says Lana of their recent exhibitions and the experience of seeing the growth of both of their brands
While floral styling will always be at the core of what Lana does, she would like to focus more on prop styling, set design and curation going for ward And for Michelle, her focus is helping to grow Okra Candle’s accessories range while creating classic designs and offering a variety of new products at more affordable prices ‘We work to ensure that our consumers can enjoy their flaming delights in abundance ’ @myuzu.by.lana @okra.candle
TOP DOWN THIS ROUND VESSEL BY JADE SNELL CERAMICS CONTAINS A SPRIG OF KALANCHOE AND RESTS ON A ‘BLUE LEGUME’ CERAMIC TABLE LEG FROM EVA CERAMICS THE WAX PLINTH IS BY OKRA CANDLE; ALL FLOWERS WERE HARVESTED FROM THE WILD BUNCH FLOWER FARM AND PHOTOGRAPHED ON LOCATION AT FIFTY FIVE CROISSANTS, WELLINGTON
E X P L O R I N G a n o r d i n a r y m e d i u m , o n e t h a t h a s b e e n a r o u n d f o r C E N T U R I E S , c a n e v o k e a c h i l d l i k e J O Y a n d s t i l l y i e l d i n n o v a t i v e a n d N O V E L r e s u l t s ’ A N A F R E D E R I C K S
STUDIO 19’S ‘THE GROVE’ NINE DRAW UNIT IS MADE OF SOLID OAK AND AVAILABLE IN CUSTOM COLOURS, FABRICS AND FINISHES
These luxe led credenzas, sideboards, cupboards and consoles are the best of both worlds: highly functional furniture pieces that add much needed storage without compromising a stitch on stylish design
From beginnings in the world of performance art to newly appointment Head of Development at Southern Guild, Jana ‘Babez’ Terblanche’s journey from creator to curator is testament to staying true to self
Jana has never been one to conform Embracing the idea that we are endlessly multifaceted, she explains, ‘You don’t have to choose one role You can be interdisciplinary I think that is what young people are allowed to do nowadays you don’t have to be rigid.’ From her identity to her artistic practice and curatorial position, Jana’s rejection of prescribed roles is apparent across the spectrum.
‘One day, I can be the pink Barbie, and the next, the curator in a black polo neck anything goes. ’ As someone who loves a persona, Jana has assumed in her work a variety of characters, each of whom questions what society deems acceptable for women and femme bodies. These recurring ideas flow easily into her curatorship, where body politics and the potentiality of presentation are integral. However, one of the biggest differences between her dual professions is her positionality ‘My curatorial practice is not about me. I don’t have an agenda. Curating allows me to step back and let another story take over, and I love that about it ’
As custodian of her collaborators’ creative output, and by refuting past practices of controlling the narrative, Jana centres her curatorial work around putting the artist first. ‘I am trying to amplify the conversation between artist, curator and collector,’ she says ‘It is a beautiful community.’ Describing her experience of the contemporary art world, she emphasises an optimism around the emerging discourse among artists across the continent, and the possibility for growth that it invites ‘The local art market is still in its infancy I say that as a positive because we can create a more constructive environment We are deviating from the way things were done in the past ’
Jana is currently co curating a group exhibition titled Shout Plenty at the African Artists’ Foundation in Nigeria, exploring how artists respond to the concept of social justice ‘Sharing stories about where we transgress, our hopes and aspirations can generate dialogue that can affect social change ’ She is also working on various personal and collaborative projects.‘Truth comes out of spaces of risk and play That is what is exciting me now ’
Jana ‘Babez’ Terblanche @jana babez
T h e s e i n d i s p e n s a b l e c o m p a n i o n s t o t h e m o d e s t u r b a n d w e l l e r o f f e r s m a r t i n t e r i o r d e s i g n a n d a r c h i t e c t u r a l s o l u t i o n s f o r c o m p a c t l i v i n g T E X T S T E V E N W H I T E M A N
What does the future of urban living look like? In Never Too Small, Joel Beath and Elizabeth Price explore this question, drawing inspiration from a diverse collection of apartment designs, all smaller than 50 square metres Through the lens of five small footprint design principles and drawing on architectural images and detailed floor plans, the authors examine how architects and designers are reimagining small space living
Full of inspiration we can all apply to our own spaces, this book offers hope and inspiration for the future of our cities and their citizens, in which sustainability and style, comfort and affordability can co exist Never Too Small proves living better does not have to mean living larger.
Small Homes, Grand Living’ s assortment of projects and homes pays homage to the groundbreaking innovations within modest living areas and shows the creative usage of space as urban areas continue to expand and living spaces shrink With the influx of residents into the world’s urban centres, living spaces have become a precious commodity and a currency in their own right.
Designers, architects and innovative inhabitants seek new ways of creating a home that is just as comfortable as it is functional and aesthetically pleasing. Where does one stow clothing, bicycles, suitcases or bed linens, where is the perfect place for the desk, bed or sofa, and how does one use fewer
square metres more effectively? Compact flats perched atop the roofs on high rise buildings; a one bedroom apartment that houses a family of four; stairs that cleverly transform into wardrobes this collection of cosy cocoons shows the personality and ingenuity of those living inside. These homes are both a shelter and a welcoming reflection of the residents. Small Homes, Grand Living offers real interior design solutions directly from the occupants’ imaginations.
Petite Places (Gestalten)
Living in small spaces is not a new phenomenon By looking at pioneering projects from times gone by, one starts to understand where modern living concepts draw ideas
Clever furniture and storage solutions create more room to cook, relax, read in a comfortable nook or work from home Explore how you can add striking changes to your modest home with only a few tweaks Small spaces, such as living rooms, kitchens, bedrooms and bathrooms, can offer immense possibilities, but only if the interior is well considered. Including floor plans will allow you to translate inspirations from the book into your home
By showing various projects in different styles from reduced and pragmatic to cosy and comfortable
Petite Places delves into how small homes are designed today, delivering insights from interior designers and architects
SMALL HOMES, GRAND LIVING: INTERIOR DESIGN FOR COMPACT SPACES R995; PETITE PLACES R995
NEVER TOO SMALL: REIMAGINING SMALL SPACES R1 150; ALL AVAILABLE THROUGH PEZULA INTERIORS
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is the social heart of its community, a place where people go to unwind, to eat, and to raise a glass of ouzo This was chef Nic Charalambous’s primar y aim with new Cape Town eater y, Ouzeri to champion that tradition by spotlighting Greek Cy priot cuisine
For Nic, it was imperative that he strike a fine balance between classic and contemporar y Greek cuisine while drawing on his Cy priot herita ge ‘I think that, locally, there is an understanding of Greek cuisine, but not necessarily Cy priot and this is where Ouzeri comes in,’ he explains
Food and family go hand in hand at Ouzeri, and Nic looks back on his formative years thoughtfully ‘Sunday lunches whether in South Africa or Greece are always my fondest memories And connected with that are warm olives. We always had some sort of warm or roasted olive, and it has become such a nostalgic thing for me ’ In homa ge, he ser ves warm Manzanilla olives, which he gets from O for Olive in the Karoo, cooked over coals and ser ved with paprika oil, coriander seeds and a spicy citr us paste
The eliopita on the menu is also deeply rooted in family A traditional Cy priot olive stuffed pastr y that his yaya used to make, Nic combines pastr y and potato bread dough to make these globe like buns, finished with anchovies and roasted garlic cloves intended to be squeezed and slathered atop
Then there is the lamb manti, originally from Macedonia but adapted by northern Greeks This ravioli dumpling hybrid is blanched in chicken stock and ser ved with burnt tomato butter, crispy soujouk
(a Cy priot style dr y, spicy and fermented sausa ge made by Richard Bosman) and crisp dill yoghurt that cuts cleanly through the rich filling.
But it is the halloumi that, when pressed for an answer, Nic confides is the dish to order Made by dair y entrepreneur Maria Van Zyl, founder of Cream of the Crop, who has two cows on her parents’ farm in Bo Piketberg that are dedicated to Ouzeri She worked closely with Nic on numerous halloumi recipes before finding the perfect texture, size and flavour ‘Maria puts fresh mint in the centre of the halloumi, as well as Khoisan sea salt, and we ser ve it grilled with olive oil, freshly squeezed lemon and oregano For spring, she is working on using a combination of goat and cow milk, which is closer in flavour to the traditional Cy priot halloumi,’ he says
As a staple ingredient in Greek cuisine, it was also important for Nic to dr y his own oregano, which he does with the help of Iming Lin at Meuse Farm in Hout Bay ‘Conscious sourcing of produce is how traditional ouzeris operate, and it was important for me to replicate that here,’ he explains
Ouzeri’s dedication to supporting the right sort of farming local, seasonal and sustainable extends through the kitchen and to the wine selection, with a keen focus on natural and low inter vention wines Partnering with Jasper Wickens from Swer wer Wines to create their own white and red barrel wine ser ved in traditional carafes was inspired by the retsina barrel wines of traditional taverns in Athens.
Nic also had a clear cut vision for the interior design of Ouzeri to be both sophisticated and nostalgic and to all importantly reflect the Greek Cy priot influence of the food a vision he shared with Yaniv Chen from Master Studio ‘Nic set the precedent with his translation of historical dishes into a contemporar y context We took this idea and were able to create a design that reflected the ingredients, herita ge and, of course, tone,’ says Yaniv.
