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How to recreate our architextural cover look in your space architextural
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MOTORING Lexus’
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BODY OF WORK The The
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ART DETAIL Sculptor
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NOTED Design
chat to award-winning architect Peter Rich about his work RX 350L EX is stylish, safe and family-friendly inspiration for Laduma Ngxokolo’s MaXhosa rugs Michele Mathison’s artwork speaks volumes and lifestyle news
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WORKING WORK ING WITH TIME Richly
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detailed yet minimal detailed minimalist, ist, earth earthy y but luxurious: luxur ious: Kenya Kenya’s ’s Arij Arijiju iju Hous House e is 58
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EDITOR’S LETTER Tiaan
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EDITOR’S LETTER
achmonthwhenwesitdownasateamtoplan ourinitial ou outlin tlinee fo forr an up upcom comingissue ingissue,, I alrea already dy havea fe havea few w cl clearnot earnotio ions ns ab abou outt wh whatI’ atI’d d lik likee itto contain.But con tain.But whe when n thetime cameto bra brainst instorm orm thisA rch rchite itectur cturee & Des Design ign iss issue ue,, I hadno ide ideaa how ho w we sh shoul ould d tac tackle kle thethem thetheme. e. I kne knew w wha whatt I did no nott wan want, t, ho howe wever– ver– a mag magazin azinee dedi dedicat cated ed to me megas gastruc tructure turess andego. And so theconv theconvers ersati ationquickl onquicklyy turn turned ed to do domedbuildi medbuildingsand ngsand ‘so ‘softe fter’ r’ spaces spa ces.. Theteam we were re unan unanimo imousl uslyy int intere ereste sted d in stru structur ctures es andspace andspacess tha thatt wrapand em embra brace ce their the ir use users, rs, tha thatt rev reveal eal the themse mselve lvess sl slowl owlyy and tha thatt rea react ct to the their ir surr surroun ounds ds in a ge gent ntle le way way.. Qui Quite te theopposit theoppo sitee of stri strict ct line linear ar skys skyscrap crapersin ersin San Sandto dton n cla clad d in refl reflecti ective ve glas glass… s… Thisline of thinki thinking ng remind rem inded ed me of thefirst tim timee I sawfashi sawfashionlege onlegend nd Re Reii Kaw Kawakub akubo’ o’ss 199 19977 col collec lectio tion n fo forr Co Commedes mmedes Garçons Garç ons,, Bod Bodyy Me MeetsDress,Dress etsDress,Dress Me MeetsBody etsBody – ofte often n ref referr erred ed to as the‘lump the‘lumpss and bum bumps’ ps’ ran range. ge. Itexplored Itexplo red thespacebetwee thespacebetween n thebody andthe ou outergarme tergarment:Kawaku nt:Kawakubo bo fille filled d thetubethetube-like like dresses dres ses,, cutin ga gauzy uzy ging gingham ham fab fabric,with ric,with hu huge ge bill billowy owy cus cushio hion n inse insertio rtions ns tha thatt gros grossl slyy dist distorte orted d their the ir sha shapesand, pesand, in turn turn,, fo forcedtheir rcedtheir wear wearersto ersto rea react ct to the their ir surr surroun ounding dingss in a diff differe erentway ntway.. This revo revoluti lutionary onary idea ideaof of conc conceptualis eptualising ing garme garments nts aroun around d the neg negative ativeor or non non-areas -areas aroundthe aro undthe bod bodyy spa sparke rked d mu much ch deb debate ate.. Co Comme mmenta ntator torss ask asked, ed, ‘Are the these se stillcloth stillclothes,or es,or is this archite arch itecture cture?’ ?’ Theidea tha thatt atti attire re cou could ld be so una unacco ccommo mmodat datingof ingof thehumanform – and ho how w thatt in turnimpac tha turnimpacts ts on theenviro theenvironme nmentbeyo ntbeyond nd thecloth theclothes es – mad madee me thinkabou thinkaboutt ‘tra ‘traditi dition onal’ al’ spacesin spa cesin a ne new w way way.. TheJapa TheJapane nese se hav havee a wo word, rd, ma, tha thatt he help lpss exp expres resss thisthinking thisthinking,, andwhich can be rou roughlytransla ghlytranslated ted as exp expres ressin singg theunide theunident ntifie ified d ‘g ‘gaps aps’’ ou outsi tside de of actu actual al stru structur ctures es – the nega ne gativ tivee or ne negle glectedspac ctedspaces es aro aroundstructu undstructures– res– and ho how w in the themse mselve lvess the these se beco become me pla placesor cesor things thin gs to con consi sider der.. Theidea of the these se ‘pa ‘pausi using ng spa spaces’is ces’is a con concep ceptt tha thatt I real really ly lov love, e, and thisnotio thisnotion n of loo lookingat kingat andembr andembraci acing ng thequietmom thequietmomen ents ts ‘in betw between een’’ lea leads ds us to seethat the theyy can in fac factt be thebuildi thebuilding ng bl blocksfor ocksfor gran grande derr ge gestur stures.In es.In so some me case casess the theyy are thegrande thegrandest st of ges gesture tures. s. Then, The n, in on onee of tho those se rand random om con connec nectingmom tingmomen ents ts at thesame tim timee as pla plannin nningg this issue iss ue,, I sawone of themost tou touchin chingg filmsof mylife (yes (yes,, I’mdramat I’mdramatic ic likethat likethat). ). Ca CallMe llMe By Your Yo ur Name isin par partt se sett in a go gorg rgeo eousapri usaprico cott or orch chardin ardin It Italyduri alyduringthe ngthe ear early198 ly1980s 0s,, an and d as thiscomp thiscomplica licatedcoming tedcoming-of -of-ag -agee sto story ry unf unfol olds, ds, ap apart art fro from m falli falling ng in lov lovee with bot both h main charact char acters ers,, yo you u alsocan’t he help lp bu butt fall in lo love ve withall the‘qui the‘quiet et mo mome ments nts’’ and sce sceneswith neswith nodialogu nodial oguee in th thee mo movie vie.. Th Thes esee areits ma mo mome ments nts,, whi which ch wo work rk tog togeth ether er to cre createthis atethis strang stra nge, e, me melan lancho cholic lic lo love ve sto story ry in a film tha that, t, unli unlike ke man manyy Ho Hollywo llywood od bl block ockbus buste ters, rs, actu actually ally feelsrealandinturnmakesyouastheviewer feelv ulne ulnerabl rablee – it’ it’ss reallybeautiful. So this Architectur Architecturee & Designissue is dedica dedicated ted to grandgrand-becaus because-the e-they-arey-are-not not-grand -grand spacesmade spa cesmade withhone withhonest st mat materi erials als tha thatt exp explo lore re sim simpl ple, e, unc uncom ompli plicat cated ed fo forms,as rms,as wel welll as homes hom es that eith either er inte intentio ntionally nally or uninte unintentio ntionally nally expl explore ore this idea ideaof of ma.Infact,looking back ba ck at theproce theprocess ss of makin makingg it no now,it w,it see seems ms tha thatt fo fortuit rtuitou ouslyand slyand se seren rendip dipito itousl uslyy, the ideaa of ma ide ma was realised from the very first conversatio conversation n about the issue. May it leave you feelingg inspir feelin inspired ed and transpo transported rted to more moreroman romantic tic and thou thoughtght-prov provoking oking plac places. es.
– Edi Editor tor
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CLOCKWISE FROM TOP RIGHT 1. Siseko ceramic mugs in White (R138 each), Kin
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VI I V
L O C I N A N I T N E L A V : H P A R G O T O H P
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PAUSE FOR THOUGHT
PRODUCTION PRODUCT ION AND STYL STYLING ING JEANNE BOTES ART DIRECTION IAN MARTIN MARTIN PHOTOGRAPHS GREG COX
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Wall paint in Autumn Fern 3 60YR 40/297 POR, Dulux; leather pouffe R2 000, Moroccan Warehouse; ceramic U-planter R490 (large), aloe Vorster & Braye,Plant and faux R1 530 (70cm), Couture; wall paint in Autumn Fern 2 60YR 24/439, wall paint in Autumn Fern 3 60YR 40/297 and wall paint in Wholemeal Honey 6 90YR 77/115 POR, all Dulux; rocking chair in Pink and Gold R5 800, Pezula Interiors.
CLOCKWISE FROM BOTTOM LEFT
Wall paint in Autumn Fern 3 60YR 40/297 POR, Dulux; tea table R2 800, Moroccan Warehouse; on table (from left): stoneware jug in Natural White R299 and wooden plate R129, both H&M; glass tumblers R30 each, Moroccan Warehouse; Nara stoneware mini bowl in Forest Green R30, Weylandts; terracotta planter R450, Moroccan Warehouse and faux areca palm R1 750, Plant Couture; Klara armchair by Patricia Urquiola for Moroso for Kartell R72 594, True Design.
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V I E W curate
TOP LEFT, CLOCKWISE FROM BOTTOM LEFT Wall paint in Wholemeal Honey 6 90YR 77/115 POR, Dulux; Berber 067099 rug from the Contemporary Rugs collection R9 847, Gonsenhausers Fine Rugs; Julia dining chairs with leather seats in Coffee and metal-frame legs in Dark Olive Green R4 890 each, Pezula Interiors; round tapered-leg table in Ash R8 510, James Mudge; on table (from left): Indian marble plates with aged patina finish R495 each, Weylandts; bread table R1 000, Moroccan Warehouse; ceramic vessel R120, Vorster & Braye; glass jug R350 and tumblers R80 each, all Moroccan Warehouse; Bamboo pendant lamp R2 623, Pezula Interiors. T O P R Ibricks G H T R100 , CLO CKW I S E F RWarehouse; O M B O T TBud OM LEFT Trading each, Moroccan ceramic vase R580 (large), Vorster & Braye; Indian marble plates with aged patina fini sh R495 each, Weylandts; green stoneware bowl R200 (small), Moroccan Warehouse. LEFT, CLOCKWISE FROM BOTTOM LEFT Wall paint in Autumn Fern 3 60YR 40/297 POR and an d wall paint in Wholemeal Honey 6 90YR 77/115 POR, both Dulux; Franc ottoman in American Oak with leather cushion R16 238, Andrew Dominic; on ottoman, from top: Groove ceramic vessel R275 (small) and ceramic plate R180 (large), both Vorster & Braye; cotton throw R199 and poly-cotton throw R99, both MRP Home; Madwa placemats in Natural R145 each, Pezula Interiors; Geneva throw R800, Haus by Her tex; Flake Rim ceramic bowl R860 (medium), Vorster & Braye; cut aloe R20, Kenly’s.
ABOVE, CLOCKWISE FROM BOTTOM LEFT Woven Butterfly dining chair in Moss R3 530 and wool Spiral pouffe in Grey Melange R1 795, both Weylandts; wall paint in Autumn Fern 3 60YR 40/297 POR, steps (side) paint in Autumn Fern 2 60YR 24/439 POR, steps (top) paint in Autumn Fern 3 60YR 40/297 POR, and wall paint in Wholemeal Honey 6 90YR 77/115 POR, all Dulux; Lattice 1200 pod light in Copper and Black by David Trubridge R10 380, Newport Lighting; Bohemian armchair by Patricia Urquiola for Moroso for Kartell R122 711, True Design; Iron sidetable in antique brass finish with marble top R1 820, Weylandts; glass jug R350, Moroccan Warehouse; Picadilly glass tumbler R595 (for set of six), Weylandts; Weylandts; Bowl ceramic planter R1 290 (large), Flake Rim ceramic bowl R860 (medium) and ceramic U-planter R580 (large), all Vorster & Braye; faux cactus (59cm) R432, Plant Couture; ceramic U-planter R420 (medium), Vorster & Braye, and faux aloe R1 530 (70cm), Plant Couture; throw R599, H&M; Pacific 3-seater sofa in leather in Weathered Zambezi Sand R22 116, Klooftique; Etra leather cushion R1 411 by Country Road, Woolworths; Tappeto rug by Ferruccio Laviani for Kar tell R16 669, True Design. R I G H T , C L O C K W I S E F R O M L E F T Wall paint in Autumn Fern 3 60YR 40/297 POR, Dulux; Indian marble plate with aged patina finish R495, Weylandts; Bud ceramic vase R580 (large), Flake Rim ceramic vase R975 and Groove ceramic vessel R275 (small), all Vorster & Braye; Picadilly glass tumblers R595 (for set of six), Weylandts; Weylandts; ceramic U-planter R420 (medium), Vorster & Braye.
. A Z . O C . 6 2 O I D U T S ; N W O T E P A C , W E I V E L B A T , D R S S O R C 0 3 , E G A L L I V G N I D I R T S E W , G T I N U , O I E D G U A T P S R S T I S A I N K E C O P T O S 6 E 2 H O T I D E U E T S S S L T I A A N T E O D I T ’ A S C R E O I L L P N P O U T S O R H O S F
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V I E W curate
CLOCKWISE FROM TOP LEFT
Wall paint in Wholemeal Honey 6 90YR 77/115 POR, Dulux; Bubble club sidetable by Philippe Starck for Kartell R2 858, True Design; ceramic tagine R250 and cerami ceramicc tanjia R150, both Moroccan Warehouse; Azur chair with frame in White R6 052, Pezula Interiors; wall paint in Autumn Fern 3 60YR 40/297 POR, Dulux; teak, steel and leather Bullet hanging planter R1 295, Weylandts, and aloe plant R76, Starke Ayres; Comback chair with Sled base in Yellow for Kartell R8 016, True Design; ceramic planter by Solsice R265 (includes plant), Vorster & Braye. .