Cy pr us ’ s rich artistic herita ge provided a springboard for Yaniv to dive into myriad influences, rooted in the island’s diverse textiles and architecture while attempting to view it through a uniquely South African lens ‘We endeavoured to find links in traditional Greek architecture and the vernacular of the West Coast There is a strong link in the technique of the fisherman houses in Yzerfontein and the Ionian Island plaster work. We like to find these links so that it is a local, place specific variation on the traditional Grecian style Links, materiality and place are very important to us. It creates touch points with histor y, ’ he says Traditional ouzeris exude community and warmth, which is precisely the ty pe of environment Nic and his team have created through the considered menu, interior and ambience of this pioneering Greek Cy priot hangout. Ouzeri ouzeri.co.za
C LO C K W I S E F R O M TO P L E F T C R E A M O F T H E C R O P H A L LO U M I
W I T H C U C U M B E R A N D TA S H I ; T H E M A ST E R ST U D I O D E S I G N E D
I N T E R I O R S ; WA R M G R E E N O L I V E S W I T H PA P R I K A O I L , S P I CY
C I T RU S A N D CO R I A N D E R ; B E E T R O OT SA L A D W I T H DAT E
M O L A S S E S , YO G H U RT A N D A L M O N D S
Serves 5
MANTI FILLING (MAKES
APPROXIMATELY 25 MANTI) onion, grated using a box grater (coarse side)
100g lamb mince
100g beef mince 1/4t allspice powder
1t dried oregano
1/2t paprika, smoked Pinch of dried mint 10g parsley, chopped 10g mint , chopped Salt and pepper
Place all the ingredients in a bowl and mix ver y well to combine
MANTI DOUGH
manti on a floured surface to prevent sticking.
DILL AND GARLIC YOGHURT 100g Greek yoghurt 1 garlic clove, ground into a paste 5g dill, finely chopped Salt and pepper
Combine all the ingredients in a bowl
BURNT TOMATO BUTTER
100g butter
1 1/2t tomato paste 1/2t dried oregano 250g tinned whole peeled tomatoes 1/4t chilli flakes 1/2t sherry vinegar Salt
until it slowly renders and becomes crispy. 2. Remove from the pan and drain on paper towels
1l chicken stock
Manti
Dill and garlic yoghurt
Tomato butter, kept warm Pinch of chilli flakes
Bunch of dill, chopped Crispy soujouk
1 Place the chicken stock in a pot and bring to a boil
2. Gently add the manti in batches and blanch for 3 minutes 3 Remove with a slotted spoon and add the rest of the manti Repeat 4 Spoon the yoghurt onto the centre of a plate.
200g 00 flour 2 eg gs 30ml water
1 Place the flour in a bowl, and in another one, whisk the eg gs with the water
2 Combine the eg g and flour in one bowl to form a dough.
3 Knead with additional flour for 5 minutes until the dough is soft but not sticky.
4 To fold the manti, work with half the dough at a time
Using a pasta roller or rolling pin, roll out the dough, so it is approximately 2mm thick
5. Cut out 5cm x 5cm squares of dough, place a walnut sized amount of filling in the centre of each and fold the corners of the dough together in the middle using a little water to help it stick. 6. Store the
1 Melt 50g of the butter in a wide pan, add the tomato paste and oregano and cook for 2 minutes 2 Drain the whole tomatoes in a colander, then cr ush them into smaller pieces by hand 3 Weigh 125g of cr ushed tomato and reser ve the liquid to use later. 4 Add the tomatoes to the butter, lower the heat and cook for 45 minutes over low heat, stirring continuously until the tomatoes start caramelising. 5. Add the chilli flakes, sherr y vinegar and salt and remove from the heat 6. In another pot, add the second portion of butter Place over medium heat and melt the butter. 7. Continue to whisk the butter until it foams and starts caramelising Once the butter starts turning golden brown, remove it from the heat and combine it with the tomato mixture.
CRISPY SOUJOUK 50g soujouk or chorizo, cubed
1. Place the soujouk or chorizo into a pan over low heat. Cook
5 Place the manti on top of the yoghurt and spoon over the tomato butter.
6 Sprinkle with chilli flakes and chopped dill
Serves: 6 (as a snack)
100g walnuts, soaked in hot water for 1 hour
20g sourdough bread, crust removed, soaked in water for 2 minutes and wrung out 2 garlic cloves, peeled and finely chopped
1t red wine vinegar
30g tahini
1t lemon juice
45ml Extra virgin olive oil Salt and pepper 100ml water
1. Place the walnuts, sourdough and garlic in a blender and blend to a smooth paste. 2. Add the vinegar, tahini, lemon and olive oil and season with salt and pepper. 3. Slowly add the
L A M B A N D B E E F M A N T I
F R I E D M U S S E L S W I T H WA L N U T S KO R D A L I A
water as you combine the ingredients, aiming for a consistency similar to double thick cream 4 Taste seasoning and add more salt and lemon if needed
BEER BATTER
200ml beer 60g self raising flour 1/4t bicarbonate of soda Pinch of salt
Whisk all ingredients together to form a light batter
MUSSELS
1kg mussels
200ml white wine
Wooden skewers
1 Heat a large pot to high, add the wine, followed by the mussels and place the lid on top 2 Cook for 2 min until all the mussels have opened up.
3 Strain the mussels and allow to cool 4 Open the mussels’ shells and remove their beards.
5 Skewer 4 mussels onto each stick
TO FINISH
2l frying oil
Skewered mussels 100g flour, seasoned with salt and pepper
Beer batter Salt Walnut skordalia Lemons to squeeze
1 Heat the oil in a large pot to 200˚C. 2. Dust the mussels with the seasoned flour and shake off the excess
3. Dip the mussels in the beer batter and gently drop them into the oil 4 Fr y for 2 minutes until golden, remove, place on a paper towel and season with salt
5. Ser ve with walnut skordalia on the side and lemon wedges to squeeze over the top.
Conceived as the meeting T T
It was on an uncharacteristically crisp November afternoon last year when I first met with the ceramic designer Jan Ernst to conceive a unique design exhibition We were all still in hopeful recover y from the slew of whiplash government regulations and restrictions that had turned, well, ever ything upside down. Jan and I were really only acquaintances at the time, in fact, we had only met twice before, I think once when we photographed his portrait for the magazine and another time at the launch of his first collection of pieces I mention this not because it is unusual it is not; meeting new designers is quite literally my job but because there was just a feeling that this time was different, that something was coming something remarkable It turns out it was not so much a feeling as a premonition.
By the time Jan and I met, the rationale behind the exhibition was already fully formed: to elevate collectable design to the level of fine art (we named it CUSP to reflect that transition point). Internationally, the divide was already being bridged but, locally, there just was not anything like it, in terms of medium or mind set and, where it did exist, it was heavily galler y controlled.
The prospect was irresistible, and in the proceeding six months, friendships were forged, design norms challenged and creativity pushed to the limit as the first edition of the CUSP exhibition came together The premise was simple enough: 11 independent designers would be tasked with creating one off pieces that, through a partnership with Aspire Art, would showcase at the galler y and art auctioneer’s Cape Town property (a former nunner y turned exhibition space) for an audience of investors, buyers and industr y leaders. The brief was open, with the only parameter being the material each designer was allocated a ‘hero’ material to work with, be it steel, glass, cork or marble the rest was up to them
Here, in their own words, the 11 designers who launched the CUSP exhibition and their industr y re defining work
‘Through design we get to solve problems, be they practical, aesthetic or social. Good design has the power to elevate how we perceive and experience our immediate environments that have an impact on our psychological state Through my work, I tr y to imagine how an object will add value to a space and how people will respond to it before I begin to make it
‘I spend many hours exploring ideas, doing research and mulling over previous designs. It is important for me to have an honest expression through my work Clay allows for that because it will leave even a fingerprint if not attended to I would like my work to pique people’s curiosity and make them question their way of thinking these pieces create the best sort of conversations
‘ As a designer and maker, I am aware of the challenges from a conceptual and manufacturing point of view. Collectable design focuses on stor ytelling and craftsmanship, something that has disappeared with mass produced designs The role of collectable design, then, is to safeguard the skills, knowledge and stories passed
on through generations, to reinterpret and celebrate these ideas in contemporar y ways and keep them precious
‘I position the work I create in the collectable design realm. Ever y piece I create must tell a stor y about a landscape or a natural phenomenon that inspires me I then take these stories and turn them into functional designs.
‘The “Womb Table Lamp 03”, part of the Womb Lighting Collection that I launched in Brussels in May this year, focuses on the dual concepts of birth and light, inspired by the Cederberg Caves that provided shelter to the first people living there
The “Walking” candelabra, on the other hand, is an evolution of my Forest Candelabra Collection, which is inspired by the myster y, intrigue and unknown of the forest In both cases, the idea came first since I knew I would be working with clay Finding a balance between the aesthetic and pragmatic is not always easy; it requires interrogation and compromise until a happy medium is found
‘Collectable design, unlike pure industrial design, can touch on similar philosophical and conceptual topics as fine art The result might be functional in nature, but the intellectual processes are the same. In fact, there is an additional component of interrogation that fine artists do not have to deal with I was drawn to collectable design because stor ytelling is pivotal to my work The idea of creating a limited number of objects is appealing because it ensures the work stays precious and one of a kind ’ janernst.com
J A N E R N S T
‘My approach to design is illustrative with an imaginar y narrative that binds my work with character and emotion. Core tenets of longevity and functionality guide my works, pushing deeper into the duality of life where beauty and creativity flourish, even (or perhaps, especially) when seemingly uncomfortable. For me, tactile design and blending the elements of colour, form and texture elevates our senses, creating a connection through visual stories, an awareness that starts conversations, evokes curiosity and draws your imagination into a reimagined dream world As designers, we have a responsibility, now more than ever, not only to create beautiful pieces, but have a positive impact through considered design, innovation and in the choices we make It motivates and inspires me ever y day
‘My approach is simple with a complex execution that elevates traditional techniques, using fabrics that are recycled and natural We must slow down this fast paced and disposable consumerism mindset and bring back the heirloom generation that celebrates craftsmanship For the exhibition, I wanted to see how far I could push materials in building these structures I wanted to create drama and unusual shapes and bring an element of surprise.