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V I E W perspective
BUILDING HISTORY MALIBO MAL IBON NGW GWE E TYILO
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thesimilarities.Strollingaround Barcel Barcelona, ona, I wasoverw wasoverwhe helme lmed d by thewei theweightof ghtof hist history ory
Itmight no Itmight nott str strikeyou ikeyou as higharchi higharchitec tectur ture, e, butt in the bu theseand seand oth otherbuild erbuilding ings,ther s,there e is
Town,, Bhish Town Bhisho, o, Alice and East Lond London, on, I imag imagine ined d tow towns ns andciti andcitieson eson oth other er contin con tinen ents ts to beexot beexotic.I ic.I tho though ughtt thesoil in thes these e plac places, es, coll collectiv ectivelyk elyk nownto me as ‘ov ‘overse erseas’ as’,, woul would d fee feell differ different ent;; eve even n the leave lea vess onthe tre treeswoul eswould d bediffer bedifferen ent. t. As fo forr thebuilding thebuild ings,I s,I exp expect ectedto edto ste step p offthe plan plane e into supersuper-futuristic futuristic cities. Admittedly, my logic was a bit dodgy. Like many man y Sou South th Afric Africans,I ans,I gre grew w upon a die diett oflocal ofloc al aswel aswelll asUS an and d Bri Britis tish h TVsho TVshows ws,, andI do don’ n’tt rec recall all see seeingexot ingexoticleav icleavesin esin anyof tho thoseshow seshows.Nor s.Nor didtheNew Yor ork k neighbour nei ghbourhoodsin hoodsin my favo favouritesitcomslook uritesitcomslook particularly particular ly futuris futuristic. tic. Yet the fantas fantastical tical ‘overs ‘ov erseas’ eas’ remain remained ed in my imaginati imagination. on. When I landed in New York City as a young adulton adu lton myfirst tri trip p as a fas fashio hion n bu buye yer,the r,the drive driv e fro from m theairportto ourManha ourManhattan ttan hotelwas hot elwas a bi bitt ofan ant anticl iclimax.Ye imax.Yes,the s,the buildings buildin gs alongthe way look looked ed som somewha ewhatt ‘NewYork’,but ‘NewYor k’,but sans the cine cinematiclighting maticlighting ofTV sh shows ows,, a bri brick ck the there re do does esn’ n’tt loo look k any more mo re ‘o ‘ove verse rseas’than as’than a bri brick ck in Eas Eastt Lon Londo don. n. A day later,wa later,walking lking through Manhattan and visiting Times Square, I relaxed and started taking takin g in thecityfor wha whatt it is.I cou couldenj ldenjoy oy thebuilding thebuild ingss andthe sto storie riess the they y tol told d ofthe peopl peo ple e wh who o callNYC ho home me.. Laterr on I trave Late travelledto lledto Barce Barcelona,Spain. lona,Spain. By the then n I’ I’d d acce acceptedthat ptedthat all thes these e ‘ov ‘overse erseas’ as’
in thearchi thearchitec tecture ture.. I cou couldimaginethelives ldimaginethelives ofthe peo peopl ple e wh who o laidthos laidthose e firs firstt bri bricks cks.. A few years later in Dubai, I was blown away awa y by theveryoppo theveryopposi site te:: the therethe rethe shi shiny ny new ne w bui buildi ldingsmadethe ngsmadethe cit city y fe feellike ellike a the theme me park.Even thou though gh thea rchit rchitecturedidn’t ecturedidn’t seem see m to pay mu much ch atte attentio ntion n to history history,, someho som ehow w it maintain maintained ed a vern vernacular acular language languag e that fee feels ls very‘Dubai’.It said somethin som ething g abou aboutt the peop people le who chos chose e this dese de sert rt se settl ttlem emen entt as a ho homein mein pur pursui suitt of their the ir capi capitalisticgoals. talisticgoals. Finally Finally,, littlepoints of differ differenc ence e wer were e startingto shinethrough in eac each h ci city ty I visi visited ted.. Every Eve ry year year,, myboyfri myboyfrien end d andI tra trave vell fro from m Cape Cap e To Town wn to vis visitfamily itfamily,, as we’ we’rebothfrom rebothfrom thesameareain theEast theEasternCape ernCape.. Whil While e we’rethere we go on long drives, checking outhistoricbuildings.. A fascin outhistoricbuildings fascinatingone atingone we visit each time is the derelictNtaba KaNdoda Nation Na tional al Mo Monum numentin entin the form formerCiskei. erCiskei. All alone in the mountains, it’s a tall cemen cementt structurewith stru cturewith a dark histo history,deservin ry,deserving g of far mor more e inte interroga rrogationthan tionthan it rece receives ives.. On the waythere,you passnumer passnumerous ous villages. In the Eastern Cape, the rondave rondavell is a ubi ubiquit quitouseleme ouselement nt of a hom homeste estead ad – somuchso tha thatt youhardl youhardly y no notic tice e it.Ye it.Yett recently rece ntly,, on ourtrips, we’v we’ve e bee been n see seeing ing larger,moderni large r,modernisedvariationsof sedvariationsof this structure.No stru cture.No lon longeris geris it oneroundroom:
a sen sense se of thevernacu thevernacular lar dev develo elopingat pingat an unrushed, quintesse quintessentially ntially Eastern Cape pace.. He pace Here,too, re,too, thearchitectur thearchitecture e speaks ofthe peo peopl ple e wh who o callthes callthese e villa village gess ho home– me– ofsonsand dau daught ghter erss wh who o nolong nolongerlivehere erlivehere butare inve investingin stingin and inje injectinga ctinga reve reveren rential tial moderni mod ernity ty to tradi tradition tional al family hom homeste esteads. ads. Here,in He re,in thes these e struc structuresof turesof theprovince I co could uldn’ n’tt wai waitt toleav toleave e as a chil child,ther d,there’ e’ss an eve ever-ev r-evolvingiden olvingidentity tity to thevernacu thevernacular lar architectur archit ecture e thatI lookforward to return returning ing toye oyearaf araftterye ryear ar.. malibongwe
placeswer pla ceswere e onthe sam same e pla plane nett as SA and would therefo therefore re share similar characteristics. I had drop dropped ped unrealis unrealistic tic childh childhood ood fantas fantasies ies and coul could d app apprecia reciate te thedifferen thedifferencesa cesa mon mong g
there coul there could d be mul multipl tiple e rooms rooms,, and the building build ing coul could d be a hex hexagon agon,, an octago octagon, n, or an octag octagon on with threesideschopp threesideschopped ed offto makespa makespacefor cefor a cov cover eredvera edveranda nda..
G
CONSTRUCTED HISTORIES NTABA KANDODA The monument was unveiled in 1981 by Lennox Sebe, then ruler of the former Ciskei, on the mountain Ntaba KaNdoda near Dimbaza as part of efforts to create an authentic Ciskei identity and entrench his dictatorial rule. Today it lies in ruins.
DUBAI This populous city in the UAE boasts some of the tallest and largest structures in the world: the biggest shopping mall, the tallest hotel, the second-largest manmade marina and the largest aquarium.
RONDAVELS Modern interpretations of the African hut can be found in countries across Southern Africa, including Lesotho, Swaziland and Botswana.
Y K S T A L A L R A C : H P A R G O T O H P
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ou
an sca e an arc i ec ure come o e er in rican arc i ec e er ic s ex i i a e enice rc i ec ure ienna e TEXT TEXT GARRETH VAN NIEKERK NIEKERK PHOTOGRAPHS PHOTOGRAPHS BARRY GOLDMAN
he 2018 Venice Architecture Biennale – which sees 63 countries presenting their expertise across across the f loating Italian Italian city – will feature a space dedicated exclusively to the genredefying work of South African architect Peter Rich. Opening to the public officially on 26 May, Rich’s career-spanning exhibit forms part of the International Architect ure Exhibition that w ill see 71 architects arch itects from around the world responding to the 2018 Biennale’s ‘Freespace’ theme. Over the six months of the exhibit’s run, nearly a million visitors will encounter the evocative body of work Rich has created during the course of his 40-year career. From the monumental brickwork domes of the Mapungubwe Interpretation Centre to his proposed lodges at Silonque Bush Estate in Mpumalanga and Bwanari in North West Province – where the plastic qualities of thatch are explored beyond their limits – his architecture spans a scope of material, and manner, that reflects Rich’s communitycollaborative investigation of architecture. Rich was raised, and is still based, in Johannesburg where, at the time of his studies and entry i nto his profession, apartheid structures sought to literally dismantle Southern African indigenous architecture. Iron Age ruins were in danger of complete destruction, as were functioning settlements built by amaNdebele people and others living in South Africa at the time. As the threat grew, g rew, some young architect s and architectural students began to fight back. It was a battle in which Rich – and his cofounders of the activist group Architects Against Apartheid – would seek to rally against the destruction, but ultimately it was a fight that they lost. Today, many settlements and structures have either been totally destroyed, integrated beyond recognition in rapid urbanisation, or fallen to ruin, but Rich’s drawings of the sites and structures remain as the few custodians of this lost knowledge.
In the post-apartheid context, Rich’s work moved to reconcile Western architectural traditions with lessons learned from traditional African architectural practice. Critically in democratic South Africa, this awareness of the past has contributed to the construction of new ‘places of reconciliation’ that re-engineer active social engagement through their architectural attitudes. Westridge House and Garden – Rich’s Rich’s private home in Parktown, Johannesburg – has, for instance, reorientated itself over 30 years from its early Victorian orthogonal plan into one that adopts the diagonal courtyard movement developed by amaNdebele architects over the centuries, encouraging a meeting of the organic and the formal at the point of the courtyard. Much of Rich’s architectural practice in general has included working directly with ‘communities as clients’, addressing the need for the regeneration of the fragmented and damaged social landscape by entering into learning relationships with the communities. His drawings of his buildings and spaces – including Westridge, Mapungubwe, Amanzwi, Bwanari and Silonque, among others – provide a look into the workings of Rich’s prolific creative process. For Rich, the drawings can often be more significant than a building; similar sentiments
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V I E W design
THIS SPREAD, CLOCKWISE FROM FAR LEFT Architect Peter Rich; early renders of Gheralta Lodge in the Tigray mountains, Ethiopia; Rich’s hand drawings – such as these for the proposed Griqua Cultural and Environmental Centre in Kranshoek in the Eden District of the Western Cape – form the focus of his Landscape as Architec ture, Arc hitectu re as Land scape exhibition at the 2018 Venice Architecture Biennale; an interior view of the Mapungubwe Interpretation Centre at Mapungubwe National Park in Limpopo shows Rich’s distinctive use of brickwork domes at its sculptural finest.
were advanced by his late mentor, Portuguese architect Pancho Guedes, who famously claimed for architects the same ‘rights and liberties that painters and poets have held for so long’. In the past few years, Rich’s drawings have been presented around the world in schools, corporate institutions and workshops where drawing as an activity is used to restructure the audience’s connection to their own creativity. ‘There’s drawing as a thinking tool, but then there’s also drawing as an analytical tool, and there’s there’s this transition that is made, which is what you do when you design,’ says Rich. ‘Because you take an idea, and you might have all these metaphors and influences, but they actually influence the building, which, at the end of the day, has to be experienced by ordinary people,’ he says. The works and drawings enable their viewers to ‘travel’ to places they have never been, and situate themselves in the works they have come to create. The ideas expressed in them invite a detailed exploration of context, and reques req uestt a reco reconnec nnectio tion n with ourown intui intuitio tion, n, to create cre ate a human humane e archi architectu tecture re buil builtt of the con contine tinent nt they the y com come e from from.. peterricharchitects.co.za
T H I S PA G E , C L O C K W I S E F R O M T O P Rich’s design for the Mapungubwe Interpretation Centre won the World Architecture Festival’s World Building of the Year Award; the garden of Westridge House and Garden, Rich’s own residence, features undulating stone retaining walls; Mapungubwe Interpretation Centre blends beautifully with the surrounding landscape of the national park in which it is situated; Rich’s architectural drawings include a wealth of conceptual detail.
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V I E W motoring
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Lexus designed the third row of the RX 350L EX to yield the same comfort and luxury as in the centre row. It can accommodate two passengers as well as
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to stretch the current RX model by 110mm to add a third row of seats in the rear. Does it work? In terms of style, definitely: the look of the car is not really compromised. The roof height has been increased and the rear wiper redesigned. At the front end you’ll be met with the familiar ‘spindle’ grille, which Lexus fans have come to know and love. It’s by no means a stand-outfrom-the-crowd SUV – the car has more of a conservative appeal about it, but that should play nicely into the hands of those who seek a no-nonsense seven-seater. seven-seater. (That elegant practicality is also ref lected in the fact that the brand-new colour option, Sleek Ecru, is a sophisticated pearl beige.)
a child seat, includes two cup-holders, and offers three-zone climate control so all the passengers can enjoy the air conditioning set to their liking. With standard features that include a 12-inch audio display screen, satellite navigation, 12 speakers, 20-inch alloy wheels, heated and ventilated front seats, and a moonroof, everyone should be comfortable and happy. Because this is a family car, there’s no need for over-the-top performance. That said, it does sport a 3.5-litre V6 engine. Bear in mind, however, that the vehicle is not light, and instant power is not its strong point – so be sure to approach your overtaking manoeuvres with caution.
SUV has a host of airbags (10, to be precise) including inclu ding curta in-shiel in-shield d airbags that extend to protect third-row passengers. There is no doubt that those in need of the extra space might well want to jump from the current RX to this 350L EX model.
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HARMONIA:
Sacred Geometry, the pattern of existence An exhibition exhibition by Gordon Froud
d e m a r f m m 0 0 9 x 5 0 2 1 , r e p a p l a v i h c r a n o t n i r p l a t i g i d e t i h w d n a k c a l B , 8 1 0 2 , 3 e r u g fi n a m u h e h t d n a y r t e m o e G , d u o r F n o d r o G
13 April to 15 June 2018 www.standardbank www .standardbank.com/ .com/SacredGeometry SacredGeometry #SacredGeometry Standard Bank Gallery, Cnr Frederick and Harrison Streets, Johannesburg Monday to Friday 8am – 4.30pm and Saturdays 9am – 1pm. Tel: 011 631 4467
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f work
The knitwear guru and founder of MaXhosa uses all his senses to create his pieces – including his gorgeous new rug collec collection tion TEXT AND PRODUCTION GARRETH VAN NIEKERK
PHOTOGRAPH GRAEME WYLLIE
FEET
I ta tap p my fee eett wh whil ile e I’m designin desi gning, g, clic clickin king g as I fi find nd th the e fl flo ow of th the e li lin ne. My wor ork k has a lot of linear line ar patt pattern erns s to cre create ate good go od rh rhyt ythm hm,, an and d so my feet fe et da danc nce e al alll th the e ti time me while wh ile I’ I’m m ma maki king ng th them em.. STOMACH
If I ex exper perien ience ce an any y dou doubt bt,, I use my gut to gain some elem el emen entt of tr trus ustt so th that at I can dowh dowha at I do best st.. Someti Som etimes mes you don don’t ’t have ha ve con confide fidence nce in you yourr abili ab ilitie ties, s, an and d de desig sign n is no nott alwa al ways ys pr prec ecise ise,, so as an arti ar tist st yo you u ne need ed to wo work rk with wi th a gu gutt fe feel elin ing g to ge gett it as ri righ ghtt as po poss ssib ible le.. HANDS
HEAD
EYES
My ha hand nds s ar are e my to tools ols:: I se sense nse th the e te textu xture re
To capture the spirit of what is really
Colour is so scientific, so dynamic; dynami c;
of th the e wo work rk.. I use th them em to me meas asur ure e wi with thou outt a ru rule lerr, to ge gett a fe feel el fo forr th the e di dime mens nsio ion n an and d scale sc ale of a pa patte ttern rn I’ I’m m wo work rkin ing g on on.. I al also so use us e my ha hand nds s to ga gaug uge e th the e qu quali ality ty of of wha whatt a per person son wh who o is to touc uchin hing g th the e kn knits its wil willl feel feel in th the e pr produ oduct. ct.
on my mind, I use my brain to think in an in-depth in-d epth way. When I have something hovering in the back of my head, trying to find expression, I put my brain under pressure so the idea will pop up while I am busy.
I love observing it. When someone sees colour, it elicits a certain mood and I try to interpret i nterpret what I do physically to make sure that what I see is perceived in the same way by that individual.