‘My starting point was material, as I wanted to focus on innovation and waste or repurposed materials This approach definitely dictated some elements of the design and evolved as
the make progressed I find balance in functionality, so using this as my core element, the design shaped into what was available material wise and how this can be manipulated and reworked I did not work with a theme rather than working with what was available and how this could be transformed.
I experimented with how these materials can be translated into functional designs and how we can use existing resources through techniques of quilting, weaving and upholster y keeping traditions relevant and evolving
‘ All three pieces started with a wood and steel frame with different materials manipulated to create finishes: the “Lucky Look” chair was upholstered in a felt that is made locally from recycled plastic bottles; the “Here Comes The Sun” floor lamp features pure merino wool and Belgian linen, digitally printed with an ombré design and woven wool details The “Pina Colada” drinks cabinet was the most ambitious to execute Built in collaboration with local craftspeople, the structure is covered with a mineral, non woven vegan leather, which is a natural textile made from pineapple leaf fibre waste, a by product of existing pineapple har vest, and their use creates an additional income stream for farming communities
I used South African merino and karakul wool left over from rug production to elevate the doors with expressive hand woven illustrations The legs slot into a rug that was made by master weavers in Somerset West This was a true testament to the power of collaborative design.’ meecostudio.com
KHOSI LETEBA
‘I have been fascinated by functional objects from a young age, having always looked at things with an eye for what they could be. Approaching design like this allows physical human engagement with a product while bettering the quality of life, both functionally and emotionally. Design, to me, is a tool for sharing stories, concepts and ideas the user can connect with What excites me most about design is being able to create pieces that marr y functionality and aesthetic harmoniously and that question what one views as design and art I have always seen myself as a generalist more than a specialist in the creative industr y, which allows me to broaden my horizons in terms of exploring ideas and concepts that flow between disparate fields of design. I am hoping to connect people with products on an emotional level because I believe such connections bring value and create memories I believe design can also be used as a tool for cultural progression embodying what was, what is and what could be through finding inspiration from our roots to exist in the modern world.
‘The thinking behind the Cubism collection was to showcase the relationship between art and design and how they can co exist in one space and connect. As the name implies, the pieces were inspired by the Cubism movement, the concept focusing on processing furniture pieces into abstract, fragmented artworks. I believe good design is not just about how it looks but how it feels and that sits at the core of Bupa Studios We believe life is a feeling process; emotions are at the root of our connections and unite humanity
‘In creating the “Oxiloron” Stool and shelves for the “Xiloron” side table, I chose mild steel metal, particularly for its properties able to be bent and welded seamlessly I also used wood as a natural material as a foil to the robust, man made material.
‘In my opinion, collectable design is an artistic expression that allows you to engage with the work practically on a daily basis, creating memories around and with it ’ @bupa studios
FROM LEFT WIID DESIGN
LARGE HARD CARVED TIMBER
TORTOISESHELL, INLAND
COLLECTIVE ‘ROCK BLOOM’ GLASS AND SANDSTONE COFFEE TABLE, DESIGN AFRIKA
‘GRASSLAND 2’ PINE AND GRASS COFFEE TABLE, INLAND COLLECTIVE ‘IGNEOUS’ MIRROR WITH BRASS PATINA
‘I guess, being an architect, I have always been in the functional design world, but my journey, specifically into furniture making, was an act of desperation, to be honest. I was not able to fully realise my own creative interests as an architect, so, frustrated by the daily grind, I needed to find another creative outlet, one that would give me the time and space to explore different sorts of ideas In the same breath, the ver y thing I struggled to come to terms with also became the grounding for my furniture work; much of my inspiration comes from my work as an architect and the hours spent on construction sites The motivation comes from being able to explore ideas, the fact that you can create something from seemingly nothing Things start in your head and slowly reveal themselves through the making process
‘I always tr y to approach the making process following the same steps Firstly, I look to make things myself as I find there is a lot of creative potential and knowledge that gets lost when you hand over the manufacturing to someone else. Secondly, I always focus on having a strong sense of materiality expressed
‘I was first introduced to the ideas of collectable design after attending an exhibition by Southern Guild many years ago My mind was blown I did not know people made furniture that looked like that. This idea of discover y still motivates me today.
‘Personally, I tr y to bring a re imagination of the archetypes of furniture and offer clients not just another table or chair I want to offer them something they did not realise they wanted or liked.
‘I have been working in polyurethane for a while, but the idea and the material go hand in hand I want to make pieces that tick the box of function as a pre requirement, but I spend the majority of the time exploring the form and amplifying that to remake what a shelf or wall light could be I build the basic frame out of wood, like a skeleton, and then hand shape and car ve the foam onto the “bones”, which is mainly intuitive (I do not work with CAD drawings) I usually start with a sketch, but that is as planned as it gets; each mark or cut line informs the next, and this is how the piece is born There is freedom in movement
‘I want the viewer to be challenged by what they are looking at, and ever y time discover something new. I think more time should be spent on form than function We have been tr ying to perfect the absolute best this or that for long enough let us bring back imagination.’ oliver whytestudio.com
M AT T H E W DA S N E V E SROSS ROBERTSON MATTHEW DASNEVES
through an as simple as possible manufacturing process. That was what I really enjoyed most about the exhibition itself the wide open brief allowed me to work on ideas that aligned with their own interests
‘My pieces in the exhibition are part of an ongoing series that explores the caulking process Most people might be familiar with this: it is the rubber sealant used around fittings in the bathroom and home.
I am constantly fascinated by the creative potential in seemingly ordinar y processes For me, the interest in using the caulking process and rubber as a material came from the idea of exploring what could happen if I took a process and material traditionally used in the building industr y and turned that into something desirable. To that end, the pieces are made from offcut polystyrene that is then car ved and assembled into functional forms and a caulking gun is then used to lay beads of rubber sealant onto the polystyrene The caulked sealant is both functional and decorative as, structurally, it creates a resistant, flexible coating for the polystyrene, transforming the objects into durable furniture. The act of caulking the sealant adds a decorative dimension, which creates a richly textured surface pattern Ever y movement of the caulk gun is made visible like brushstrokes in a painting.’ @matthew.dasneves
‘From the onset of my career, I have always believed in creating pieces that ser ve more than aesthetics, and because of my pragmatic engineering background and approach to design, functionality has been one of the key elements of my design process. The design philosophy of TheUrbanative, and, I guess, myself by extension, is to create multifunctional pieces of furniture and products that endeavour to connect people through shared stor ytelling. While we are furniture designers, our role is really to foster an atmosphere of authentic connection and, through these connections, we continue to witness and experience change I am constantly in awe of the far reaching branches of design and its ability to influence ways of living, working, playing, loving, interacting and being
‘The trajector y of my journey began by the drive to create heirlooms for my son, who is part African and part European; pieces that he can live with at home that are not just one thing but, like him, a layered and intricately woven network of multiples that make up the whole I firmly believe design that is attentive to cultural diversity inherently appeals and connects a larger and equally diverse group of people.
‘I initially approached the pieces presented in the CUSP showcase guided by the material of choice, which was steel in all its forms and finishes. While I am constantly guided by
practicality, functionality and purpose when I design, I relish the visual tension created by contrasting elements, materials and ideas and the result thereof That is why both pieces presented were a combination of the same material treated in multiple ways. Adding to that layered approach, I absolutely love collaborations Partnering with other craftspeople who are experts allows us to push our thinking further and really reimagine new possibilities.
‘The first piece showcased, the “Aya” console, is inspired by Adinkra symbols of the Ashanti in West Africa The Adinkra symbols hail from the Ashanti and Akan kingdoms of West Africa, which today spans Senegal to Nigeria Each symbol of the Adinkra represents a collection of related concepts around an ideal To wear, use or be given an Adinkra is to call on or embody those ideals in life and practice This console comprises a steel structure, with a handcrafted ostrich eggshell top by Avoova and brass plate details.
‘The “Luminous Makeba” side table and light, our second piece, is a homage to multiple steel finishes; a conversation of powder coated rolled steel tubes, black nickel chrome plated ball chain, textured stainless steel and brass joining details The form of the ‘Luminous Makeba’ takes its cues from the lines, forms and textures seen in African hairstyles particularly the Wambo tribeswomen in Namibia in the ’40s, who would lengthen their braids to their ankles through the use of sinew extensions putting the African identity front and centre while challenging beauty standards and how they are represented This piece is a layering of materials and stories; a portal to the past in its inspiration and to the future in its production.’ theurbanative.com
T H E U R B A N AT I V EMPHO VACKIER
‘Design Afrika’s founding mission was to revitalise the ancient skill of basket weaving in Africa. We have been doing this for 27 years It became apparent that the weavers ’ skills needed to be elevated to an art form to preser ve and sustain their expertise. So, we produced woven sculptures However, we then felt that to keep the art of weaving relevant, we needed to produce pieces that were both sculptural and functional.