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V I EW inspiration
EARS
NOSE
MOUTH
Knitwear production is a noisy affair and all the
Certain things carry different kinds
I us use e my mo mout uth h to in inte terp rpre rett
processes and styles have a distinct sound. While I work, I listen to music, and the playlist helps me convey the mood of the season. seaso n. As I created my recent collection, The Evolution of MaXhosa, I was inspired by ‘Phila’ from Indwe’s album, which became the show’s soundtrack.
of smells – for instance, instance, to me, every season’s theme has a particular scent. For every collection that I create, I pay attention attentio n to my senses, and smellin smelling g is the one I consult to get a sense that what I’m doing feels and looks unique.
a col collect lection ion’s ’s the theme me to the th e wh whol ole e te team am so th that at we can ca capt ptur ure e th the e mo mood od and underst und erstand and wha whatt we we’r ’re e aboutt each sea abou season son.. maxhosa.co.za
TEXT ALEXANDRA ALEXANDRA DO DD DD PHOTOGRAPHS HAYDEN PHIPPS, WHATIFTHEWORLD GALLERY
Michel hele e Mathi Mathison,it son,it peakingto Mic quickly quic kly beco becomes mes evid evidentthat entthat he is a scul sculptor’ ptor’s scul sculptor ptor,, an artist immersedin imme rsedin the fundam fundamen ental tal weight, substance and text ure of the wor world. ld. ‘My wor work k is deep deeply ly influe influence nced d by thematerial themate rialss I use use,’he ,’he say sayss fro from m hisstudi hisstudio o in Den Denver ver,, sou southeastof theastof Jo Johannes hannesburg, burg, where he is ‘exploring, resear ching, maki making ng maquette maq uettes’ s’ towar toward d a new bodyof scul sculpture pturess that buil builds ds on States of Emergence, his 20 2017 17 solo sol o sho show w at Whatifthe Whatifthewor world ld Galle Gallery. ry. Butt it is no Bu nott ju just st theesse theessenc nce e lo locke cked d in into to
Anyone who’s paid a visit to Cape Town’ To wn’ss Zei Zeitz tz Mus Museum eum of Con Contem tempor porary ary Art Afr ica (Zeitz MOCAA) may insta instantly ntly callto min mind d ‘C ‘Chib hibag age’ e’,, a hau haunt ntingpileof ingpileof emptymaize em ptymaize hu huskscast skscast in ce cerami ramic, c, orhis steelsculpture steelsculptu re ‘Ikhub ‘Ikhuba’ a’,, a pro progress gression ion of hoes hoes,, the anci ancientversatil entversatile e imp implem lement ent used to harvestroot cro crops. ps. Mimi Mimicking cking the ope operati rations ons of capi capital, tal, hum human an labo labour ur is ren render dered ed abstra abstract. ct. A dise disembod mbodied ied matt bla black ck sequ sequenc ence e of tool shap shapes es stands stan ds ou outt aga agains instt thewhitespac thewhitespace e of the galle gallery,evokingmovem ry,evokingmovement ent,, like
wood or stone or metal that he is try ing to setfree.Mathiso setfree.Mathi son n is dri drive ven n as mu muchby chby the contem con tempor porary ary con concep ceptual tual frei freight ght of his forgin fo rgings gs as by thefunda thefundame mentallifeof ntallifeof his ra raw w materials. mate rials. The wor works ks on States of Emergence, forexample, forexampl e, begantheir live livess as pie pieces ces of rockdestinedfor reco reconstru nstructio ction n into everydayobjects– eve rydayobjects– coun counters ters,, grav graveston estones, es, paveme pav ements nts – butwere transf transform ormed ed into artworks artwor ks that invi invite te reflec reflectionon tionon thei theirr materiality mate riality and on whatstone scul sculpture pture meansin a com commodi moditisedworld tisedworld.. Born Bor n in Zim Zimbab babwe we andbased in Jo Jobur burg, g, Mathiso Mat hison n has a famili familiar ar nono-no nonse nsense, nse, feet-on-thefeet-o n-the-scorc scorched hed earth quality about him.. Hiswor him Hiswork k sp speaksin eaksin a gra gramm mmar ar tha thatt is
a pain painting ting by Um UmbertoBoccio bertoBoccioni ni or GiacomoBalla Giac omoBalla mad made e threethree-dime dimensio nsional. nal. Boccioni Bocc ioni,, Balla and theirfellowItalian Futurists Futur ists wer were e obse obsessed ssed with techn technolo ology, gy, industrial ind ustrialisati isation, on, speed speed,, you youth th and viol violenc ence e – thin things gs tha thatt spo spoke ke of thetechn thetechnol ologi ogical cal triumph trium ph of hum humanity anity ove overr natur nature. e. Butthat was more than 100 years ago. Almost two decades deca des into the 21st cen century tury,, Mathi Mathison son is inte interroga rrogating ting the ong ongoingsocial oingsocial and environmental environme ntal impacts of technolo technology’s gy’s grip gri p onthe pl plane anet. t. Andhe’ Andhe’ss co comin ming g to these the se qu quest estio ions ns fro from m bot both h a roo rootedand tedand mobile sub-Saharan perspective. ‘Mathison’ss work interrogate ‘Mathison’ interrogatess humanity’ hum anity’ss dep depend endenc ence e on landand
conciseand hewn conciseand hewn.. Pow Powerfull erfully y inv invokin oking g the regional region al turbule turbulence nce and forc forced ed migrati migration on of recent decades, it traffics in currencies of value, exchange and movement, movement, of resource extraction and material transmogrification.
traditionss of cro tradition crop p culti cultivati vation; on; the valu value e of lab labour our;; ho how w sym symbol bolss of lab labourbeco ourbecome me political tools; and the ways in which we embed spiritual significance in nature,’ says Raphael Chikukwa, depu deputy ty director
T HI S S P R E A D , CLOCKWISE FROM ABOVE Artist Michele Mathison in front of his sculpture ‘Relief’, which formed part of his 2016 solo exhibition at London’s Tyburn Gallery; part of Mathison’s series Uproot , ‘Plot’ – a life-sized crop of maize cast from steel – was also on show at Tyburn in 2016; ‘Intrusion’ is made from a huge block of marble and was displayed as part of his most recent solo exhibition in Cape Town, States of Emergence; Emergence; ‘Lost Ground’ was also an element of Uproot at at Tyburn Gallery.
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V I E W art detail
V I E W art detail
and chie chieff cura curator tor at the Nat Nation ional al Galle Gallery ry of Zimb Zimbabwe abwe in Harare.Chikukwa cura curated ted Harvest , an exhibi exhibitionof tionof installa installation tionss created crea ted by Mathi Mathison son forthe Dudz Dudziro iro sho show w at theZimb theZimbabw abwe e Pa Pavili vilionfor onfor the55th Venice Biennale (2013) (2013),, which recently also ran at Zei Zeitz tz MOC MOCAA. AA. ‘Thes ‘These e installa installation tionss
Mathisonwas Mathis onwas bro broughtup ughtup by his mo mothe therr – ‘ha ‘had d nofat nofathe herr fig figureto ureto tak take e mefish mefishin ing g or fixcars’,, hesay fixcars’ hesays.So s.So wh whenhe enhe beg began an hisart studies stud ies,, he was qui quicklydrawn cklydrawn to thehandson,physicalaspectsof on,phys icalaspectsof scul sculptur pture e andmaking. ‘I lov love e thealche thealchemyof myof we weldin lding, g, carvin carving g andgrinding,’’ he sa andgrinding, says.‘I ys.‘I was at Mic Michae haelis lis
were acquired the sa me year to keep them intact and preserve them for the people of Afr ica,’ explains explai ns Chikukwa Chik ukwa.. Meanwhile, Mathison is concocting new structures, i nspired by abandoned roadside materials – ‘grasses, bits of steel and stone’ – that draw his eye on recces a long Main Reef Road, a clogged, yet still pumping industrial artery in a largely post-industrial African city. ‘I’m drawn to neglected spaces – abandoned lots alongside the railway line – and the elements of nature creeping back between the wasted infrastructure, grasses growing back up through the verges and cracks in the sidewalk. And the legacy of mining in Joburg: attempts to re-establish vegetation on the disused mine dumps dumps and the micro-economies of people scavenging around the dumps. I’m interested in the life that emerges and exists around ar ound these dumps.’
[School of Fine Art, UCT] on the cusp of the transition to new media and digital, so I was one of the last groups of students exposed to sculpture as a mode of direct physical making. I was fortunate to study under the trifecta of sculpture lecturers – Jane Alexander, Gavin Younge Younge and Bruce Arnott.’ Fast forward to the present and Mathison is hard at work on a substantial trifecta of his own making: a solo show at the National Gallery of Zimbabwe that is planned for 2020, a solo exhibition at the recently opened Norval Foundation in Cape Town for the same year, and a solo stint at Tyburn Gallery for September this year. If you can’t bear to wait until 2020, his works form part of the permanent collection at Zeitz MOCAA and his scul sculpture‘ pture‘ Vo Voliti lition on’’ has jus justt bee been n installed in Norval Fo Foundatio undation’ n’ss sculpture park. michelemathison.com
T HI S P AG AG E , F R O M T O P ‘Chainsaw’ formed part of Mathison’s solo show Manual at at Whatiftheworld Gallery in 2014; his evocative cast ceramic sculpture ‘Chibage’ is in the permanent collection at Zeitz MOCAA in Cape Town.
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WORLDLY WISE DRAWING ON PHILOSOPHIES
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BLING IT ON Italian jewellery and a nd luxury goods brand Bvlgari’s array of B.zero1 B.zero1 jewellery has been enriched with revolutionary new designs created in collaboration with the late, great g reat architect Dame Zaha Hadid. Since 1999, 1999, B.zero1 B.zero1 has always pushed the boundaries of shape and form, and, in its current iteration, boasts a bold four-band four-band ring in white and rose gold. Bvlgari Boutique, Diamond Walk, U28A, Sandton City, Sandton, 011-883-1325. bvlgari.com
COMPILED BY ROBYN ALEXANDER, JUANA PARATHYRAS, GARRETH VAN NIEKERK, ROSALYND WATSON PHOTOGRAPHS IAN MARTIN, HAYDEN PHIPPS, ANTON VAN
ZIJL, GRAEME WYLLIE, ELSA YOUNG, SUPPLIED
TOP THAT Introducing four additions to countertops: elegant White and romantic Cloudburst trend and White Attica is an ideal choice for modern classicists – perhaps the most intriguing and caesarstone.co.za*
RISE AND SHINE A TOUCH OF COPPER STILL ADDS INSTANT INTEREST
1. Brew stovetop cafetière by Tom Dixon R2 895, Créma Design 2. LeXpress stainless steel cafetière with copper finish R1 299 (1 ), Yuppiechef.com 3. Copper stovetop kettle R504, Woolworths.
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ach year, Jo Malone London puts together a limitededition fragrance line curated around a theme that is quintessentially British. The newest addition is English Fields, which combines tones of wild flowers and various grains in five captivating scents that bestow an unusual touch of earthiness. ‘As a perfumer, I love to be surprised – and English Fields is unexpected territory. To have cereals and grains as the main focus is a first for me. It’s something in perfumery I have never seen before,’ says master perfumer Mathilde Bijaoui, who created the collection. The distinctive pastel, ceramic-look bottles are grounded in soft, neutral hues with cont contrast rasting ing smoo smooth th and ‘gr ‘grainy’ ainy’ text textures ures..
JO MAL MALONE ONE ENG ENGLIS LISH H FIE FIELDS LDS LIM LIMITED ITED-ED -EDITIO ITION N COLOGNES COLOG NES R910 (RSP FOR 30ML), JOMALONE.CO.ZA
V I EW news
KING CRIMSON NEED AN ACCENT PIECE? GO FOR BOLD WITH SCARLET SEATING… 1.
chair
inRietveld stained ash wood byBeugel Gerrit Thomas for Cassina R14 180, True Design 2. Aida chair by Magis R3 912, Créma Design 3. Replica Tolix armchair in Red R938, Chair Crazy.
DRAMATIC APPEAL In innovative Swedish wallcoverings company Rebel Walls’s Second Moment collection, seven murals depict striking room spaces that will inject some atmosphere into your interiors. The remaining seven wallcoverings perfectly match and complement these trompe l’oeil murals. Available locally at St Leger & Viney, stleger.co.za stleger.co.za;; for more, visit rebelwalls.com rebelwalls.com..
WEEKE ND WEEKEND SPECIAL Keyes Art Mile is keeping its Keyes epic atrium alive with a curated programme of Saturday Saturday-morning events to bring Joburg residents the latest and greatest contemporary visual arts and cutting-edge design. The past few Keyes Art Mile Art & Design Saturdays have seen collaborations with a number of forward-looking arts groups, including the Cuss Group, the Bubblegum TMRW Gallery – andClub the and results have been some of the most exciting exhibitions the city has seen to date. keyesartmile.co.za date. keyesartmile.co.za
The creatives at Something Good Studio have the winter chill covered with their line-up of ‘art blankets’, whose prints are designed by six self-described ‘allgirl’ illustrato i llustrators, rs, including the likes li kes of Karabo Poppy Moletsane and Renee Rossouw. All are jacquard-woven using locally sourced and dyed fibres. somethinggoodstudio.com 2
TAKE YOUR PICK PICHULIK’S YACHT-ROPE YACHT-ROPE JE WELLERY JUST GOT A SLICK UPDATE WITH PEARLS, JADE AND BRASS BRASS FOR ITS AUTUMN/WINTER 2018 COLLECTION, TALISMAN FOR RAIN, WHICH ALSO FEATURES HANDBAGS MADE IN COLLAB WITH MISSIBABA. PICHULIK.COM
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Taking a couturier’s approach to interiors, Gavin Rajah has conceived two winter ranges for @home, Geisha and Koi, which are all about exceptional details. Geometric quilting, embroidery and beading add intriguing textures and a real sense of luxe. Available countrywide. home.co.za
COWSHED BATH, BODY AND SKINCARE PRODUCTS WERE ‘BORN’ IN AN ACTUAL UK COWSHED TWO DECADES AGO. THE BRAND CENTRES AROUND ‘MOODS’ (YOU SELECT AN ITEM ACCORDING TO HOW YOU FEEL). EXHAUSTED? KNACKERED COW, WITH CALMING LAVENDER AND UPLIFTING EUCALYPTUS IS THE ONE FOR YOU, WHILE GRUMPY COW (RED MANDARIN AND BITTER ORANGE) AIMS TO BANISH A CRANKY MOOD. FIND THEM AT SELECTED LOCAL STOCKISTS. BEAUTIFULAGE.CO.ZA
V I E W news
want BUILT TO LAST Design Des ign duo Dokte Dokterr and Miss Misses es hav have e unveiled unveiled their latest latest
foray into design with unconventional materials – and clay is the star of the show. The pair, who also just took Joburg by storm with their new showroom at 99 Juta in Braamfontein, have created an alluring range of crockery made from fired brick. The experimental collection debuted at 100% Clay in Cape Town, and includes dishes, cups, saucers and side plates that can be stacked and displayed to fo form rm tab table le arc archit hitec ecture ture in any arra arrang ngem emen entt yo you u fan fancy cy.. DOKTERANDMISSES.CO.ZA
R O T A C I R B A F D E T I D E R C C A E N O T S R A S E A C A M O R F Y L E V I S U L C X E E L B A L I A V A E R A E S E H T * . E G A P S T S I K C O T S E H T E E S S L I A T E D ’ S R E I L P P U S R O F . E I L L Y W E M E A R G : H P A R G O T O H P
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WORKI WO KIN NG WIT WI TH TIME Seconds stand still in the design of Ariji Arijiju ju House House, immensee conse conservancy rvancy embracing which whi ch is se sett in an immens embracing thee landscape of the Kenyan Highlands th TEXT GARRETH VAN NIEKERK PHOTOGRAPHS MARISKA VAN DEN BRINK
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H O U S E borana T H I S P AG AG E
Arijiju House has been designed to ‘disappear’ into the surrounding landscape of Kenya’s Borana Conservancy, in which it is located. O P P O S I T E P AG AG E
Handcarved into the bedrock, the main entrance to the house also affords access onto the cool central courtyard, which features frog-filled ponds and lush plantings. Through the front door, the verdant wilderness beyond can be glimpsed.
richly detailed yet minimalist design philosophy characterises Kenya’s Arijiju House; it’s a point of view that purposefully leaves spaces incomplete to ‘write a story that is still being created,’ says the project’s designer, Maira Koutsoudakis of Life Interiors/Architecture/Strategic Design. sis at the end of of a sentence in what will become a continuum of sorts’, sorts’, she says. Koutsoudakis is m Lagos, where she is completing a penthouse project pro ject bef before ore jett jetting ing off to the Salon Salone e del Mobi Mobile le in Milan Milan and the Spanishisland of Mallorcafor a site site visit. visit. Arijiju, Arijij u, she adds, has been called ‘the most most beautiful beautiful house in Africa’ by a majo majorr interna international tional luxury travel travel and and lifestyle lifestyle magazine magazine.. And no wonder: wond er:it it tookover five years to compl complete ete the resid residential ential proje project, ct, which which also serves as a luxury retreat for 10 weeks a year, and saw her sourcing interior items from more than 19 countries. Koutsoudakis and her team designed a number of pieces especially for the property too, including a complete range of bespoke sandcast bronze furniture in a limited, numbered collection. The house was commissioned by a London-based entrepreneur who wanted to create ‘a sanctuary for A frican adve adventure’ nture’ on the Borana Conservancy – a 13 000ha estate that he, together with a select group of committed conservationists, is dedicated to preserving – in the Laikipia Laik ipia region of the Kenyan Highlands. The landscape of savanna grasses, acacia and gnarled wild olive trees has become home to large herds of elephants and wildebeest, lions and recently, a group of endangered black rhinos. With the natural natural setting setting in mind, the house’ house’ss design design sough soughtt to have as little impact on its environment as possible. Architecture firm Michaelis Boyd from London was assisted by Johannesburg-based architect Nick Plewman in shaping the building. It was carved out of the rocky outcrops on the site, with the walls built from Meru stone and carefully layered by skilled masons. A living green roof of indigenous grasses was adde added d to make the structure ‘disa ‘disappear’ ppear’ into its surroundi surroundings: ngs: ‘Everything in this property speaks of an ethos of subtlety and quiet authenticity,’,’ says Koutsoudakis. authenticity The beautifully appointed house features five luxurious bedroom suites, a timber-lined library, a cinema, roof terraces, a yoga pavilion, and a gym and spa with hammam, all linked by colonnaded outdoor passageways. There’s also a 20m infinity lap pool that is often used as a watering hole by curious elephants. elephants.