‘Functional design and art are produced by highly creative and talented people it is impossible to define one without the other. Both require knowledge of materials and their possibilities and limits, and how they can be transformed into something that is beautiful to look at. While a piece of design has a different end goal to be functional one can employ the same processes that go into conceptualising and bringing to life a piece of art.
‘Our goal is to illustrate how weaving with organic materials can be developed into an art form We feel that we have a responsibility to preser ve the ancient knowledge and techniques that, in the modern world, are at risk of being forgotten
‘ As with working in any medium, the fibre materials that we use in basketr y present particular constraints that need to be overcome To accommodate these challenges, the designers need to dig deep to find creative solutions that push the limit of the material In the end, it is the material that dictates the design process, which is ever evolving and organic.
‘ Across the globe, basketr y came about to perform specific functions but became a vehicle for important cultural and historical knowledge. We may not have the same need for baskets as our ancestors did, but we can still weave our stories into objects that have relevance today.
‘In the design sector, the artisanal and handmade are under threat owing to the lack of material recognition for the skilled artisan. Elevating their craft to design status through incorporating a design element assures sustainability
‘What was unique with CUSP was that it allowed us to ignore all the usual product development steps and go straight into the experimental stage It gave us the chance to have fun with our creativity without restraint.
‘We work with organic materials such as palm fibre, mountain grass and sedge river reed to make our baskets, but we have been wanting for some time to combine “found” wood with our weaving techniques CUSP was the perfect opportunity to experiment and develop this idea.’ designafrika.co.za
FROM LEFT WIID DESIGN ‘NEURAL PATHWAY’ NORDIC PINE AND STAINLESS STEEL WOODEN CUBOID BENCH IN BLACK, MEECO STUDIO ‘LUCKY LOOK’ RECYCLED FELT CHAIR, FLORAL AND WAX INSTALLATIONS BY MYUZU AND OKRA CANDLES FEATURED THROUGHOUT THE CUSP EXHIBITION AT ASPIRE ART
‘I do not want to design for design’s sake I want to put things out into the world that are aesthetically beautiful, have a function and are made to last It is a fine line because there is a commercial aspect to it I love the quote, “It is easy to be different but difficult to be better”. I often think about that.
‘I am a bit of an idealist in the sense that I think many things were better “before” My inspiration generally comes from the past and has a sense of nostalgia. I want to honour great work be it architecture, design or art and tr y to modernise it in a tasteful, respectful manner That is good design
‘For me, functional design is about the making. I love factories and manufacturing techniques You can view something on a screen or you can 3 D print it, but it is never the same as going into a factor y and working with a brilliant craftsman who has been doing it for years Unfortunately, it is a dying art form, and I think the role of a good designer is to ensure their pieces are created in a way that allows people to work as much as possible with their hands This is what keeps the industr y going; this is where the real magic happens
‘Design also involves looking at sustainability in a different way Buying something that you are going to love and care for is important something you can hand down For me, that is better than buying something that can be recycled.
‘I have been working with marble for the last six or seven years I like that it comes as a big block from the earth In South Africa, it is generally cut into slabs of 20mm or 30mm material This puts a certain limit on what is possible, and I like to challenge myself within those limitations A big part of this work is to showcase how good South African craftsmen are They deser ve our support I think the debate between what is and is not art always becomes a pretentious one I think it is relatively simple. Does the piece move you? Did you feel something when you saw it? Did it ask a question? Did it surprise you? That is art for me Forget what the academics and critics say. That is generally designed to make you spend more money
‘With CUSP, it was great to have a platform where you can design with ver y few boundaries. For this type of exhibition, you can be a bit selfish and design something you really want to make and the commercial aspects can be ignored I find this pushes creativity and I keep coming back to this when designing new pieces
‘It was great collaborating with Fanie van Zyl, who is technically skilled and taught me a fortune during the process. Having a manufacturer as good as The Dialogue Room, who were also passionate about the project, helped ’ lemoncollection.co.za
MURRAY KING AND BINKY NEWMAN‘From a ver y young age, I have been collecting objects, art and natural curiosities; beautiful objects not only make me happy, but motivate and inspire me to create something new ‘Function has always been central to my thinking; I love creating pieces that have a purpose and meaning creating products people can collect and use in their ever yday lives Functional design is extremely complex; it takes a good designer to truly understand materials, process, proportion, form and execution.
‘Back in 2010, my studio started experimenting with cork A versatile material, cork adds a great value to our work; this motivates my team to keep on creating pieces that portray a message of luxur y and sustainability
‘Wiid Design was established in Cape Town in 2013 We often work collaboratively with other artists and across various materials Our product range spans furniture, lighting, tableware, and collectable furniture and objects
‘With design, it is all about the proportions, how one portrays the materials and combines all the above into a truly functional, practical and comfortable piece It must always be original, and we prefer not to follow trends.
‘Generally, when we have a concept in mind, we start with a material selection and drawings We design and render at least 10 to 15 concepts, and once the final concept and material selection has been concluded, we refine the product even more
‘We aim to create pieces that elicit an emotional response as much as they invite you to think to create products that are original, desirable and have a sustainable impact on the environment. As a designer, I feel we have a responsibility to find smarter and more sustainable ways to produce and consume
‘Essentially, design is everything we all have a responsibility to design smart products that change the perception of the current and future consumer The work presented for CUSP was more on the collectable one off side, where we focused on traditional handcrafting in combination with avant garde techniques
‘We exhibited new and existing pieces at CUSP. The latter included our beautifully hand car ved occasional chair in light cork and car ved maple, including our hand car ved walnut tortoise shell. The new pieces were three metre benches car ved from ancient Nordic pine, which were collaborative pieces with fellow designer and artist Driaan Claassen.’ wiiddesign.co.za
FROM LEFT FRANCES V H MOHAIR ROCK‘Collectable design and design as a whole, for that matter requires finessing the finer details, so having an inclination towards that is what first attracted us.
‘We both have backgrounds and careers in art [Io is a multidisciplinar y artist and Brett a photographer and visual artist] and have worked with glass as a medium previously in our practices
‘Inland Collective is a brand we launched in 2020. Our first range was called Cosmos and took its inspiration from outer space We worked with specific colours and forms in our mirrors and blown glass bowls that echoed the alchemical makeup of our universe When we were invited to participate in the CUSP exhibition, we decided to use the opportunity to preview some items from our new range and develop a coffee table that we had been designing for some time
‘The coffee table called “Rock Bloom” takes its inspiration from lichen while the mirror we created “Igneous” represents magma and stone Both the coffee table and mirror are different from how we usually work in that the glass top and patina on the mirror, uniquely made by Io, draw on our disciplines as artists to create. As such, no two “Rock Bloom” tables or “Igneous” mirrors will be the same Usually, we design products that can be made in large quantities, however, with these, we opted to make something truly unique in their ability to balance form and function
‘Glass and mirror are our primar y material focus, so for the “Rock Bloom” coffee table we were excited by the idea of combining the mottled glass top with solid geometric sandstone bases The relationship between these materials is fascinating, as glass was once sand, so there is a unified language and relationship in the design The simple design of the three geometric forms suspended in space, with no joins, further speaks to the material singularity and symbiosis of these natural elements With the “Igneous” mirror we approached the patina differently, with the bronze patina sitting on the front of the glass and silver mirror behind it, giving a three dimensional effect The mirror was then cut into a shape that echoes the flowing form of magma.
‘Seeing an idea go from a sketch to physical piece that enhances people’s lives is really exciting for us and motivates us to create. The world’s obsession with homogenised, cheaply made products with planned obsolescence is the antithesis of our mission; we feel that design should be well made, sustainably and offer pleasure and functionality for many generations ’
inlandcollective co za
DRIAAN CLAASSEN AND LAURIE WIID VAN HEERDEN BRETT RUBIN‘Design is a way to capture stories and memories of places and spaces and recreate these moments into objects. For me, hand made objects that are deeply rooted in the ecology of their origin hold a certain soul, texture and character that a user can feel It is this inexplicable connection and comfort that hand made objects embody that connects the user to the materiality of its makeup and the human connection of the maker To that end, I wanted to work in mohair, one of the most ancient, exclusive and sustainable natural fibres, the production and processing of which is geographically centred in South Africa Having had the privilege of growing up on a family Angora goat farm in the Karoo, I have a natural affinity for the fibre and a desire to produce a high end, local product that celebrates mohair’s incredible characteristics and its unique South African heritage.
‘Made to order, we work with natural, raw material and never create simply for the sake of making For us, the process of making starts with rain, the delicate ecosystem of the plant life, the quality of the ground, the role of herdsmen and the importance of healthy animals to produce quality mohair From raw fibre, we move into the process of washing, cleaning, dyeing and spinning until, finally, the yarn ends up on the loom In many ways, weaving and
finishing are the last steps on an intricate and codependent supply chain. Understanding the connectivity between us and nature and the process needed to get from farm to fabric informs a more selective appreciation of the product It turns a simple textile into an invaluable homemaker, passed down to the next generation We believe that it is vital for consumers to recognise that their buying power has a trickle down impact on a long line of people, the welfare of animals and the preser vation of the land
‘Collectable design is usable art Where you choose to place it and how you use it informs the life of an artwork. If we are who we surround ourselves with, we are also informed by what we choose to surround ourselves with They are visual references of how we wish to express ourselves and share with others This type of design offers the invisible umbilical cord between art and owner, a connection needed for these works to unfold into their end form.