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Arijiju House’s texturally layered interiors feature a range of muted, naturally inspired colours. In the living and dining area, tall, arched metal windows let in plenty of light, while extended eaves ensure that the interiors are sheltered from direct sun, which helps keep the house cool during the heat of the day. Solid wooden floors complement the stone walls, and the long de Le Cuona (delecuona.com) linen curtains, reindeer pelts and rough-hewn petrified wooden occasional tables round off the plethora of all-natural textures. On the antique Berber leather and raffia carpet – sourced by the Life team in Marrakech, Morocco – are high-backed open-weave lounge chairs from Weylandts (weylandts.co.za), with a Koutsoudakis-designed monolithic, solid-timber carved circular server in the centre of the space. The large vase on top is by Belgian glassmaker Henry Dean (henrydean.be).
T HI S P A G E , C L O C K W I S E F R O M T O P A cosy corner in one of the spacious bedroom suites is furnished with an easy armchair and footstool, clad in linen slipcovers, by Life. To the left of them is a Blessing sidetable by Egg Designs (eggdesigns.co.za) and the felt Boulder pouffes are by Ronel Jordaan (roneljordaan.com); in the heart of the dining area is a large, rough-edged table with bronze-cast legs, which was designed by Life and manufactured by Pierre Cronje (pierrecronje.co.za). (pierrecr onje.co.za). The Danish classic NO Moller 1958 Carver dining chairs are from Pære Dansk (paeredansk.com) and the handcut crystal chandelier was made in Jaipur, India, by Private Collections (privatecollections.co.za); a colonnaded, arched exterior passageway in the courtyard is lit by Life’s hand-forged metal and solid onyx marble lanterns at night.
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H O U S E borana
The interiors are finished in Koutsoudakis’s signature ‘raw and refined’ style. Monolithic furnishings such as the giant carved doors that she and design partner Tony Pereira commissioned in Jaipur, India, combine with luxury linens, polished metals, bleached game skins and Mongolian lamb pelts, woven wools and linens, l inens, and opulent chandeliers of cut crystal (also made in Jaipur) that glimmer alongside traditional craft items such as the Lamu-style pool beds made by Life. ‘We really focused on the fundamentals – beautiful structural elements, high volumes and exceptional materials,’ says Koutsoudakis. ‘We spent so much time working on the finishes, too, polishing some of the rock walls and, on others, embracing tadelakt, a centuries-old plaster technique that gives the walls a mottled character. And we specified hardwood floors, and timber ceilings and ceiling beams to make the spaces feel solid and strong.’
T HI S P AG AG E , F R O M T O P Centred around the handcarved fireplace is the private lounge area of the master bedroom suite, with the bathroom situated behind the fireplace wall. Furniture is kept simple and restful: the Life armchair and daybed both have slipcovers in natural linen from de Le Cuona. Petrified timber stumps serve as sidetables and the textured woven wool rug was sourced by Koutsoudakis and her design partner, Tony Pereira, in Marrakech. Oval leather and wool ottomans by Italian designer Ivano Redaelli (ivanoredaelli.it) serve as a sleek contrast to the raw polish of the West African chair and sand-cast bronze table by French designer Christian Liaigre (liaigre.com). The wooden armoire is a British antique; Koutsoudakis designed a slatted timber roof to introduce dappled light to the outdoor dining area, which was carved into the rock retaining wall. Campaign chairs from Livingstones Supply Company (livingstonessupplyco.co.za) add to the alfresco aesthetic, and the wicker lampshades are by The Private House Company (privatehouse.co.za).
In this kind k ind of house, you either go for colour or high texture textur e when designing, and there’s a wealth of tactile tact ile elements here. ‘The colours are tones of subtlety – like sage and fig, which highlight the textures of rough stone and wild grasses. The linens are pure, with shine from the ceramics, dappled light from the local louvres, and touches of colour from Jaipuri antiques,’ a ntiques,’ Koutsoudakis Koutsoudakis says. Her team’s approach became a careful balance of minimalism and opulence, old and new, raw and highly finished. ‘In the end it became a reductive process of removing what wasn’t necessary,’ she says. ‘We said “Let’s do less, with better pieces and, as we go on, add more.” more .” So we just created the framewo framework rk for the conce concept pt that that now now grows and works works astime passes passes,, allowing allowingthe the houseto live, to evolv evolve e itself its elf,, in in its its own own way. way.’’ arijiju.com, life.za.com
THIS SPREAD, FROM ABOVE A copper Catchpole & Rye (catchpoleandrye.com) bath from London is placed to enable a view of the wilderness beyond, while a leggy Ethiopian coffee tray flanking the shower screen is a perfect place to rest a sundowner; the spacious bedroom suites are minimally furnished. Another Life design is the contemporary four-poster bed, dressed with bedding in pure linen from Ivano Redaelli. The leather-c leather-clad lad headboard, de signed exclusively for Arijiju by Life and made in Jaipur, is in the style of classic Kenyan campaign furniture, and the peacock chair was sourced in Paris.
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H O U S E borana
‘We really focused on the fundamentals – beautiful beautiful structural elements, high volumes and exceptional materials,’’ says designer materials, des igner Maira Ma ira Koutsoudakis. Koutsoudakis.
H O U S E hurlingham
TEXT GRAHAM
WOOD STYLING HEATHER BOTING PHOTOGRAPHS GRAEME WYLLIE
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THIS SPREAD, FROM LEFT In the main living room of antique and jewellery aficionado Paul Mrkusic and Stefan Prinsloo’s Hurlingham home in Johannesburg, an array of contemporary Peruvian ceramic vessels from Weylandts (weylandts.co.za) is displayed atop an early 20th century cabinet made in the 17th century Dutch style – discovered by Paul at an auction; the abode centres around a serene courtyard, surrounded by glass walls that open on either side to the living area and the TV room: ‘There’s greenery wherever you are in the house,’ says Paul.
H O U S E hurlingham
aul Mrkusic and Stefan Prinsloo stumbled on this beautifully designed residence in Hurlingham while they were consi considering dering buildin building g a hom home e of their own. As often happens in Joburg, in among all the usual suburban jumble jumbl e of pastiche and a nd preten pretence, ce, there will sudd suddenly enly appear an inspired piece of architecture. When they first saw this house, their urge to build seemed suddenly redundant. Apart from being CEO of the South African Antiqu Antique, e, Art & Design Association (SAADA; saada.co.za) and running an online vintage jewelle jewellery ry and antique antique store store – Bancroft Bancroft Antiques Antiques – Paul is a trained architect, so he was immediately attuned to the building’s merits. Designed by Louis Louw Johan Bergenthuin Architects in the mid-eighties, the house appealed to Paul because be cause ‘it has a sort of a timeless 20th century feel to it’, he says. ‘It was built in 1986, but almost has an almost ’50s or ’60s feel. At the same time, it appears up-to-the minute contemporary.’ contemporar y.’ The abode is one of those masterfully complex designs that manages somehow to present itself as utterly simple and resolved. It was in its pristine, unaltered state when Paul and Stefan found it – down to the brass plaque bearing an architectural award at the front door. Paul loved the fact that there were none of the steel
One of the ways in which the house belies its apparent simplicity is the way it is ingeniously designed to fill every centimetre of its relatively small stand, ensuring that almost every room opens onto a soft green core – the courtyard with its plants and pond – so you feel as if you’re outdoors even when you aren’t. The experience, according to Paul, is elemental. In a rainstorm, he says, ‘you feel like you are walking in glass pods suspended in Highveld weather’, and when it’s hot outside, ‘air flush f lushes es through the courtyard over the water’,, cooling water’ cooling the the spaces spaces around around it and letting out the hot hot air. He calls it a ‘3D-design house’. Together with changes in level and a fantastic choreography of skylights and windows at different levels, the architecture creates a serene, almost magically selfcontained atmosphere. Paul and Stefan didn’t change anything, apart from replacing a rather incongruous rose garden in the front with succulents and a little bit of landscaping in one of the back courtyards to add an alfresco dining area. (Apparently Dr Loubser worked for Spoornet – today’s Transnet Freight Rail – which explains the front courtyard paved with railway sleepers.) ‘We feel like we’re custodians rather than owners,’ says Paul. Besides, it’s one of those complete designs where everything holds together in a delicate balance, which the slightest alteration could upset. It is tiled throughout with small, rectangular cream
I-beams or pillars that typically betray alterations where rooms have been opened up or joined together – the lines of the ceiling were unmol unmolested. ested. The plaqu plaque e notes that the house was commissioned by a Dr Loubser, and it seems there was only one subsequent owner, which might explain how it made it through the decades unscathed.
ceramic tiles that continue up the bathroom walls, surround the baths and extend over counters and around the basins. An axis runs through the centre of the house from the new outside dining space at the back, through the TV room and the central courtyard, through the front lounge and the courtyard with the railway sleepers sleepers beyond beyond it, connecting connecting to the tree-lined tree-lined
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T HI S P AG AG E , F R O M T O P With the doors extended, the main sitting area feels much like a garden pavilion placed between two courtyards. A wooden standing lamp with a felt shade by Laurie Wiid van Heerden of Cape Town’s Wiid Design (wiiddesign.co.za) contributes ambient lighting to the space, with its custom-made sofa by Mezzanine (mezzanineinteriors.co.za). The artworks on the right are ‘Weeping Rose’, an early mixed media piece by Henk Serfontein, ‘Oracle’ by Deborah Bell, ‘My C.E.O.’ by Robert Hodgins, and a limited-edition lithograph lithograph by Walter Battiss; behind a drinks tray, complemented by a vintage soda siphon and a laboratory retort stand holding a glass flask, is ‘Twist Street’, a sepia print by Mario Soares.
OPPOSITE PAGE, FROM LEFT Accompanying a pair of silkscreen prints by Walter Battiss are a contemporary Polish glass vessel, a mouth-blown orange vase with a handapplied silk-screened motif by Karim Rashid for Egizia (egizia.it) and a small bowl by Kosta Boda (kostaboda.com); formerly a study, the dining room features a long, low window looking out over a planter and a leafy courtyard. Paul Mrkusic leans on a table that extends to accommodate 10
people for big dinner parties one of the clever multifunctional pieces for which he has a penchant.
H O U S E hurlingham
sanctuary, uary, but the whole street beyond. It might be a self-contained sanct design for this house is cleverly knitted into its surroundings. The couple have swapped around the order of the rooms – the TV room would have been the dining room, close to the galley kitchen, but owing to their informal lifestyle, this way it’s easier to spend evenings cooking, watching TV and sharing a glass of wine in proximity. The book-lined study has a long, low window w indow edged with a planter outside and now serves as a dining room-cum-study for Paul when he’s working from home. He points out that the broadly 20th century appeal of the house is perfect for his and Stefan’s eclectic collections of vintage, MidCentury, and contemporary art and design, which for him, as a dealer in antiques, is also fascinating. It’s not surprising that the complexity comple xity of the house – with its Chinese box of courtya courtyards rds and clever use of shutters and sliding doors that reconfigure spaces – appealed to Paul. He has a particular fondness for designs with moveable, interactive parts that change the space they’re in. ‘I love furniture that “does stuff”,’ he says, ‘which offers neat surprises, and transforms into things that are useful.’ All his cabinets have parts that slide sl ide out, pivot pivot or extend – multifunctional pieces with clever changes in levels and functions. Some are designer items, others have been picked up just because they intrigue him. With Paul and Stefan Stefan’s ’s taste in furniture and desi design, gn, the house has found a dazzling new expression of its original form, complemented by a thoughtful collection of late 20th century and con contem tempo porary rary local local art that that see seems ms mad made e fo forr its walls walls,, pli plinths nths and display nooks. ‘It’s ‘It’s uncomplicated, uncomplicated, modest and unpretentious, unpretentious,’’
sayss Paul say Paul but but as insp inspirin iring g as ever ever.. bancroftanti bancroftantiques. ques.co.za co.za 62
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AG E T HI S P AG The entrance hall leads into the main living area on the right, while the central courtyard on the left is open to the sky, as aappearing glass box at the core of the residence. On the far wall, a Mid-Century oil abstract by Jan Dingemans hangs above a working vintage Pilot radiogram cabinet, atop which are twin glass vases designed by Andries Dirk Copier in 1953 for Dutch glassworks company Leerdam.
OPPOSITE PAGE, FROM TOP From his favourite spot on the couch in the TV room, Paul enjoys a clear view through the courtyard, sitting room and the second courtyard to the treetops beyond. The sofa was custom-made by Mezzanine, and the Mid-Centuryinspired table with three tiered swivel surfaces was bought at The Blue Room in Linden; in the dining space, a portrait of a young man in pen on paper by South African artist Carl Büchner keeps company with an oak 1930’s Art Deco chair. The tall cabinet on the right is a mid-19th century walnut-veneered Biedermeier escritoire – a family heirloom.
H O U S E hurlingham
Q&A WITH PAUL MRKUSIC
HOUSEANDLEI SURE. CO. ZA
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Paul and Stefan replanted the central courtyard, which was home to a rose garden, with more waterwise plants. The old railway sleepers that used to pave the entire space likely date back to the home’s first owner, who worked for what was formerly Spoornet. Outdoor seating is provided by Indonesian Ashanti teak occasional chairs with white polymer weaving from Weylandts (weylandts.co.za), which are based on designs by MidCentury Danish furniture designer Hans Wegner.
H O U S E hurlingham
THIS PAGE, FROM TOP A Mid-Century teak cocktail cabinet unfolds to become a bar containing a set of Scandinavian glass tumblers by Aino Aalto for Iittala (iittala.com (iittala.com), ), a self-portra self-portrait it figural corkscrew corkscre w by Alessandro Mendini for Alessi (alessi.com) (alessi.com) and a vintage Italian Amanda cube ice bucket by Ambrogio Pozzi for Guzzini (fratelliguzzini.com). On top is a miniature oil by Jan Dingemans alongside a graphite-gre graphite-grey y ceramic vessel by Anthony Shapiro; in the main bedroom, ‘Table number 12’, a lithograph by Joburg-based artist Paul Emmanuel, presides over a Block bed by Mezzanine. Next to it is a black wall-mounted Arki lamp by Bønnelycke Bønnelyck e MDD for Nordlux (nordlux.com), (nordlux.com), and the Soho bedside table in Oak, also from Mezzanine, is home to a white ceramic Rosenthal Studio-line vase (rosenthal.de) (rosenthal.de) and an antique Siamese tattoo needle. The armchair – an original Mid-Century British design by Parker Knoll – was cherished by Paul’s grandfather for many years and was later given new life with upholstery by Hertex (hertex.co.za). Adding further illumination is a MidCentury chromed lamp – another fortuitous secondhand find.
Together with changes in level and a fantastic choreography of skylights and windows at different levels, the architecture architectu re creates a serene, almost magically self-contained atmosphere.
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THIS PAGE, CLOCKWISE FROM THIS IMAGE Bringing the outside into the main bedroom are two sets of glass sliding doors that open onto light-filled courtyards; the original cream tiles that extend up the walls and over the countertops also run throughout the house; even the bathrooms overlook green spaces.
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Located on a hillside above Lake Lugano in Morcote, Switzerland, this clean-lined abode by Swiss studio Wespi de Meuron Romeo Architects blends seamlessly into its picturesque surrounds and provides the ideal weekend retreat for a couple from Basel. A stone-paved central courtyard in front of the property echoes the warm tones of the home’s washedconcrete walls, while a rusted, raw-steel front door poses an invitation to view the minimalist aesthetic beyond.
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H O U S E morcote
SET IN STONE
connection to its surrounding With Wi th a strong connection to
lan la ndsca dscape, pe, this min minim imalis alistt week waeeken end d hom home e in in tranquil haven Morcote, Switzerland, provides that th at ep epito itomis mises es in indo door or-o -outd utdoo oorr livin living g
TEXT AND PRODUCTION FRANCESCA PRODUCTION FRANCESCA SIRONI PHOTOGRAPHS SIRONI PHOTOGRAPHS MONICA MONICA SPEZIA/LIVING INSIDE
T HI S P A G E , F R O M T O P On the patio outside the home’s entrance, relaxed alfresco meals are enjoyed around a Klapptisch rectangular outdoor table on Stuhl 10 chairs in Beige, all by Bättig Design
cou upl ple e fr fro om Ba Base sel, l, hen a co Switzerland, Switzer land, began looking for aweekendhomewitha‘discreet presenc pres ence’ e’ in a quie quiett loca locatio tion, n, it was only natural that they turned to the small, peaceful town to wn of Mo Morco rcote, te, a fo forme rmerr fishing settlement nestled between Lake Lugano and Mo Moun untt Arb Arbos osto tora ra tha thatt has bee been n nam named ed ‘the most beautiful village in Switzerland’. The area, which is characterised by its picturesque setting, has few in habi habitants, tants, but the presence of numero num erous us bre breath athtakingpalacesand takingpalacesand cha chapelsin pelsin its historic centre as well as the Romanesque-style church Santa Maria del Sasso makes it a popular destina des tinatio tion n fo forr tour tourists ists and visi visitors tors.. The pro projec jectt requi requirem remen ents ts fo forr the cou couple ple’’s house on the slopes of Mount Arbostora were clear: cle ar: a sim simple ple design, design, redu reduced ced sizes and an ‘almost ‘alm ost invisible’ invisible’ struc structure ture with a stro strong ng tie to the landscape. ‘We wanted a sort of retreat where we could isolate ourselves and unwind while surrounded by nature and views of the lake below,’ they say. ‘We had very distinct ideas, so all we had to do was find the right architects who could transl translate ate them into a design. We knew the Swiss studio Wespi de Meuron Romeo Architectss of Markus Wespi, Luca Romeo and Architect Jérôm Jé rôme e de Me Meuron(neph uron(nephew ew of Pie Pierre rre de Me Meuro uron, n, the founder founder of ren renown owned ed archi architectu tectural ral firm He Herzo rzogg that andwe dehad Meuron Me ), and we imme immediat diately ely sensed auron), certain understanding and a com commo mon n langua language. ge.’’ And they were right. At first glance, the architecture seems to be a subtle continuation of the land, and when viewed from the stone steps thatt lea tha lead d fromthe roadbelo roadbelow,the w,the onl only y not notice iceabl able e features are two supporting walls containing the abode within. ‘The uneven and rough exterior surfaces consist of stone and washed concrete in a warm, clay-like colour typical of the area,’ say the archi architects tects.. ‘In add additi ition on to the gree green n cov coverin ering, g, this almost camouflages the facade’ – an effect that will be amplified over over time as the materials are exposed to the elements. elements. ‘The crooked walls and slightly pitched roof are dictated by building codes, which is why the layout is three adjoining bodi bo dies es wi with th a rec rectan tangula gularr ba base se aro around und th the e entranc en trance e courty courtyard. ard.’’ She Shelte ltered red by oliv olive e tree treess and indigenous vegetation, the building merges seamlessly with its surrounds, offering a direct
(baettig-design.ch). (baettig-design.ch ). The pair of Pila ceramic vases by Zaven hail from Atipico, a collective of Italian artists (atipico.com); (atipico.com); a glimpse of the living room with its central fireplace: to the left, an opening leads to another of numerous central courtyards that were created ad hoc to filter light into the house.
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Huge glass sliding panels allow the living space to open out into the outdoors, with its sweeping views of Lake Lugano. Bursts of colour pop against the exposed concrete canvas in the form of a mustard-yellow NeoWall sofa by Piero Lissoni for Living Divani (livingdivani.it) and vermilion hues in the rug and artwork on the wall. In the foreground, the dining table holds glassware by Jenaer Glas (jenaerglas-shop.de).
THIS PAGE, CLOCKWISE FROM BELOW In the kitchen, the work surface reprises the prevailing material of choice choi ce – concrete – offset by ClassiCon glass vases and a bowl in Quartz Grey G rey and Topaz Yellow (classicon.com); a glass wall facilitates illumination from a central courtyard into the indoor spaces. Occupying a corner of the floating shelf is a Kora vase in Zinc Yellow by Studiopepe for Atipico; the intentionally sparse interior includes a Diamond steel armchair in Black by Harry Bertoia for Knoll (knoll.com).
Sheltered by olive trees and indigenous vegetation, the building merges seamlessly with its surrounds, offering a direct view of the landscape without any interference.
H O U S E morcote
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True to the owners’ vision of a simple design, reduced sizes and an ‘almost invisible’ structure with a strong tie to the landscape, the house’s squared volumes lean into the hillside. The side walls are covered in rough plaster and the front is clad in natural local stone – a connection to Morcote’s historical culture.
‘Once you reach the house, you no longer see any nearby buildings,’ add the architects. This unobtrusive design philosophy was also applied to the interior, which was deliberately left bare, with exposed concrete walls and floors. Huge glass sliding panels make up one end of the open-plan living room – providing an unrivalled vista as well as a connection to the scenic outdoors – while at the opposite end of the space, the kitchen’s position against the cliff face makes it feel as though you are cooking on the rock just beyond the window. The rest of the building is made up of two bathrooms and two bedrooms, each with private loggias, and a wine cellar built against the side of the retaining wall. A minima list aesthetic is present throughout, with a neutral colour palette punctuated by brief flashes of vermilion and yellow in select details. Every space has been carefully considered and features understated built-in cupboards and custom-made oak furnishings, most of which are based on designs by Wespi de Meuron Romeo architects. This subdued ethos provides the ideal backdrop for the home’s few iconic pieces, such as Henry Bertoia’s The Diamond armchair in front of the fireplace and an array of Eames Plastic chairs spread across the rooms. The overarching intention behind this abode was to ‘turn off’ the various rooms to allow the landscape to be fully enjoyed. From the living room’s glass wall – which not only offers spectacular views but transforms the space into an extension of the outer courtyard when the panels are slid away – to the inclusion of loggia s that allow the bedrooms’ inhabitants to relax both indoors and out, this unique unique weeken weekend d getaway getaway is exa exactly ctly what its owne owners rs wanted it to be – a discerning retreat retr eat that is completely at one with its natur natural al enviro environme nment. nt. wdmra.ch
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THIS PAGE Light and nature link with the main bedroom through a private loggia; both the bed and desk are of natural oak, custom-made according to the architects’ design. Linen and wool blankets on the bed were sourced from Society Limonta (societylimonta.com).
OPPOSITE PAGE, CLOCKWISE FROM TOP RIGHT Jérôme de Meuron, one of the masterminds behind the project, which was realised together with colleagues Marcus Wespi and Luca Romeo of Swiss studio Wespi de Meuron Romeo Architects; an indoor courtyard adjoining one of the bedrooms doubles as an outdoor shower, with seating provided by an Eames plastic chair by Charles and Ray Eames for Vitra (vitra.com); concrete combines beautifully with stainless steel and warm wooden elements in one of the en suite bathrooms.
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COMPILE COM PILED D BY ROS AL ALYND YND WATSON PHOTOGRAPHS SUPPLIED
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‘Mundu Wa Mwaki I (A Man Of Fire)’ artwork by Kaloki Nyamai (acrylic and mixed media on canvas, 1.98 ×2.31m 2.31m)) POR, Ebony 0.78×1.9m), SHF; Shanghai rattan chair Curated; engineered oak Dillon dining table with wooden top in Worn Tobacco R22 000 ( 0. in All Black R5 995, La Grange Interiors; Cindy table lamp in Gunmetal Grey by Ferruccio Laviani for Kartell R5 120, True Design; olive tree in terracotta pot POR, Starke Ayres; Marconi 3-seat leather sofa R20 180, Weylandts; Plush velvet scatter cushion in Rust R740, Mezzanine; Light-Air sculptured wall lamp in Pink by Eugeni Quitllet for Kartell R3 566, True Design; oak Retro sidetable in oiled
Walnut finish R3 136 (0.52 0.66m), Mezzanine; Brussels rug R3 950 (2 3m), SHF; Hive Drum tables in Almond R2 000 each (small, large and grande), all SHF; on Hive Drum table (from left): Checkered Amber vase R1 695 (18×27cm), La Grange Interiors; Organic glass clear vase R299 (28×36cm), @home; Fiber swivel-base chair in Dusty Red by Iskos-Berlin for Muuto R9 177, Créma Design.
H O U S E waverley
SIMPLE PLEASURES TEXT ROBYN ALEXANDER PRODUCTION AND STYLING IAN MARTIN PHOTOGRAPHS MICKY
HOYLE
ucked discreetly into part of a larger property that features a classic old Bloemfontein mansion, this modest
into the interiors throughout the day. This means that despite its relatively small size, it ‘exudes a sense of generosity with the barrelba rrel vaulted c eilings, creating a maxi maximum mum sense of spaciousness,’ says
two-bedroom home in Waverley was designed by late architect Barend ‘Bannie’ Britz for himself and his wife Almud in 1998. In 2000, Britz won a well-deserved South African Af rican Institute I nstitute of Architects (SAIA) Merit Award for its design. And in 2015, current owners Johan Olwage and Janus Pretorius purchased the house from Almud Britz, Bri tz, havin having g fallen fallen hea head d ove overr heel heelss for for the the small small but but perf perfectl ectly y formed forme d structure. ‘An atten attentive tive prope property rty agen agentt who understoo understood d that we were were not not looking for a conventional townhouse established contact with [Almud], who had decided to move to a retirement home,’ says Janus. ‘She was aware of how much I respected resp ected her husband’s work and insisted that we should be the next owners.’
Janus. The carefully positioned windows also afford glimpses of the greenery of the surrounding garden, with the result that the interiors have a real ‘sense of calm’, and the abode makes its occupants feel as if they are in ‘close proximity to nature’, he says. When approaching the building from the street (from which it is largely hidden) probably the most eye-catching element of its design is its barrel-vaulted roof structure. As Janus points out, ‘the roof shape of the house is similar to those of old sandstone barns in the Free State’ but that similarity recedes as you approach the front entrance, when the home’s very modern characteristics start to become evident. The front door itself is adorned with a built-in panel by South Afric an artis artistt Cecil Skotnes, which was specially created for the Britzes: the artist was a friend of theirs. An intimate entrance hall is backed by a ‘honeycomb’ wall inspired by the work of renowned South African architect Norman Eaton, which affords the visitor
Johan and Janus moved into the space in January 2016, and set about furnishing it in a way they felt suited its unique, paredback character. There was no question of doing any alterations. ‘The original inside wall colours have been retained,’ says Janus. ‘The kitchen cupboards and countertops need to be replaced, but we’ll aim ai m for it to remain a s close as possible to the origina originall design – and the same applies to updating the tiles in the bathrooms.’ They will approach both projects, he adds, in close consultation with an architect who is sensitive to the existing finishes. Adding furnit ure and art to a home like this is no easy task, as Janus and Johan have discovered. ‘The architecture is quite strong and unconventional and we deliberately “toned down” and avoided overly decorative pieces,’ says Janus. Ja nus. ‘However, completing the interior and acquisition of art is a slowly evolving project. We admire good design and have acquired pieces designed by Antonio Citterio, Jasper Morrison, Vico Magistrett i, Inga Sempé and Christian Ghion.’ These minimalist, clean-lined pieces work perfectly in the unfussy yet characterful interiors. The house consists of three interlinked, barrel-vaulted structures and has high ceilings and
tempting initial views of the double-volume living area. The dining room and kitchen are glimpsed to the left and the passage to the bedrooms is on the right. Inside, the spaces are intimate rather than expansive, and the materials that have been used are modest and largely natural: there are simple slate floors, ‘honeycomb’ inside walls in untreated brick, and wood panelling on ceilings and the stairway that leads up to the mezzanine study-cum-TV room above the living area. As Janus puts it, ‘ext ravagance of any a ny k ind wa s clearly clea rly avoided by the architect’. Glass panels and glass doors are used throughout too, subtly opening the interiors to the eye and creating a feeling of spaciousness and flow. The house is remarkably easy to live in while also being ‘an exciting place to return to’, says Janus. It radiates relaxed warmth, yet is also calming and tranquil. He adds that it ‘never fails to elicit a response [from visitors]. Most express their delight, while architects comment on the fantastic quality of the plaster work and meticulous detailing.’ As Janus and Johan have found, the hidden gems of South African domestic architecture might not be very easy to unearth, but when they are located, they are most definitely
meticulously placed windows that allow a varying play of light
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worth treasuri ng.
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THIS SPREAD, CLOCKWISE FROM ABOVE The living room of Johan Olwage and Janus Pretorius’ Waverley abode in Bloemfontein is the perfect setting for Suita sofas designed by Antonio Citterio for Vitra (vitra.com), a Lunatique coffee table by Inga Sempé (ingasempe.fr) for Ligne Roset (ligne-roset.com) and a rug that also hails from Ligne Roset; homeowner Johan Olwage; natural materials are used in abundance in the house, and these are complemented by furnishings such as these Cork Family stools by Jasper Morrison for Vitra; beyond the stairway leading up to the mezzanine floor is a passageway that leads to the bedrooms. P R E V I O U S P AG AG E Shielding the front entrance from the living space is a ‘honeycomb’ wall, on which hangs an artwork by Landi Raubenheimer Raubenheimer.. The high ceiling gives the lounge a feeling of lofty spaciousness and the mezzanine level above it houses a study and TV room. In the living area, the Smithfield hanging lampshade is by Jasper Morrison (jaspermorrison.com), (jaspermorrison.com), the Nub lounge chair is by Patricia Urquiola for Andreu World (andreuworld.com) and the Glo-ball standing lamp is also by Jasper Morrison. On top of the wooden cabinet from Tonic Design (tonicdesign.co.za) is a clock
by LEFF Amsterdam (leffamsterdam.com). A wood-burning stove from Morsø (morso.co.za) adds warmth on chilly days. 80
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Janus at work in the kitchen, which is situated at one of the far ends of the house. The relationship between the zones for food preparation, cooking and washing up was meticulously considered by architect Barend ‘Bannie’ Britz, with the result that when Johan and Janus update the cooking space, they plan to do so along the lines of its current layout. The Silver chair, which was designed by Vico Magistretti for De Padova (depadova.com), was sourced from Generation (generationdesign. co.za). O P P O S I T E P AG AG E
The dining room is accessed from the living room on one side and the kitchen on the other, and also leads out onto a verdant enclosed courtyard. The Lady Carlotta dining table by Christian Ghion for Ligne Roset is perfectly complemented by a host of Surpil dining chairs, which were originally designed by Julien-Henri Porché and are available locally at Generation. Suspended above the table is a Tam Tam light fitting, which was designed by Fabien Dumas for Marset (marset. com) and sourced from True Design (truedesign.co.za). On the wall are artworks by Willem Pretorius (top) and Michele Negrini. The red Kant bookcases – also by De Padova and from Generation – hold the homeowners’ extensive collection of cookbooks.