‘For CUSP, we were given the rare opportunity to simply play and capture a little bit of this place, its people, its histor y By mixing plant and animal fibre into the works, we hoped to deconstruct the basics of fabrics, showcasing the ingredients from which we have disengaged If you take the time to view a textile panel you see a canvas, as well as the incredible science, skill, time and creativity that these pieces hold Instead of paint, we have yarn Each yarn is uniquely constructed by hand, mixing ingredients to achieve a certain composition that is then hand woven on old looms The choice of yarn is determined by the hands and emotions of the spinner; at each moment the mohair is fed into the spinning wheel it is never uniform as it holds the mood of the maker These panels capture the homes of souls, the fibre of animals, droplets of rain, women darning our realities into the nonsensical, textile maps showing where we have come from and how we wish to tread into tomorrow.’ francesvh.com
FRANCES VAN HASSELT FRANCES V H MOHAIR ‘VELD MAPPINGS’ HAND WOVEN MOHAIR TAPESTRY
In this minimalist kitchen by Australian designer
Tamsin Johnson, a restrained palette of materials is cleverly contrasted to create a dynamic yet practical working space A combination of brushed steel cabinetr y and work surfaces, pink and purple viola marble and blonde wood herringbone floors amount to a design that feels at once soft and elegant yet industrial and efficient
By incorporating a hard wearing material steel ever y surface can be utilised. This clever use of limited space is further explored in the absence of an island, which sees the main work surface double as a bar counter with seating for small gatherings.
To maintain the kitchen’s streamlined appeal, all appliances are integrated and hidden within the cabinetr y, while push to open hinges remove the need for clumsy handles and knobs
Running the cupboards and stone backsplash from floor to ceiling creates the illusion of height and additional space in the small kitchen tamsinjohnson.com
TAMSIN JOHNSON OFFSET THIS STREAMLINED, INDUSTRIAL STYLE, BRUSHED STEEL KITCHEN WITH RIPPLES OF CALACATTA VIOLA MARBLE AND PALE TIMBER FLOORING
The kitchen of this restored fisherman’s cottage on the West Coast by La Grange Interiors founder Sumari Krige proves that modern efficiencies do not have to come at the expense of character and charm. ‘It is a home, not a showcase, so we did not waste space or use pieces for interest or “design” ever ything has a purpose, ’ says Sumari, whose unfussy layout and finishes speak to the home’s histor y ‘We further incorporated the elements of the original structure using a subtle colour scheme of earthy tones, brought to life with pops of colour and simple patterns ’
With space at a premium, Sumari combined the kitchen and dining room functions into one room through the use of a central table that is hugged by the kitchen.
Sumari leans into the materiality of the kitchen to tell the stor y of its surroundings, with weathered timber, rattan and concrete used throughout, as well as light blue and sand tones that evoke the washed out West Coast palette lagrangeinteriors.co.za
IN THIS WEST COAST KITCHEN, SUMARI KRIGE COMBINES NEUTRAL TONES WITH LAYERED TEXTURES AND RUSTIC ACCENT PIECES
In a more generous kitchen, such as this impressive space in Cape Town by architect Karen Newman, a central island is the only course of action Providing prep and cooking areas, ample storage, seating and eating and gathering space, an island is the high function heart of any kitchen. Note the low pendant lights above the island, which provide task lighting when needed ‘We had to pack on the wow factor,’ says Karen, who furnished the kitchen to look more like a relaxed living room space as ‘the homeowners love to cook, so it had to be ready to accommodate impromptu gatherings of friends and family with serious style.’ newmanarchitects.co.za
THE KITCHEN BARN IN THIS KAREN NEWMAN DESIGNED FAMILY HOME HAS AN INDUSTRIAL UTILITARIAN INFLUENCE
Greener y is the best place to start it is an instant connection with the outside (especially beneficial in city apartments with no outdoor areas) and brings much needed life into a home. Palms and ficus plants are all great starter plants for indoors, especially as they add height and size, and you can use them to fill awkward spaces and bare corners
You do not need serious bank to start an art collection, with many local artists, galleries and e commerce platforms offering a variety of accessible prints for ever y taste. Hang pictures using Pattex No More Nails to avoid drilling holes into walls
We all know that a r ug pulls a room together, but opting for one that is oversized will also make a space feel big ger (just make sure it does not bunch at the walls) In addition to demarcating living zones with an open plan space, they introduce colour, texture and warmth.
Not being a homeowner does not mean you cannot decorate. These non permanent updates add style without costing your deposit
If your rental comes with an older kitchen, chances are you will be saddled with dull, uninspired drawer and cupboard pulls If they are screw in, you can easily remove and replace them with metallic or coloured options. When you move, simply put the old ones back.
A bold wall colour can immediately transform a space whether achieved through a solid paint tone or removable wallpaper and make it feel more you Just check with your landlord first and be prepared to paint the walls back when your lease is up
Maximalism in a small space sounds counterintuitive, but when correctly employed can make your space feel big ger and up the luxe factor The benefits of stacking a sofa with scatter cushions are manifold: they are a quick fix if your space needs colour, pattern or texture plus they are easy to swap and update
You will not be able to renovate your rental, so choose hardworking furniture that does double duty, adding stora ge (there is never enough) or performing different tasks (a dining table can double as an at home office).
Any decorator will tell you that well placed lighting can make a major difference in improving the living quality of a room making it feel big ger (or more intimate), warmer and even defining areas in an open plan setup Mix it up with sculptural ceiling lights (get an electrician to install and remove these when you leave) or, for an instant fix, opt for portable table lamps (which do double duty providing illumination during load shedding blackouts).
CLOCKWISE FROM TOP LEFT A PROFUSION OF GEM TONED CUSHIONS IN A NEW YORK APARTMENT BY DESIGNER CRYSTAL SINCLAIR; STATEMENT LIGHTING IN A LAYERED APARTMENT BY
DESIGNER DYLAN THOMAZ; CRYSTAL OPTED FOR A STRIKINGLY MOODY GREEN ON THE WALLS, WHICH CONTRAST DRAMATICALLY WITH THE WHITE BEDROOM BEYOND
breaks down quickly, and you need to add it a couple of times a year the easiest way to do that is as a mulch. Fertilisers do nothing for soil’s texture but add nutrients wonderfully, especially organic fertilisers.
Plants need water, soil and light How much water and light or shade you have and the soil conditions you can offer will determine what plants you should choose. Another thing to consider is wind lots, a little or none which also affects plants, so choose ones resistant to these conditions.
WATER is more or less under your control, unless your garden space is very bog gy But do not forget that the plants will need constant hydration you cannot go away for a month and not make arrangements to have your garden regularly watered, other wise, you will return to a disaster. Also, you need to apply enough water to get down into the soil and reach the roots a little sprinkle on top will evaporate and never reach the roots Plants need a generous watering ever y couple of days
SOIL is vital Good soils are neither overly sandy nor clayey They have a good texture and, ideally, a high component of organic matter (compost) and microorganisms Either you work with what you have, even if its poor (which will limit your plant choices), or you improve the soil to allow a decent selection of plants to thrive. Soil is where plants get most of what they need to sur vive, in terms of nutrients Compost is essential for plant growth and soil condition but
CHOOSE PLANTS that you love, but make sure you understand them before you buy them What soil do they like? How much water or space do they need? Do they prefer sun, shade or semi shade? How long do they live? Be disciplined and do not buy unsuitable plants A little bit of homework will save you money and disappointment
DESIGN can be a little daunting unless you are that way inclined Start by working out sight lines, such as how one experiences the garden from the gate or gara ge to the front door, what one sees from the patio or how one enters the garden from the patio. Rooms such as living rooms often look out onto and interact with the garden, so you should also consider the views from inside. Combine all of the above with a practical but not so practical that it is ugly! way of moving through the garden, and you will probably already have a basic framework for the space Around this framework, you can fill in and clothe the garden with plants, trees and elements such as a pool and lawns
Above all, remember gardening is not a science There is nothing wildly hard to understand, although one does need to understand what plants require to thrive It requires some consistency as plants are a living system that will somewhat rely on you I can promise you that a garden will bring you endless fun and joy.
Franchesca Watson 082 808 1287 franchescawatson.com
VINTAGE WATERING CANS AND TERRACOTTA POTS ARE FUNCTIONAL AND CHARMING OBJET FOR THE GARDEN OPPOSITE PAGE THE NURSERY AT STELLENBERG
GARDENS IS A FAVOURITE IN GARDENING CIRCLES FOR SPECIAL PLANT FINDS. THE STELLENBERG NURSERY IS OPEN MONDAY TO FRIDAY, 9AM 4.30PM
T E X T F R A N C H E S C A WAT S O N P H OTO G R A P H S E L S A YO U N G
So, you ’ re about to make your first garden, which is exciting, perhaps a little daunting. These are my favourite pearls of wisdom
A pared back design approach punctuated with unusual, sculptural elements transforms this Hyde Park home into a plush and beautifully composed oasis that embodies the philosophy of easy, inner city living
T E X T S H A I R A M A P H OTO G R A P H S A N N A L I Z E N E L
OPPOSITE PAGE THE BOUCLE SOFA IN THE LOUNGE IS FROM OKHA, PAIRED WITH CUSTOM MADE TABLES WITH AGED BRASS AND MARBLE DETAILING
PREVIOUS SPREAD THE DINING ROOM FEATURES
A CUSTOM MADE MARBLE DINING TABLE BY LATERALE DESIGN, ARTWORK BY JEAN DU PLESSIS AND DINING CHAIRS FROM OKHA
a livable space with a unique identity, interior designer Dean van Aswegen completely renovated this Joburg house, doing away with existing parts that were not working and replacing them with simpler features that provided a luxurious yet unpretentious atmosphere However, despite re working most of the home, some aspects were essential to keep intact. ‘The glass elements are a standout design feature,’ Dean says ‘The floor to ceiling windows provide abundant natural light and an incredible sense of volume and space. The clients often travel, so it was important to design a house that radiates a calm, sanctuar y like atmosphere when they are at home These large glass windows, along with the soft colour palette, truly fulfil that need most extraordinarily.’
Design decisions are deeply rooted in the simplicity and honesty of form Clean lines meet with sinuous shapes, luxurious materials such as Arabescato marble are contrasted with earthy textures, and the sizeable white walls play host to abstract, statement making artwork While the contrasting elements bring a distinct visual interest individually, there is still a coalescence to the home typified by the creamy tones, sculptural artwork and modern lighting
‘What I love about this house is the juxtaposition of different materials and textures,’ Dean adds. ‘In the dining room, we mixed vintage ceramics with a retro, Perspex ser ver and oxidised brass mirrors from Tonic Design and a beautiful, custom made marble table in the middle.’ The lounge follows the same design approach, including sculptural forms and various textures This area has beautiful views of the lush, tropical garden outside, while the large windows are the entr y point for exquisite natural lighting. The tables
are all custom made with aged brass legs and marble tops, while the sofa from OKHA adds to the already air y flow with its cur ved silhouette and soft edges.
Designing a home with a clear synergy between the different spaces was one of Dean’s main objectives For example, in the TV room, the tiger’s eye stone on the coffee table matches the unique marble cladding on the wall to create a sense of continuity and consistency, and the use of large scale artworks throughout the home grounds each space perfectly.
The upstairs areas, including the master bedroom and bathroom, have an even more pared back look and feel A motif of natural, hand stained oak clads the walls, providing a warm and muted setting that is perfect for relaxing after a long day The bedroom plays with textures more than sculptural form, as the beautiful linen, velvet sofa, and bouclé scatter cushions take centre stage, providing a sense of comfort and calmness that ever y bedroom needs The main bathroom was completely redone with oak cladding to match the bedroom, along with brass detailing and marble sinks that are reminiscent of a luxurious, spa like experience
Ultimately, the synchronicity between the home’s spaces is all tied together by eye catching and unusual artwork. The hallway features a Mikhael Subotzky sculpture on a custom plinth, while the dining room features art by South African artist Jean Du Plessis ‘We tried to use unique and striking sculptural art from iconic South African artists and designers,’ says Dean ‘Sculptures and artwork make a huge difference It gives the space soul ’ Dean V.A. Interiors deanva.com
MASTER BATHROOM; THE SCULPTURE IN THE HALLWAY IS BY MIKHAEL SUBOTZKY; TIGER’S EYE MARBLE CLADDING SURROUNDS THE TELEVISION, WITH A TV UNIT BY LATERALE DESIGN; THE WALLS OF THE BAR ARE CLADDED IN MIRROR AND OAK WITH LED LIGHTING. THE SCULPTURES ARE IMPORTED FROM MOROCCO
THE BEDSIDE TABLES IN THE MASTER BEDROOM ARE CUSTOM MADE IN ARABESCATO MARBLE. THE RUG IS FROM ROWLEY & HUGHES
THE OPEN PLAN LIVING
ARTWORKS
A n e r u d i t e s h o w c a s e o f S o u t h A f r i c a n d e s i g n , t h i s c o m p a c t y e t b o l d l y a p p o i n t e d G r e e n
P o i n t h o u s e b y b r e a k o u t i n t e r i o r s s t a r Ty G i l l o t t i s a d e ft l y c u r a t e d s p a c e d e s i g n e d t o s i m u l t a n e o u s l y c o m p l e m e n t a n d c o n t r a s t t h e h o m ’e s m a g n i fi c e n t v i e w s
T E T
BY PIERRE VERMEULEN
OPPOSITE PAGE INTERIOR DESIGNER TY GILLOTT
Ty Gillott never intended to embark on a full scale home makeover If anything, he simply wanted to create a practical space with a calm and comfortable feel for him and his partner, Nic, as well as the latest addition to their family, Standard Schnauzer Leo ‘For us, it was all about the breathtaking view,’ he says ‘We originally purchased the home intending to do slight aesthetic renovations, perhaps a new coat of paint or new floors nothing structural. Although, after living in the house for a year, we realised that our needs had changed, and we saw the potential to reimagine it completely ’
One of the first structural changes was opening up the areas of the home for a better flow between spaces, and adding a balcony that spans the length of the house to optimise the panoramic view With more compact houses such as this one, smaller details become obvious, so it was important for Ty to maximise the space by including sophisticated finishes that give the home a distinct identity. ‘We selected timeless materials with a luxur y touch,’ he adds This can be seen with the marble kitchen tops and timber floors, which work wonderfully together to add visual interest and texture without distracting from the view.
Designing and decorating one ’ s own home does not happen overnight if anything, it is a forever evolving creative process informed by personal fascinations, travels and unexpected bursts of inspiration. Ty is well aware of the transience of interior design trends and skillfully counteracts these by mixing existing furniture with newer additions, including statement pieces with future proofed appeal while not being afraid to introduce colour.
His design style is encapsulated in the generous living area of the home Clean lines and white walls make the room feel more spacious, while the curated galler y wall, featuring artworks by Emma Nourse, Charles Gassner and Joanna Lee Miller, creates a creative focal point Ty’s youthful exuberance and unapologetically bold design decisions shine in this room: the large statement rug from Herringbone Rugs makes the living space seem larger, the armchair from Curación Collection brings with it an interesting sculptural element, while the two vintage Cassina ‘LC1’ armchairs add a touch of nostalgia The natural light, pops of colour and greener y give this room a vibrant atmosphere full of life and personality Head downstairs to the main bedroom, and the atmosphere takes a moodier shift with a colour palette of dark blues and greens This room contrasts the bright and air y elements seen in the communal areas, providing a sense of balance and ser ving as a relaxing escape after a long day It would not be a classic ‘Ty room ’ without greener y, and the tall fiddle leaf fig in the Liebermann Potter y planter brings in that natural element. There is a resounding appreciation for both minimalism and maximalism in this Green Point home, which maintains a modern appeal without being stark or clinical, and the collection of furniture Ty has sourced from local furniture brands, South African artists and his travels all play a part in making the most out of a compact space. @tygillott
A LARGE SCALE ARTWORK BY KELLY JOHN GOUGH IN THE LIVING ROOM; GEOMETRIC COLE & SON WALLPAPER FROM ST LEGER & VINEY IN THE GUEST BATHROOM; THE MASTER BEDROOM FEATURES A HERRINGBONE RUG, BOFRED CHAIR AND ARTWORK BY AIMEE MESSINGER; THE BATHROOM, WITH
A PRINT BY LEMON, STOOL FROM MEUBLE FINE FURNITURE AND SHAGGY RUNNER FROM MR PRICE HOME THE KITCHEN FEATURES MARBLE COUNTER TOPS AND BARSTOOLS FROM @HOME
T h e r e i s a r e s o u n d i n g a p p r e c i a t i o n f o r b o t h M I N I M A L I S M a n d M A X I M A L I S M i n t h i s G r e e n P o i n t h o m e , w h i c h m a i n t a i n s a M O D E R N a p p e a l w i t h o u t b e i n g s t a r kLEO WALKS PAST THE SPLASH POOL, WHICH IS OFF THE MASTER BEDROOM. THE OUTDOOR CHAIR AND SIDE TABLE IS BY HALDANE MARTIN
For this Steyn City home – part art galler y part carefree living space interior designer Bilala Mabuza balances colour ful, illustrative artworks, textures and modern lighting with its natural surroundings T E X T E S I H L E M N G I N I P H OTO G R A P H S A L E X I P O R TO K A L L I S
BILALA MABUZA, FOUNDER AND CREATIVE DIRECTOR OF BOUTIQUE INTERIOR DESIGN AND DECOR STUDIO, COCOON LIFESTYLE
sign of a successful home is how it combines var ying elements in design, function and aesthetic for an overall elegant tapestr y This house gives you exactly that Tucked into the residential community of Steyn City lies this gem, designed by Cocoon Lifestyle under the creative direction of founder and interior designer Bilala Mabuza
‘The owners wanted a modern but practical home where they can live with their growing small family; the house had to cater for entertaining with good flow to the patio area and also showcase their art collection,’ says Bilala.