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T HI S P A G E , C L O C K W I S E F R O M T O P L E F T Light streams in through a porthole window in the mezzanine study and TV room. The desk, an heirloom piece that was made by Johan’s father, bears a striking Multilamp table light in White by Seletti (seletti.it), and the PanAm lounge chair was bought at Tonic Design. The colourful artwork is by Sandra Hanekom; the house is made up of three interlinked structures, with the living area in the centre, the dining and kitchen spaces to its left and the more private bedroom ‘wing’ on the right; the interiors feature a wealth of textural interplay: at the bottom of the stairway, bag-plastered brick meets slate and wood, with art by Chris Diederiks. O P P O S I T E P AG AG E The main bedroom is a simply furnished, restful space. The classic E1027 chrome and glass sidetable is by Eileen Gray (eileengray.co.uk). The wall-mounted 204L40 light and the 411 standing lamp, both by
Lampe Gras (lampegras.fr), are available locally from Generation. Gracing the wall on the far side of the bed is a piece by DP Ferreira. 84
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The house consists of three interlinked, inter linked, barrel-vault barrel-vaulted ed structures and has high ceilingswindows and meticulously placed that allow a varying play of light into the interiors.
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THIS SPREAD, CLOCKWISE FROM THIS IMAGE After perusing Vic toria Yards’ creative offerings in Lorentzville, Johannesburg, patrons can indulge in craft beers and wood-fired pizzas at Impi Brewing Co; the industrial-style precinct is characterised by its numbered old cement buildings, some of which feature exposed brick; Matthew Krouse of Daville Baillie Gallery; artist Blessing Ngobeni in his studio; inside the warehouse, a large, open room with an inviting fireplace is set to become an intimate gathering space.
MIXED USE JOBURG’S NEW VICTORIA YARDS PRECINCT IS LEADING THE
TEXT ZODWA TEXT ZODWA KUMALO-VALENTINE KUMALO-VALENTINE PRODUCTION GARRETH VAN NIEKERK PHOTOGRAPHS GRAEME WYLLIE
n a sunny Saturday morning, Joburg artss and culture lovers buzz art buz z around Daville Baillie Gallery, clutching bubbly and croissants. They are not only here to see the artwork of designer Faatimah MohamedLuke and her creative director husband Al, who are exhibiting together for the first time: they are also here to visit an area that has become quite a talking point owing to the rejuvenation taking place in it. The new Victoria Yards development development comprises artists’ studios and artisans’ workshops, workshops, as well as a small urban farm and event space. Design-wise, it’s characterised by its numbered old cement buildings, some of which feature exposed brick and others still bearing the peeling painted signs of former
tenants. Fauna such as bees, bats and owls have been introduced, and lush young vegetable patches 88
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and trees have been planted in between the new pedestrian paving and warehouse plots. The result is a veritable urban ecosystem. Just a year ago the 30 000m2 Victoria Yards project was a mere vision in the head of Group 44 developer Brian Green, and now its farm’s fresh produce is harvested every Friday for tenants’ use. It’s also home to the Impi Brewing Co, which offers craft beers and wood-fired pizzas – and w ill soon be moving its currently Kyalami-based microbrewery to the premises. The Victoria Yards property is situated in Lorentzville in an area that ha s been anchored by fast-food chain Nando’s global head office on Victoria Road since the t he early 1990s. A r iver runs through the Yards, too – the Jukskei, one of Joburg’s largest waterways. waterway s. Spearheaded by State of the Nation founder Romy Stander (also a Victoria Yards tenant) a huge project is underway to turn the river into a clean, accessible and safe public space. While Whi le it might be tempting to compare compa re Victoria Yards to Group 44’s other (much better-known) development at 44 Stanley in Milpark, the new project’s projec t’s singularity lies in the fact that ‘all the tenants have to manufacture in their spaces,’ says manager Chann de Villiera. Among the small businesses already al ready producing on site are Sarah Cronin Designs, which fashions bespoke, life-like lighting and botanical water features from pure brass and copper. Clare McKenzie’s Stitch is a social enterprise in aid of Bethany Home for the abused, creating picnic blankets, bedspreads, cushions and more from shweshwe and other printed fabrics. Tshepo Mohlala’s Tshepo The Jean Maker crafts a premium denim range, and Coote & Wench Design Company creates distinctive repurposed tripod lights. Artists such as Ayanda Mabulu, Blessing Ngobeni, James Delaney and Craig Actually Smith have also moved in. De Villiera points out the heart of the Yards – the meadow-like area pegged for the entertainment space, a landscaped ‘amphitheatre’ alongside a three-storey warehouse building that is still being renovated. ‘The meadow will be mowed, and you’ll be able to bring your picnic blanket,’ she says. The plan is to host live music events here, starting with a winter festival this month. And inside the wa rehouse, a large, open room with an a n inviting fi replace makes an a n ideal setti ng for an intimate gathering. Plans are afoot to install a signature restaurant in time as well. ‘We are landlords and creating spaces for rent, but we’re trying to do it in a responsible way and in response to what’s around us,’ says Green. ‘It’s
an easy thing to say and a very dif ficult thing to do because how do we interact with the people that are surrounding us?’ he adds. ‘Well, for example, David Krynauw occupies a large factory on the other side
of the river and he employs about 30 people from the area.’ And Nando’s cofounder Robbie Brozin
L E I S U R E pinpoint is wo workingto rkingto brin bring g in a grou group p to set set up sou sound nd studi studios os and encourage kids to learn about audio production. Speaking of longer-term plans, Green mentions the work they are doing with ‘aspiring changemaker’ Simon Sizwe Mayson, who focuses on mixed-income, mixed-use social housing developments that aim to ‘enable the complementary dimensions of collective wellbeing, susta inabilit y and a culture of active citizenship’, as Mayson puts it. Victoria Yards is also collaborating with an enterprise development expert, who is looking at ways of helping its tenants to manage and structure their businesses better. ‘Hopefully we’ll be able to build it up into a facility for people in the area to come to learn about enterprise development and improve their businesses,’ says Green. ‘There is a lot of interest in using Bezuidenhout Valley and Lorentzille as an experiment or place where we can make a difference. We will remain responsible landlords who try to to create an environment that can eventually integrate beautifully with the surrounding neighbourhood.’ It’s clearly the start of a long road at Victoria Yards – but with fresh ideas, loads of enthusiasm and much positive energy already evident in and around the it looks likely to country provide provid e inspiration inspiratio n precinct, to develo developers pers around the over the next few years. victoriayards.co.za victoriayards.co. za
T HI S P A G E , C L O C K W I S E F R O M R I G HT Handmade jeans are fashioned o n site at Tshepo The Jean Maker; trees and veggie patches have been planted in between the new pedestrian paving and warehouse plots; socially responsible development is the overarching principle: Victoria Yards aims to make a difference in the surrounding community.
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Babylonstoren farm at Simondium in the Western Cape has added a custommade succulent shade house to its plant stable – the charge of esteemed local botanist, Dr Ernst van Jaarsveld. In the foreground is a section of rockery garden representing South Africa’s botanical biomes, created from rocks and species sourced on regular field trips.
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heneveryone (er (erroneo roneously usly,, it turns out out)) imagine ima gined d tha thatt the Weste estern rn Cap Cape e was a waterwater-rich rich plac place, e, English English-style -style garde gardens ns ruled rule d andbrigh andbrightt flow flowerscascad erscascaded ed fro from m plante pl anters rs at nur nurser series ies.. Butdrou Butdroughthas ghthas forced us to find beauty in less obvious obv ious places. Strangely alluring with their architectural forms and peculiar survival strategies, succulents are heroes of hard times, says master botanist Dr Ernst van Jaarsveld, and it pays to learn to love them. In the shade house at Babylonstoren in the Cape Winelands, Van Jaarsveld works amid hundreds of potted succulents, arranged on tables in families: aloes, crassulas, gasterias, cotyledons, cot yledons, mesembs (vygies), lithops (stone plants), euphorbias and stapeliads. At 65, he’s gratified to be sharing his knowledge via countrywide workshops on succulent propagation and water-wise
With 3 000 to 4 000 species, South South Africa has the richest diversity of succulents succulents in the world. They range from the tiny Crassula setulosa, a few millimetres high, to the giant baobab baobab ( Adansonia digitata ) with a stem circumference of up to 45m. 45m. Water-conserving adaptations make them visually arresting: arres ting: consider the black spiny aloe, Aloe melanacantha melanacantha; the surreal namaquanum ); halfmens ( Pachypodium namaquanum sosatiebush ( Crassula Crassula repestris ); and elephant’s foot, Dioscorea elephantipes. Many are edible, from the tuberous kambro ( Fockea edulis edulis ), eaten by by the San, to succulent mint and French thyme. Examples of the first local succulents ever recorded grow i n Van Jaarsveld’s shade house: the carrion flower Orbea variegata, and Cotyledon orbiculata (pig’s ear), picked by Dutch missionary Justus
gardening, and by answering gardeners’ ga rdeners’ questions on Babylonstoren’s new Candide app (babylonstoren.com/garde (babylonstoren.com/gardening-app) ning-app).. A legend in the botanical world, Van Van Jaarsveld spent 41 years at Kirstenbosch National Botanical Garden until, two years shy of mandatory retirement in 2016, he was offered a position at Babylonstoren by owners Koos Bekker and Karen Roos. ‘ Here I can work till I’m 80. Or 100,’ he smiles. Constructed in 2016 from poplar slats, the succulent house is open on al l sides. ‘Succulents need fresh air, and sunbirds fly in and pollinate the plants,’ he says. Gecko shelters – planks with i nner hollows – were installed on high beams so their
Heurnius while visiting the Cape of Good Hope on the ship Gouda in 1624. Here, Van Jaarsveld’s miniature gardens are on display. ‘Succulents ‘Succulents are social,’ he says, holding a clay bowl containing a cluster of miniature varieties. ‘They happily coexist. One won’t push the other out.’ Each bowl contains species from a particular area: Barberton, the Karoo, the Cederberg. He takes regular short field trips into the wilderness with
residents can feed on succulent succulent-harming -harming tiger moths at night. Only biological pest control is used here: a predatory mite is used for red spider mite; the dwarf diurnal
T H I S P AG AG E , C L O C K W I S E F R O M T O P L E F T Succulents thrive in terracotta pots – these are from Pot Port in Brackenfell (potport.com); sekelblaarplakkie ( Crassula Crassula perfoliata var. minor) is easily grown from seed or cuttings; Bowiea volubilis ) is an unusual climbing onion ( Bowiea unusual species that harnesses light for photosynthesis in the absence of aerial leaves. Here it pairs
gecko ( Lygod Lygodactylus actylus capensis ) controls other harmful insects during the day. 94
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with string of hearts ( Ceropegia Ceropegia woodii ) in a verdant cascade; rambling aloes ( Aloiampelos One On e of th the e ) mo most st blooms wide wi dely ly ad admi red d rubriflora bear thmire throughout roughout the year. the year.
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T H I S PA PA G E , C L O C K W I S E F R O M T O P L E F T Bear’s paw ( Cotyledon Cotyledon tomentosa var. var. tomentosa; centre) has fuzzy, chunky leaves with ‘teeth’ at their tips that
give the plant its common name; the shade house is completely open at the back, with a channel hewn into the clay-and-stone wall to allow rainwater to drain away; a colourful display of nooiensboud,, or tree grape berries nooiensboud ( Cyphostemma Cyphostemma juttae ); this this miniature miniature garden includes an assortment of typical Cape species: concertina plant ( Crassula Crassula rupestris ), Haworthia chloracantha,, Haworthia glauca chloracantha glauca and cliff bells ( Cotyledon Cotyledon tomentosa ); among Van Jaarsveld’s preferred succulent sources are Sheilam Nursery Cactus and Succulent Garden in Robertson (sheilamnursery.com), Karoo National Botanical Gardens in Worcester and Kirstenbosch National Botanical Garden in Cape Town.
assistants, sleeping under the stars and sourcing plants and stones for rockeries. Why a shade house? house? ‘People think succulents need full sun, but they just need sufficient light,’ light,’ says Van Van Jaarsveld. They thrive in porous clay pots; inorganic shale chips or LECA (light expanded clay aggregates, from Tehran, Iran) are used to cover the soil and suppress weed growth. ‘Succulents are so easy to g row, row,’’ he says, breaking a piece off the leaf of a fairy crassula to plant. Motherin-law’s tongue – ‘difficult to kill’ – is another ideal starter plant. Buy local and use indigenous plants, he advises. Masters of surviving extreme conditions, some species have hairs to trap fog or a wax layer to prevent excessive moisture loss and overexposure to sun. They turn red under stress, when anthocyanin pigments curb photosynthesis to conserve energy. Round forms are often seen, such as in string of pearls ( Senecio rowleyanus ) or the sausage-like stems of Senecio articulatus from the Klein Karoo, as these round forms maximise on water storage. Self-protection may come in the form of camouflage, spines or poison (euphorbia’ (eup horbia’ss milky milk y sap burns t he eyes like nobody’s business). Succulents turn abuse to good use: every time a branch bra nch of spekboom ( Portulacaria afra ) is trampled into the ground by elephants, it propagates itself. ‘They turn a negative nega tive thing into a positi positive, ve,’’ says Van Jaarsveld. Jaarsveld. ‘We can learn so much from them.’ babylonstoren.com babylonstoren.com
THIS SPREA D, CLOCKWISE F R O M T O P L E F T Quiver trees (kokerboom – Aloidendron dichotomum ) were planted beside the shade house; a diminutive representation of a botanical scene from Bushmanland with granite and quartz rocks and plants typical of the area; Dr Ernst van Jaarsveld enjoys the fruits of his work; apart from its reddish brown hue, Aloe esculenta has distinct speckled leaves; plants are arranged in their families; paddle Kalanchoe luciae ) make plants ( Kalanchoe make striking striking additions to a water-wise landscape with their rosettes of red-tipped leaves; crimson sekelblaarplakkie flowers are pollinated by butterflies and their seeds dispersed by the wind; succulents are happy to coexist, as shown by a grouping of Fez aloe, Orbea variegata
(which produces the pungent carrion flower) and Crassula nudicaulis; a master botanist’s ideal working environment. 96
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RECIPES AND STYLING CARO DE WAAL PHOTOGRAPHS HEIN VAN TONDER
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Smashed orange lentils with saffron cauliflower and crispy sage.
BULGUR WHEAT SALAD WITH BABY BEE BEETRO TROOT OT AND CHAR CHARRED RED FEN FENNEL NEL 1t NoMu chicken Fond stock (or vegetable, if preferred) 300ml boiling water 375ml bulgur wheat Salt, to taste 1 lemon 8 baby fennel bulbs 4T olive oil 4T butter 1 small garlic clove, peeled and crushed 8 baby beetroots, washed and thinly sliced sli ced 3 radishes, washed and thinly sliced 20g mixed baby salad leaves 50g mixed sprouts Fennel flowers, to garnish Mix the teaspoon of liquid stock with 300ml boiling water and pour into a bowl with the bulgur wheat. Cover with clingfilm and allow to stand for 20 minutes. Remove the clingfilm and fluff up the bulgur wheat with a fork, seasoning with a little salt to taste and the zest of half the lemon. Set aside to cool. Cut the fennel tops off at an angle and slice the bulbs in half lengthways. Heat a griddle (or frying) pan until piping hot. Add the olive oil and sear the fennel bulbs, cut side down. Reduce the heat to medium and braise the fennel for about 20 minutes, adding 2T butter halfway through and turning them once or twice to cook through. Remove the charred fennel and set aside, keeping it warm for later use. Make a hot dressing, using the same pan (unwashed): reduce the heat to low, add 2T butter, the juice of half the lemon (plus a little more to taste) and the garlic. Allow the dressing to simmer and season to taste. Build the salad on 4 plates by combining the cooked bulgur wheat, fennel, beetroots and radishes, leaves and sprouts, and top with the warm fennel. Garnish with the fennel flowers. Serve immediately, ensuring that the bulgur wheat, beetroots, radishes and salad leaves are at room temperature, the fennel is warm and the dressing hot.