As first impressions go, there is an immediate sense of balance, with high ceilings and neutral living spaces set in counterbalance to the lush surroundings. Black Afro modern pendant lights by Weylandts float above the space, leading your eye from the lounge into the dining area, with the dining table’s marble top standing out For Bilala, the design and stylistic approach was to emphasise light as a key element in the home, achieved through a mix of flowing natural light (the house is blessed with an abundance of this) and large scale modern lighting fixtures.
Art is the home’s central feature, particularly works by Siphiwe Makgoka, which introduce a playful, subtly colourful, illustrative quality to the living spaces. These artworks, grouped with small
sculptures and objets, textured throws and carpets, and a glut of printed cushions, create a vibrant yet cohesive space
There is a particularity in the interplay of materials and texture and how Bilala has used them to achieve her design goals. The exposed brickwork adds an earthy texture and grounds the other wise minimal, galler y like interior and natural colour Similarly in the kitchen, smooth timber (both raw and dark stained) brings nature into the home and adds tactile warmth that contrasts with the steel, tiling and glass
The home’s selection of furniture and finishes displays a striking engagement with nature, not only in the interiors but outside too, with long tables and sofas on the patio suitable for family gatherings and lunches, allowing for lazy afternoons spent enjoying the garden.
As the home is a sectional title, Bilala could only work within the limitations of its footprint (structural changes were off the cards) which ser ved as a catalyst for her creativity and forced her to think, often inventively, about how to bring curated, stylish elements into the space while maintaining a uniquely carefree attitude
Bilala has achieved a beautiful home that offers the ideal setting for easy, carefree living for the whole family and anyone else who encounters the space
Cocoon Lifestyle cocoonlifestyle.co.zaPLUSH AND TEXTURED CUSHIONS WARM THE ROOM WHILE ART PIECES BY SIPHIWE MAKGOKA BRING CONVERSATION INTO THE SPACE, WHICH IS BALANCED BY LARGE SCALE PENDANT LIGHTS
OPPOSITE PAGE
A DELICATE WHITE, FROSTED VASE, COFFEE TABLE BOOK AND OBJET CREATE INTEREST
B I L A L A M A B U Z A
TOP DOWN THE ‘BUTTERFLY PARADE’ WALLCOVERING BY CHRISTIAN LACROIX IS THE STAR OF THIS ROOM, CREATING A PERFECT BACKDROP FOR A HAPPY CHLDREN’S BEDROOM; THE ‘ZIG ZAG’ PENDANT BY TIMOTHY OULTON IS THE
STAR OF THE KITCHEN WITH BEAUTIFUL MINIMALIST LEATHER CHAIRS
OPPOSITE PAGE
THE LARGE BLACK MARBLE DINING TABLE ANCHORS THE SPACE, WITH WHITE STONE VASES ADDING TEXTURE AND INTEREST
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T h e h o u s e h a d t o c a t e r f o r E N T E R T A I N I N G
A park has been given new life as a boutique urban in the middle of T H E T
at the foothills of Northcliff Hill, Albertskroon is an old Joburg suburb, lying northwest of the city, adjoining Greymont and Montgomer y Park. Established around 1896 on Water val farm, the area was named after the Alberts family, the original farm owners The only artesian spring in Gauteng is tucked away under the Northcliff ridge on this farm The spring continues to flow, and because of it, Albertskroon is now the second largest ‘ green lung’ in Joburg.
For years, farming had been a pipe dream for millennials Anique and Jonathan Pickard When looking for their first home, the surrounding areas of Albertskroon, with its farming heritage and high water table, felt like the right place to put down roots The couple consumed countless books and YouTube videos on their favourite small scale farmers and experimented with growing numerous vegetable varieties Where most would have outdoor seating and entertaining areas, Anique and Jonathan had seedlings, using ever y plantable space in their modest size garden to grow vegetables During the lockdown, they introduced a daily ritual of watching the sunset from their rooftop, and it was from this vantage on a rosy hued Joburg evening in April 2020 that they first noticed an open area of unused land not far from their home.
Finding that the land belonged to the Portuguese Welfare Society, the couple secured a rental agreement for 500 square metres of what had previously been a car park Three months later, Jolly Good Farm was born in the heart of residential Albertskroon They broke ground and built their first 10 metre by 10 metre planting beds, followed by their first crop in the spring of the same year ‘The learning cur ve was steep and the hours long,’ Anique remembers. ‘We were juggling full time jobs and building the farm, which meant farming had to happen before and after work and over weekends ’
They soon realised they would need to adapt what they had learned from books and videos to their unique suburban context After levelling and hand tilling the plot to remove rocks and rubble, they boosted the soil with rock dust and barrowfuls of compost and organics
They added generous applications of compost tea and indigenous micro organisms to kickstart biology in the soil.
‘Our soil, location, weather and customer profile are beginning to shape the farm’s personality,’ says Jonathan Now into their third growing season, Jolly Good Farm supplies weekly vegetable boxes to suburban families and fresh produce to two stores, The Leopard Deli in Greenside and the Farm Table, an organic boutique grocer and eater y in Linden Chefs cannot get enough of their herbs either, particularly their varieties of wild rocket and coriander.
Flavour and bounty can be attributed to ever y effort they make to emulate natural systems Their rule of thumb is that healthy soil equates to healthy plants ‘We do not use artificial or harmful pesticides and fertilisers,’ says Anique ‘It is all natural at Jolly Good!’ Soil health is a top priority, and what began as compacted clay has progressively become loamier as barrowfuls of organic matter are added ‘We use good quality compost, vermicast and the occasional pelted chicken manure for heavy feeders such as fruiting crops to maintain soil fertility and keep our plants healthy ’
Encouraging biodiversity is a guiding philosophy at Jolly Good, which interplants with companion plants and a glut of flowers Flouting traditional methods of monoculture, Anique and Jonathan grow various crops in the same bed ‘It is about learning to grow better rather than bigger,’ they say This not only maximises the Jolly Good offering, but increases plant health and the likelihood of a more diverse range of visiting pollinators This season, we can expect delightful additions such as armfuls of cut sunflower stems and their first crop of floral teas. ‘We love to see flowers growing ever ywhere in the garden,’ says Anique, who advocates for leaving a portion of the crop to flower and set seed. ‘This is the easiest way to attract more pollinators to the garden and save seed for next season ’ Jolly Good Farm GoodFarm@gmail.com; @jollygood farm
‘ We u s e g o o d Q U A L I T Y c o m p o s t , v e r m i c a s t a n d t h e o c c a s i o n a l p e l t e d C H I C K E N m a n u r e f o r h e a v y f e e d e r s s u c h a s F R U I T I N G c r o p s t o m a i n t a i n s o i l f e r t i l i t y a n d k e e p o u r P L A N T S h e a l t h y ’
TOP PERFORMING CROPS AT JOLLY GOOD FARM ARE THEIR CHARDS, CARROTS ‘COSMIC PURPLE’ AND ‘BABY AMSTERDAM’; AUBERGINES, BABY KALE AND A WIDE VARIETY OF HERBS, TO NAME A FEW. FLAVOURFUL SQUASH ‘MARINA DI CHIOGGIA’, ‘BENNINGS GREEN’ AND ‘JACK BE LITTLE’ CONTINUE TO BE A HIT ‘AND WE PLAN ON GROWING LOADS OF THEM THIS SUMMER,’ SAYS ANIQUE. THE FARM CURRENTLY PRODUCES 20 CROPS WITH MANY VARIETIES OF EACH VEGETABLE
CLOCKWISE FROM TOP LEFT PUMPKIN ‘JACK BE LITTLE’; A GLUT OF FRESH BABY HERBS; THEIR POPULAR CARROT ‘COSMIC PURPLE’ SEED HEAD; ARMFULS OF RAINBOW CHARD; RAINBOW MIELIES; OKRA SEEDS
Anique’s top tips to get you growing like a pro
Start small. Expand your range of vegetables as you gain experience
Soil health is important. Consistently build your soil with organics and use mulch to protect it An imbalance in soil health leads to disease in plants
Encourage diversity. This helps reduce pests and provides food for pollinators
Happy seedlings grow into healthy plants Water and nurture your seedlings daily You will reap the rewards Roots in the ground. When harvesting or clearing, cut the top of the vegetable plant at soil level and leave the roots in the soil to decompose Compost tea Water with it often to increase nutrients and beneficial microorganisms in the soil
Harvest early. Doing this in the mornings and getting your produce in the fridge before the day heats up prolongs the shelf life of your vegetables Acceptance Farming with nature means there will be pests from time to time
W O R D O N T H E G R O U N D
In a young architect’s heritage home renovation in Cape Town, change came from within
A JAMES MUDGE TABLE IN THE DINING AREA, WHICH FEATURES A COLLECTION OF CERAMIC S FROM JAN ERNST AND LAURIE WIID IN THE KITCHEN, THE MARBLE-LIKE ISLAND TAKES PRIDE OF PLACE, CLEVERLY DESIGNED USING PORCELAIN TILES INSTEAD OF MARBLE.
ARCHITECTURAL DESIGNER BRYCE HENDERSON JUXTAPOSED THE MATTE BLACK OAK JOINERY WITH A MIRRORED SPLASH BACK
OPPOSITE PAGE
FINN SITS ON A DUKE SOFA BY WUNDERS IN BRYCE’S LIVING ROOM.