4T butter Salt and black pepper, to taste Juice of ½ lemon 2 garlic cloves, peeled and thinly sliced 4T olive oil 1 large cauliflower, washed 1 dried chilli 1 pinch saffron
the quinoa begins to crisp and the pine nuts are toasted. Set aside for later use. Spread the crushed pink peppercorns over the trout. In a large pan over mediumhigh heat, fry the fillets in the olive oil (begin with the skin side down for 3-5 3 -5 minutes). Over high heat, char the spring onions in a griddle pan with a little oil. ( To retain
10g packet of fresh sage leaves
a golden colour, avoid turning them too often.) While the spring onions are cooking, add the spinach to the quinoa mixture mix ture and heat it up in a little extra olive oil. Place the quinoa and spinach mixture on 4 plates, top with the charred spring onions and the trout, and drizzle the pan juices over the fish. Ser ve immediately.
Boil the lentils in 500ml water for 30-40 minutes until very soft. Using a fork, mash them roughly with 2T butter and season to taste, adding the juice of the half lemon. Set the lentils aside, keeping them warm for later use. On medium to low heat, fry the garlic slices in 2T olive oil until golden, then remove them and drain on kitchen towel. Cut the cauliflower lengthways into slices as straight as possible so that they cook evenly. In the same oil used for the garlic slices, fry the dried chilli and the cauliflower slices on both sides – add 2T butter and the saffron halfway through to infuse with the oil (keep the heat low to avoid burning the saffron). Remove the browned cauliflower from the pan and retain the juices for serving. In a clean pan over medium heat, fry the sage leaves in 2T oil until crisp and translucent, then drain on kitchen towel. Divide the lentil mixture between 4 plates, add the cauliflower slices, garlic chips and crispy sage. Drizzle the pan juices over the portions and ser ve warm. SERVES 4
SALMON TROUT WITH RED QUINOA QUIN OA AND SPIN SPINACH ACH 375ml red and white quinoa 375ml water 4T pine nuts Salt and black pepper, to taste 2T pink peppercorns, crushed and chopped 4 salmon trout fillets 4T olive oil 2 bunches spring onions, washed 4 cups baby spinach leaves, washed
SERVES 4
SMASHED ORANGE LENTILS WITH SAFFRON CAULIFLOWER AND CRISPY SAGE 500ml dried orange lentils
In a pot, bring the quinoa and water to the boil and, once bubbling, reduce the heat to a simmer 15 minutes. Drain the quinoa, qui noa, place it in for a frying pan with the pine nuts and season with a pinch of salt and lots of black pepper. Over low heat, dry fry the quinoa
SERVES 4
SLOW LAMB WITH QUINCE PRESERVE, BRINJALS AND PEARL BARLEY For the quince preserve
6 quinces, peeled and cored 1 star anise 2 cardamom pods, split 100g sugar For the pearl barley, lamb and brinjal
250ml pearl barley 250ml lamb stock 2 bay leaves 1t cumin powder 1t coriander powder 8T olive oil 1kg lamb knuckles Salt and black pepper, to taste 1 large brinjal, skin on and cubed 4 garlic cloves, peeled and roughly chopped 2 star anise 5T pomegranate arils To make the preserve, place the quinces, star anise and cardamom in a pot with just enough water to cover the the fruit. Cook Cook for 2 hours until the quinces are soft and begin to turn pink. Add the sugar and simmer for a further 2 hours over very low heat. Preheat the oven to 180ºC. Place the pearl barley in a baking dish, cover with the stock and add the bay leaves. Mix the cumin and coriander in a large bowl with 2T olive oil and toss the knuckles in the oily spice to coat them evenly. Season with salt and black pepper and toss again. Pack the lamb knuckles on top of the
500ml water
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Place the dish, uncovered, in the oven at 180ºC for 15 minutes, then reduce the heat to 150ºC and cook for a further 3 hours. Season the brinjal cubes with salt and pepper. Heat 6T olive oil in a pan and fry the brinjal over medium-high heat until golden brown and soft. Leaving the lamb in its dish, pull the knuckles apart a little and add the brinjal cubes so they fall in between the meat. Place in the oven for a further 10 minutes. Set the lamb and brinjal dish on the table, sprinkle pomegranate arils over them, and serve hot with the quince preserve on the side. SERVES 4
FIGS WITH GOAT’S CHEESE, HONEYROSE SYRUP, PISTACHIOS AND GRAN GRANOLA OLA 2T fynbos honey 2T rose geranium cordial 1T hot water 12 large figs 1 roll of plain goat’s cheese 100g good-quality chocolate granola 100g shelled pistachio nuts Preheat the oven to 180ºC. Combine the honey and the rose geranium cordial and add 1T of hot water to thin the mixture a little. Cut or tear the figs open at the top, place on a baking tray and drizzle the syrup into them. Bake the figs for 10 minutes, then remove from the oven. Divide the goat’s cheese evenly between the figs and push in a little cheese on top of each. Sprinkle the chocolate granola and pistachios over the warm figs. Serve immediately on a large platter or split between 4 plates, and drizzle the remaini remaining ng syrup syrup from the bakin baking g tray over over each. each.
Salmon trout with red quinoa and spinach.
SERVES 4
O R E G G O R M T O O F
NOW TRY SAKE WITH GRAPEFRUIT H & GINGER
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Figs with goat’s cheese, honey-rose syrup, pistachios and granola.
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MODERN MOD ERN TALKING
QUICK ON THE DRAW The rum revival is in full sw ing and this month it’s all about Moscow Mule cocktails made with Sailor Jerry Caribbean rum and ginger beer – served in copper mule mugs. Part of the inspiration behind the iconic brand is tattoo artist Norman Collins aka Sailor Jerry himself. Known as the father of old-school tattoos, Collins (1911-1973) travelled the globe as a sailor and tattoo artist, creating many classic designs. Discover one of them on the flipside of every Sailor Jerry bottle label. R200 for 750ml, ngf.co.za. sailorjerry.com
If yo you’ u’re re lo lookin oking g fo forr fin fine e din diningbut ingbut pr prefe eferr to ski skip p thefuss, he head ad to Fa Farro rro in Illo Illovo vo – Job Joburg’ urg’ss bran brandd-new new spa space ce foradven foradventurou turouss and ind indulge ulgent nt eatin eating. g. Think Thi nk wh whol ole e fri fried ed ca caulifl uliflow ower er ona bedof hu humm mmus,a us,a de dele lectab ctableguava leguava sorbet, sorb et, freshfocacci freshfocaccia a brea breads ds and perf perfectlyroasted ectlyroasted por pork k bell belly. y. Shop Sho p G1 G16, 6, Thrup Thrupps ps Illo Illovo vo Cen Centre, tre, 204 Oxfor Oxford d Rd, Illo Illovo, vo, Sandton; 071-618-43 071-618-4352. 52. farro.co.za
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MADE IN I N ITALY Created in the Italian Alps at a 160-year-old brewery, Mazzatti now debuts in SA. Choose from the full-f lavoure lavoured d Lager Superiore or the crisp, dry Pilsner Superiore. From R26 for 300ml at Makro ( makro.co.za), makro.co.za) , and Norman Goodfellows, ngf.co.za .
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– including sweet and savoury options – as well as smoothie bowls and coffee. 58 Barnet St, Gardens, Cape Town; 079-167-5446
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Perched atop craggy limestone precipices above the Adriatic, the the whitewashed whitewashed town town of of Polignano Polignano a Mare Mare near Bari is one of the prettiest spots along Italy’s
Puglia coastline.
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FRO ROM M PUGLIA At the confluence of the Adriatic and the Ionian seas lies the peninsula of Salento, the southernmost tip of Italy’s long, coastal region of Puglia. The area is known for its olive groves, forest-clad plateaus and towns embellished with intricately carve d stone facades. Its proximity to Greece and the Balkans has made it coveted territory since classical antiquity. The Mycenaean Greeks were followed by the Romans, then a long line of invaders: Lombards, Byzantines, Saracens, Normans, Swabians, Angevins, Angevin s, Turks and Vene Venetians. tians. They all left their mark – much of it at the table – and this makes shopping for food and dining i n Salento’s towns and villages something of an adventure in time travel. Salento and the Salentini are undeniably elegant, with a reverence for communal meals, a devotion to hospitality, and an insatiable appetite for local flavours. Among the most enduring tastes came f rom the ninth century conquest by Saracen Arabs, who brought refined cane sugar and almonds that were mashed into a paste to produce marzipan, or pasta di mandorla, which is a speciality of many Salentine pastry shops. Brinjals, known to the Greeks and Romans, were reintroduced to Salento by Arabs and a huge range of varieties flourish to this day, appearing sliced, layered and baked with tomato and cheese in a dish called parmigiana di melanzane, or simmered with tomato and herbs in marangiane ’mbuttunate. Most citrus, with the exception of lemons, had vanished from the peninsula after the fall of the Roman Empire, but bitter oranges were most likely l ikely returned ret urned to southern Italy by the Saracens more than a thousand years ago. Today candied orange peel is sold on its own or encased in dark chocolate. We arrive in the city of Lecce by train and make a beeline for the main square, Piazza Sant’Oronzo, where its famed honey-coloured limestone pietra Leccese wraps around the partially excavated ruins of a Roman amphitheatre and a monument to the local patron saint Orontius. Our first snack in Lecce is always a rustico at Caffè Alvino, a historic café beloved for these discs of puff pastry stuffed with bechamel, mozzarella, black pepper and a touch of tangy tomato sauce. The café’s display case offers a crash course in Salento’s sweet and savoury snacks – almondpaste biscuits, mostaccioli (biscuits flavoured
with cinnamon, cloves and cocoa), creamfilled bignè and pasticciotti, the classic local breakfast tart filled with thick custard.
Then we follow the cobbled Via Guglielmo Marconi to another historic café, Cotognata Leccese, near the 16th century fortress of Castello Carlo V, for its signature cotognata, a quince paste similar to Spain’s membrillo. We buy a couple of thick slices – you never know when you’ll need to return some Salentine hospitality – before picking up a rental car for a 200km clockwise loop around Italy’s heel. Heading east towards the coastal road, we manage to time breakfast with our arrival at an old-school pastry shop called Nobile in the humble seaside town of San Cataldo. Half of our Salentino friends say Nobile is their favourite place for pasticciotti served on gold-foil platters at plastic tables (the other half nominate Pasticceria Andrea Ascalone in Galatina). We take ours with caffè con ghiaccio, a chilled espresso flavoured with a sweet almond extract. From here we steer south, past the rugged coves of San Foca, Torre dell’Orso and Torre Sant’Andrea. After a dip in the Adriatic, we cut across the peninsula to the Ionian coast, where seaside towns bear names of the torri , the defensive towers that protected their inhabitants for centuries. At the sprawling town of Gallipoli, in an otherwise nondescript apartment block in the new quarter, quart er, is the modest headquarters of a family business that produces a true taste of the south – Amaro Margapoti, an artisanal liqueur company producing an amaro and other herbal digestivi according to family recipes using Salentine herbs. At the harbourside eatery Capitoni Coraggiosi in the old quarter, our lunch of local seafood (prawns, marinated cuttlefish and roasted octopus) is accompanied by a rosato made from an indigenous grape called Negroamaro, often paired with fish in Salento, and ends with Amaro Margapoti’s sweet and sour citrus f lavours and pleasantly bitter finish. A short distance east of Gallipoli, fourthgeneration winemakers Paolo and Gabriele Nutricato grow Negroamaro, Malvasia Nera di Lecce, Primitivo and a few little-known white varietals for their winery, Cantina Supersanum. They’re among a growing group of small producers focused on low-yield organic and minimal-intervention winemaking. I buy a few bottles of Supersanum Sinergico rosato to share with my friends at L’Orecchietta, a shop and trattoria in Guagnano, about an hour’s drive north. L’Orecchietta is packed by early evening. The winelist is impressive for such a casual venue venue,, but our BYO rosato is the first our hosts have tasted. Wait, I urge, and race down to the car to fetch the cotognata. With the quince jelly,
a wedge of pecorino and glasses of rosato, we toast old friendship and southern hospitality.
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T H I S P AG AG E , CLOCKWISE FROM TOP LEFT Unlik Un like e mo most st ot othe herr coa coasta stall sett settlem lement ents s in Pugl Pu glia, ia, Mo Mono nopo poli li is a bu bust stli ling ng ci city ty – bu butt in its his histo toric ric cen centre tre yo you’ u’re re ne never ver far fro from m a qu quie iett co corn rner er in a ch charm armin ing g sq squa uare re;; sm smal alll fishin fis hing g tra trawle wlers rs do dott the har harbou bourr at Torr orre e San Sa n Gi Giov ovan anni ni on th the e Io Ioni nian an se sea; a; a pa past sta a dish dis h mad made e wit with h ore orecch cchiett iette e (‘ (‘sm small all ear ears’ s’)) is the specia speciality lity at L’Ore ’Orecchie cchietta tta in Guag Guagnano nano (lorecchietta.com); La Gr Grot otta ta de dell lla a Po Poes esia ia (‘cav (‘ cave e of poe poetry try’) ’),, a sin sinkho khole le at the wa water ter’s ’s edge edg e no north rth of Torr orre e Del Dell’ l’Ors Orso, o, is pop popula ularr for cliff cli ff div diving ing;; cof coffee fee and pas pastic ticcio ciotti tti,, cus custar tard d pastri pas tries es typ typica icall of th the e Sal Salent ento o reg region ion,, at Caffè Ca ffè Alv Alvino ino in Lec Lecce ce ( Caffè Alvino); about halfway between Bari and Brindisi, Alberobello’s Alberobello’ s characteristic characteristic cone-roofed cone-roofed houses – known as trulli – – are a Unesco World Heritage Site. O P P O S I T E P AG AG E The imposing statue of Lecce’s patron saint Orontius overlooks the town at its main square, Piazza Sant’Oronzo Sant’Oronzo..
THIS SPREAD, CLOCKWISE FROM LEF T Prawns, cuttlefish and crudo at harbourside eatery
Capitoni Coraggiosi in Gallipoli (capitonicoraggiosi.it) ; the restaurant’s chef Andrea Capoti combines super-fresh ingredients with creativity and passion to create his popular dishes; the ancient town of Polignano a Mare is a famous cliff-diving location and home to pretty coves and beaches; between Otranto and Gallipoli, in the town of Galatina, you’ll find excellent examples of barocco leccese, a distinct local version of baroque baroq ue arch architec itecture ture;; an Aper Aperol ol spritz spr itz ac accom compan panies ies lun lunch ch at Ca Caffè ffè Paris Pa risii in Nar Nardò dò ( Caffè Parisi). Traditional digestivi liqueurs, liqueurs, produced according to centuriesold family recipes, are an inevitable conclusion to meals in Puglia.
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SQUARE SCA SCATTERS TTERS 1
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ROSY PINKS AND LEA LEATHE THER R
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Living-room hues take on a rosier outlook with soft pinks, offset by sturdier materials such as leather, wood and metallics.
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ROSE-GOLD ROSE-GOL D LIGHTING 4 10
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BRING FLAIR TO YOUR LIVING SPACE WITH LUSCIOUS COLOURS
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AND TEXT URES COMPILED BY GEMMA BEDFORTH PHOTOGRAPHS SUPPLIED
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MODERN MOD ERN CLASS CLASSICS ICS 14 18
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T HI S P A G E , C L O C K W I S E F R O M T O P L E F T 1. 20831 Bronx copper pendant R700, Lighting Warehouse 2. Kiwi wall light in Polished Copper from the Astro Collection R5 595, Newport Lighting 3. GU10 Flute pendant in Copper R679, K Light 4. Velvet in Mauve from the Saddle collection R550/m, Home Fabrics 5. Waterfall Tranquil scatter R1 000 (includes feather inner), SHF 6. Buttoned velvet scatter in Pink R130, MRP Home 7. hand-drawn, linen-backed Duna scatter R1 210, Mezzanine 8. Solar 9. Rose cupboard handle rug with leatherfrom top inR4 Tan and steel baseHaus in Black R1 990,11.Dark Horse in the PinkBloomsbury R90, Handles Inc 10. Posy from thesidetable Rosewood collection 950 (1.6×2.3m), by Hertex Cornell upholstery from collection R590/m fabric in Rosa (includes delivery), U&G Fabrics 12. Oak veneer Loft chair with steel frame in Dusty Rose and seat in Steelcut Trio 515 fabric by Thomas Bentzen for Muuto R11 620, Créma Design 13. Levi armchair in leather from R10 595, The Sofaworx Company 14. Salad bowl in Pink from the Jellies Family collection
by Patricia Urquiola for Kartell R1 590, True Design 15. Leather fabric in Silhouette from the Avion collection by Garrett Leather R4 450/m, St Leger & Viney 16. Satyrium wallpaper in Poetry by Daleen Roodt R670/m, Robin Sprong 17. Dixie footrest in velour in Vintage Rosa R5 199, Sofacompany.com 18. Franc ottoman in American Oak with leather cushion R16 238, Andrew Dominic 19. Distrikt armchair R15 900 (77×82cm; excludes cushions), La Grange Interiors 20. Flynn 2-seater sofa in Sunday Dusty Rose with legs in Smoked Oak R11 300, Sofacompany.com. 116
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NATURE-INSPIRED EXTRAS
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Tactile materials and sunny fabrics in shades of honey and gold are an easy e asy way to warm up a space.