THE SOFA WAS CHOSEN ‘FROM A LOOKS POINT OF VIEW FOR ME AND A MATERIALITY POINT OF VIEW FOR HIM,’ SAYS BRYCE. ‘FINN RULES THE HOUSE ’ THE SIDE TABLE IS FROM ACRE STUDIO, THE COFFEE TABLE IS FROM WEYLANDTS
homeowners, bagging a heritage home is the ultimate dream Character filled and downright romantic, ever y time worn build also comes with a handful of unique challenges. For Br yce Henderson, the chief among the challenges for his own newly purchased heritage home in Cape Town was one of restraint
‘Situated in a Heritage protected overlay zone in the Southern Suburbs, and also being over 60 years old, a highly sensitive approach to any renovation was needed,’ Br yce explains An architectural designer by trade, Br yce, in any other project, might have been inclined to open up the facade with swaths of glass to let natural light shine in, gut poky rooms and knock out walls to improve flow. However, here, the limitations meant withholding his natural proclivity to re engineer, preser ving those strapping old bones but transporting them into the 21st centur y Balancing the past with the present is a bit of a theme of late for the architect, whose move from Cape Town’s buzzy Atlantic Seaboard to the suburbs with his schnauzer Finn coincided with a professional shake up. Br yce struck out on his own to found
Studio BHD in May 2021, quickly hiring a team of four to help him manage his increasing project load ‘I have learned from my experiences at different companies over the years, and I am tr ying to do the opposite,’ he explains ‘In just a year, I have forged a cool, young, dynamic, driven company to break out of the traditional scope of an architecture firm. It has been rewarding to provide the freedom for up and coming architects to flourish ’ And flourish they have with a steadily growing client list and a slick new office space in Woodstock.
Back at his home, Br yce sought to bring about change from the inside ‘Because the windows are small cottage panes, as in so many heritage homes, it is about how you treat the interior,’ he notes. He turned his attention to the potential of materiality and colour for brightness, from light oak flooring and walls that are a palate cleansing shade of off white to the chalk hue of the ceilings. But the real key was in the lighting: ‘I have played a lot with ambient lighting,’ Br yce explains He installed recessed lighting behind the detailed cornice elements in the lounge, accentuating the features. Track lights highlight artwork and the white of the walls during the day, and pendants give things a dose of drama come evening
‘There are certain elements that are darker and moodier but are linked to the function of the space, ’ Br yce says, pointing out the dining room Here, a custom three seater black oak bench cur ves along half the circumference of the James Mudge ‘Threefold’ table, which is lit up by a single &Tradition pendant light ‘I really only use the dining table at night for dinners, so the moodiness complements that.’
Although Br yce was limited in what he could do structurally, inside, he re allocated zones to maximise the flow, bringing the lounge, dining room, and kitchen to the front and the bedrooms off the arm of the L shaped home The ruling palette neutral greys, matte black and pops of green features throughout, creating a sense of continuity as you move through the spaces. ‘My palettes are quite muted, so the colour comes from the artwork and greener y, ’ notes the designer ‘I source inspiration from art to draw out colours and elements from and use it in my designs.’
The kitchen rightfully sits at the apex and is Br yce ’ s domain, where he prepares gourmet spreads for a regular rotation of dinner parties. ‘No matter your budget, it is always crucial with a renovation to focus on the kitchen, especially when the kitchen is the heart of the home as it is here,’ he explains The standout feature is undoubtedly the island, which is not marble but porcelain tiles carefully lined up to match the veins of the pattern It is ideas such as this that young and first time homeowners who often do not have the budget to take a hammer to the structure or install a pure marble island can really steal for their own space
And like many new homeowners, Br yce loves nothing more than filling his space with close friends and family, who move effortlessly through the reconfigured zones and spill out into the alfresco nook, where an ‘ Ashby’ table by Lemon takes pride of place ‘ A home needs to allow you to derive inspiration for your work; for me, that comes from having people use it It is in the way the house can accommodate 30 for a party and never feel overcrowded It is in having people around, and eating good food and enjoying it.’ So, despite not being able to indulge his architectural impulse on the facade, Br yce insists, ‘My personality shines strongly through this house.’ Studio BHD bhd.design
THE CABINET HOUSES A COLLECTION OF SMALL OBJETS IN ONE SPACE THE POUFFES ARE FROM SHF
OPPOSITE PAGE BRYCE AND FINN IN THE LIVING ROOM OF THEIR CAPE TOWN HOME
THE MAIN BEDROOM IS LAYERED WITH TEXTILES AND SHADES OF GREEN THE ARRANGE STUDIO LAMP IS A SPECIAL PIECE FOR THE DESIGNER AND ONE THAT HE
TAKES WITH HIM NO MATTER WHERE HE LIVES. BRYCE CREATED A SENSE OF HEIGHT BY USING A DROPPED CEILING AND INSTALLING HEAVY DRAPED CURTAINS
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B R YC E H E N D E R S O N
This Victorian row home in Woodstock makes the most of a compact living space by playing with stark contra sts, shadows and many different textures
Renovating a heritage row house such as this one presents numerous obstacles, for instance, an inability to expand sideways ‘Spatial limitations are definitely a challenge, especially in Cape Town, where many of the apartments and houses are smaller than in other areas in South Africa,’ says owner and interior designer Hendre Bloem. ‘On the other hand, it is an exciting challenge It forces you to think creatively and outside the box to optimise the space. ’
Hendre completely reimagined the space, working with the architect Mias De Vries from Fifty8 Twelve Design on a design approach that maximises its limited square metres while maintaining a sensitivity to the property’s heritage. He deliberately opted to keep as many original finishes as he could, such as the wooden flooring on the bottom level and the exposed brick in the main bedroom and bathroom, to highlight the historical value and significance of the home’s locale
The layout of the living area cleverly works with a linear design and high contrast colour to create three distinct areas of movement: two dark ‘bands’ on either side with the lighter toned living area in the middle These zones represent different functions within the home as the dark, south facing wall represents the practical and ser vice side with the kitchen spanning the length of the wall; the north facing wall with the staircase leading up to main suite speaks to the circulation of the home; while the living area in the middle provides a lighter and more air y space for relaxed living.
What makes this home special is Hendre’s savoir faire when it comes to playing with different contrasts, not only with darker and lighter tones but also with a bricolage of textures The entire living space is a canvas for experimentation, where various elements evoke a raw yet refined, natural yet modern look and feel The structure of the living area is smooth and flat, which ser ves as the perfect
TOP DOWN IN THE HALLWAY IS THE ‘ICONIC’ CHAIR BY CASAMENTO WITH BASKETS AND A STOOL FROM KLOOFTIQUE; THE LIVING AREA WITH A STAIRCASE LEADING TO THE MAIN SUITE
OPPOSITE PAGE CUSTOM JOINERY FORMS A DISPLAY FOR ART
PREVIOUS SPREAD THE LOUNGE AREA WITH A BEAUTIFUL RUG FROM OKHA LEADING TO THE PRIVATE COURTYARD
T h e e n t i r e l i v i n g s p a c e i s a C A N VA S f o r e x p e r i m e n t a t i o n , w h e r e v a r i o u s E L E M E N T S e v o k e a r a w y e t r e f i n e d , n a t u r a l y e t M O D E R N l o o k a n d f e e l
backdrop for solid timbers and polished metals, while a leather sofa and velvet armchair fill in the gaps and bring warmth to the space.
The loft style main bedroom keeps to the theme of combining textures and tones to allow for a seamless transition between the different areas of the home Smaller spaces often require some design choices to be more versatile and multifunctional and the slatted wood element in this room does just that Functioning as a headboard, and a room divider between the en suite bathroom, its linear structure opens the space to create a well ventilated and uncluttered feel
Stark contrasts define the space, with the walls, floor and ceiling in a deep charcoal colour where darkness blends into the shadows This creates an infinity effect, which gives the illusion that the room extends further than it actually does
Hendre balanced elements of the original home with statement furniture pieces and artwork, such as the hand embroidered Casamento chair under the staircase. Artwork is displayed in a galler y like setting, whether clustered in unconventional areas, adorning a wall or displayed on custom joiner y. For Hendre, art is essential in telling the home’s stor y, so he sourced many pieces from some of South Africa’s best. ‘The painting by Rosie Mudge has always been a favourite’, he adds ‘Her work brings a unique mood to the space, as the glitter element changes throughout the day It is a fascinating, ever evolving artwork depending on the light you see it in ’
Ever y design decision tells a stor y in this Woodstock home Contrasting textures and tones, along with boldness in certain areas and calmness in others, create a one of a kind urban space with a strategically timeless appeal Hendre Bloem Interior Design
hendrebloem.com; Fifty8 Twelve Design fifty8twelvedesign com
TOP DOWN A BOFRED LAMP WITH MONOCHROME ARTWORK AND A BUST CONTRASTS THE DARK KITCHEN DETAILS; THE CUSTOM JOINERY IN THE OPEN PLAN KITCHEN IS BY HENDRE BLOEM INTERIOR DESIGN
AND THE BRASS SIDE TABLE IS BY OKHA OPPOSITE PAGE IN THE PRIVATE COURTYARD ARE A TABLE AND CHAIRS FROM PEDERSEN + LENNARD AND A RIEMPIE BENCH BY JAMES MUDGE
TOP DOWN THE MAIN SUITE BATHROOM’S SKYLIGHTS OVERLOOK TABLE MOUNTAIN. THE FLOOR LAMPS ARE BY WOLTEMADE; EXPOSED BRICK AND A RUG FROM BOFRED ADD TEXTURE TO THE MAIN BEDROOM
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