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LUXURIOUS LEATHER 14
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T HI S P A G E , C L O C K W I S E F R O M T O P L E F T 1. Legend bookcase 2. Nido Brown light by by Christophe Delcourt from R126oil 890 (1.96×2.09m), Boboisexcludes pendant Faro Barcelona 710, Newport Lighting 3. Dinesen oak flooring with natural finish R3 886/m Roche (0.25×1.24m; shipping and fitting), bulthaup 4. Facet R3 vase by Vorster & Braye R1 005, Okha 5. Diffuse Metal wallpaper from the Urban Gypsy collection R1 035/roll (53cm×10.05m), U&G Fabrics 6. Cylinder glass vase in Smoke from the Dutz Glassware collection from R225 (small), Weylandts 7. Solid and veneer walnut, leather and nylon rope Shaker sofa from
R62 300, Egg Designs 8. Engineered French oak dual-plank flooring in Active Grey treated with white Loba 2 K white impact oil R1 725 (1.4×7m; includes installation), Zimbo’s Trading 9. Riga dining chair R3 128, and 10. Salsa stool R2 577, both Woodbender 11. Syrie rug in Yellow by Jonathan Adler R55 966 (2.13×3.05m), The Rug Company 12. Forme Hurricane candle R503 by Country Road, Woolworths 13. Bordeaux mirror in Natural R2 999 (1×1.5m), Coricraft 14. Tydloos.com Large White and Green wall clock R750, House and Leisure Shop 15. Timber shutters in Grey Oak R4 800/m (includes design, manufacture and installation), Plantation Shutters. 1 1 8 HL | J U NE 2 01 8
F O C U S living rooms 3 5
SKY BLUE AND SANDSTONE
PETITE PETI TE PEND PENDANTS ANTS
Understated neutrals complement a palette of pale blues in an interior that packs a laid-back yet uplifting punch.
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T HI S P A G E , C L O C K W I S E F R O M T O P L E F T 1. Myle cushion R554 (50×50cm) and 2. Zore cushion R503 (50×50cm), both by Country Road, Woolworths 3. Southdowns pendant lamp in Weathered Taupe from the Indoor Pendants range R600, Lighting Warehouse 4. Milano pendant lamp in Black with glass in Blue R848 (small), Eurolux 5. Wood Ball pendant lamp R995, Weylandts 6. Fabric in RK4483 from the Urban Chic collection by York Wallcoverings R2 169/roll, 7. Sullivan sidetable floor Home Fabrics with9.oak-oiled base oak in Walnut and Luna Ducodrinks top in cabinet Grey R2 in 910, Mezzanine 2260 Sandy Beach polished ( 1.44×3.05m), (1.44×3.05m), Caesarstone Caesarstone, and brass Grey and Black8.R80 700 (10.95×17m), Weylandts slab POR 10. Burrows 3-division sofa with frame in Gold and upholstery in Mystic Reef velvet R20 500, SHF 11. Anne 3-seater sofa with legs in Smoked Oak and upholstered in Legend Dusk Blue fabric by Christian Rudolph R10 599, Sofacompany.com 12. Organic blown-glass vase in Blue R399 (25cm),
@home 13. Stoneware cup in Azul from the Festa collection R65, Haus by Hertex 14. Latewood wallpaper in Faded Denim from the Birds of a Feather collection R1 450, U&G Fabrics 15. CreteCote floor coating in Coconut POR, Cemcrete 16. Kaleidoscope wallpaper in BH8398 from the Kashmir collection by Antonina Vella for York Wallcoverings R1 818/roll, Home Fabrics 17. Enamelled clay Eclosion Maxi B vase by Jean-Christophe Jean-Christophe Clair from R11 090, Roche Bobois 18. Chalk Ocre Glazed ceramic wall tile R369/m (7.5×30cm), Italtile 19. Wallpaper in YC3382 from the Urban Chic collection by York Wallcoverings R2 169/roll, Home Fabrics 20. Security shutters from R4 250/m (includes installation), American Shutters.
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STRIPES MEET CHEVRONS
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T HI S P A G E , C L O C K W I S E F R O M T O P L E F T 1. RM 252 01 wallpaper from the Domino Revivals collection by Élitis R1 198/m, St Leger & Viney 2. Cove throw by Country Road R1 310, Woolworths 3. Graphic Stripe throw R836, 4. Salima hanging lamp R3 995 and Zombe hanging lamp R2 995 , all Weylandts 5. Chinois Palais
wallpaper in Tangerine by Mary McDonald for Schumacher POR, St Leger & Viney 6. Terracotta Travertine face brick POR (10.6 22cm), Corobrik 7. Mia Mélange handle basket in Liquorice R680, House and Leisure Shop 8. Fade Red carpet (1.7×2.8m) R3 999, @home 9. ‘Pressed Cycad’ limited-edition artwork R8 950, Clinton Friedman 10. (From top: Morrocotto ceramic brick tiles in Ivory, Butter and Orange R35 each (6×24cm), Italtile 11. Finition Onyx cubes from the Nouveaux Classiques collection by Christian Lacroix Maison from R15 600, Roche Bobois 12. Ceramic tall vessel by Helen Vaughan R12 315, Okha 13. Diamond Stripe pouffe R1 995 and 14. Zanzibar sofa R20 180, both Weylandts.
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F O C U S living rooms
ADD SOME SOME SHINE
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TERRACOTT T ERRACOTTA A AND A ND STRIPES Get back down to earth with modern colour – think chocolate brown, rich stone and cheerful coral – combined with clean-lined yet classic furnishings.
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T H I S PA G E , C L O C K W I S E F R O M T O P L E F T 1. (From left) Zig Zag fabric in Amber and and Tang Tangle le fabric in Amb Amber er,, bot both h fr from om the Urb Urban an Saf Safari ari col collect lection ion R1 451 451/m /m,, Hom Home e
E G A P S T S I K C O T S E H T E E S S L I A T E D ’ S R E I L P P U S R O F . K C O T S I : S E G
Fabrics 2. Pine mirror R2 999, @home 3. Edg Edge e 1 Com Composi position tion shelving by Vin Vincen centt Dup Dupont ont Ro Rougi ugier er fr from om R10 R109 9 390 390,, Roc Roche he Bobois 4. Odd vase 1 R1 100, Liam Liam Mooney Studio 5. Cork poly polyratt rattan an sidetable R2 020 020,, We Weylan ylandts dts 6. Belli Bellini ni 2.5-sea 2.5-seater ter (From m left) left) Sto Stonewa neware re Flak Flake e Rim bowls by Vor orst ster er & Br Bray aye e R9 R975 75 ea each ch (me medi dium um)) an and d R1 27 275 5 sofa from R6 995, Sofaworx 7. (Fro (large), all Okha 8. Bamboo Trellis rug in Or Oran ange ge R16 R166 6 80 808 8 (2 (2.1 .13 3×3.0 3.02m 2m), ), The Rug Com Compan pany y 9. Sans Sansimeon imeon Sto Stone ne Acc Accent ent chair R6 990, Ashley Furniture Homestore 10. Custom-designed rug R8 900 900/m /m,, Gonse Gonsenhau nhausers sers Fine Rugs.
A M I L A N O I T I D D A
F O C U S news
THE FLIP SIDE Turn food Turn prep into a pleasure with the elegantly designed copper-plated lifter (R1 (R182), 82), made from stainless steel. woolworths. co.za
ALL CLEAR If you’re after a gleaming, minimalist look, try highgloss, handleless cabinetry with custom-made glass doors. A layered central island of quartz and cast concrete plus stainless-steel Miele appliances lend sleek, functional appeal. blu-line.co.za
CLEAN LINES COMBINE WITH NATURAL TONES COOKING AREA
COMPILED BY
ROSALYND WATSON PHOTOGRAPHS SUPPLIED
FOR A WARM GLOW IN THE HEART OF YOUR HOME, INVEST IN A P929C TALLINN PENDANT IN BLACK AND WOOD WITH COPPER GLASS (R964; EXCLUDES BULB). EUROLUX.CO.ZA
SEASON TO TAS ASTE TE Thanks to fine materials and timeless design, the salt mill in Oak and pepper mill in Walnut (R2 459 for set; excludes shipping) can take pride of place on any table. bulthaup.com
CUP OF LOVE Chilly winter evenings call for a hot treat in a glazed stoneware Nara mug in Ocean Blue and Earth Brown (R35). Just
COTTON CAN-DO
add marshmallows. weylandts.co.za
T S A C D N A Z T R A U Q F O D N A L S I D E R E E G Y A A P L S A T I D S N K A C S O R T S O E H D T S E S E A S L S G L E I D A T A E D M - ’ M S O R T E I S L U P C P H U T S I R W O S F . T A E Z N . I B O . A C C E S N I E L R U U L T B A , E ) F S D E C N N A A E I L N I P L P U A L E B L E F I O M Y S S E E T D U R L U C N O I C ; E R
Screen-printed on absorbent woven cotton hopsack, the cheery Breeze tea towel in Persimmon (R165; 48 ×70cm 70cm)) will wil l make short work of drying the dishes. skinnylaminx.com 122 HL | J UN E 2 01 8
G O P A ( M I E T G E N I R D C L N O O H C
F O C U S news
THE EPITOME OF CONTEMPORARY TAPWAR TAPW ARE, E, TH THE E PU PURI RIST ST DE DECK CK-M -MOU OUNT NT BASIN MIXER IN ROSE GOLD (R9 775) BOASTS AN ERGONOMIC DESIGN, CAREFUL DETAILING AND DURABLE COMPONENTS. KOHLER.COM COMPONENTS. KOHLER.COM
HEAVEN SENT For a glorious f ragrance that envelops your bathroom in minutes, light a pair of vanilla-scented Cloudy candles in etchedglass containers by David Jones (R302 each). woolworths.co.za
DRAMATIC AP A PPEAL n easy way to make a statement is to opt for an unconventional shape – such as this th is metalframed Quatrefoil Mirror in Gold (R2 950; 64×96cm). EMBRACE THE TREND OF TERRACOTTA AND METALLICS WITH QUALITY QUALIT Y ADD-ONS ADD- ONS
COMPILED BY ROSA LYND WATSON PHOTOGRAPHS SUPPLIED
shf.co.za
OF THE EARTH Shades Shad es of ri rich ch te terr rrac acot otta ta an and d sa sand nd re reig ign n su supr prem eme e in th this is modern mod ern set settin ting, g, whi which ch fea featu tures res cer cerami amic c ti tiles les in Ma Marsa rsala la and Be Beige ige offset offs byfro textu te xtural ral Rope e Bei Beige and Copper Cop Marsa Ma la round ro und mosai mo saico co et tiles ti les from m the th e Rop Color Col or Line Lin egecol collec lectio tion n per by Fa Fap p rsala Ceram Ce ramich iche e (R485 (R 485/m /m²; ²; 25 25× ×75cm 5cm); ); th thet etilileho ehouse usesa; sa; thetilehouse.co.za
DOUBLE LOAD If you’re after a rustic touch, a handmade two-tone jute laundry basket with lid in Natural and Black (R1 095; 40×58cm) is just the ticket. weylandts.co.za
GOLDEN GLOW GLOW The versatile Melt surface light in Copper by Tom Dixon (pictured above; R12 061; diameter 50cm).
D N A E G I E B E P O R , E G I E B D N A E A G L A A P S R S T A S I M K N I C O S T E S L I E T H C T I M E E A S R E S L C I D A T N E A D , ’ M S O R E C . I R L E P L P H U S O K R , ) O 5 F 7 . 7 A Z 9 . R O ( C . D E L S O U G O E H S E L O I T R E N H I T R , E ) X I M C M 5 7 N I × S 5 A 2 ; B R T O N P U ( O E M H - C K I C M E A D R T E C S I R P U A P F E Y B H T N E O I R T U C T E A L E L F O D C N E N A I E L S R U O O L H O E C L I E T H E T H M T O D R N F A S R E L E I L T H O O C K I F A S O O Y M S D E T N R U U O O R C A S L
can be mounted almost anywhere. crema design.co.za 1 24
E A G S A R M A I M G R N I E D P L P O O H C
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PAUL SMITH’S GEOMETRIC SPLI SP LIT T BR BRIG IGHT HT RUG (F ROM R4 7 301; 1.22×1.83m; HANDKNOTTED TIBE TI BETAN TAN WO WOOL OL)) WAS
TWINE OF THE TIMES Rattan and iron curve in creative harmony in the Twister Kubu
INSPIR INSP IRED ED BY GL GLAS ASS S PRIS PR ISMS MS TH THA AT BR BREA EAK K U P L IG IG HT HT T O C RE RE AT AT E ANGU AN GULA LAR R SH SHAP APES ES.. THERUGCOMPANY.COM
Hanging Lamp (from R2 795; medium). weylandts.co.za
HOT SEAT
SET SQUARE Lay on the luxe with a velvet-covered scatter in Ochre (R249; 60×60cm). home.co.za
; 0 3 2 1 R E M G O A R P S F ( T S T I E K S C R O E T V S O E C - H T T E E V E U S D S L Y I E A L T T D E R A ’ H S R N E I O L T P T P O U C S E R R O U F P . D A E Z . R O E C . D I E O S R U B O M H E N E N N A I L S ) , E E R S U A T C A E W F O D L L N I A P E E S N U O O S H E N D E U L N I C L N F I ; O M Y C S 0 E T 2 R × U 0 5 O 1 C ; E R
Alre ady we ll known kn own for its outdoor ou tdoor furniture, Mobelli’s exquisite range of statement-making indoor pieces includes the Ludlow sofa (R14 995): its unusual kidney-sh kidney-shaped aped design and sumpt sumptuou uouss fa fabri bric c wil willl lilift ft an anyy space to to new heights heights.. mobelli.co.za
TURN TO TACTILE ACCENTS AND SUBTLE HUES FOR A RELAXED SPACE THAT’S BOTH COSY AND VISUALLY APPEALING
COMPILED BY
ROSALYND WATSON PHOTOGRAPHS SUPPLIED
IN DETAIL Cuddle up in the cold with a quilted, reversible velvet Verity blanket in Rose Pink (fromDeva e). The DR1 eva299; tab lesingl mir ror in Natural (R554; 20×24cm) sports a pivot so you can tilt it as you please. Both by Country Road, woolworths.co.za
PLUSH PERCH Sophisticated design and sumptuous velvet make the Caleb hair in Sandcastl Sandcastlee
DRESSED FOR BED
(R13 000) an opulent addition to your boudoir.
G E A T R M A I G U Q N I E D E L R O H H T
shf.co.za
Bedtime can t come soon enou Bedtime enough gh whe when n it means snuggl snuggling ing up with with an embroidered embroid ered pure cotton Hartley duvet duvet-cover -cover set (from (from R1 230; Three Quarter Quar ter;; 15 150 0×200 200cm; cm; incl include udess one pill pillowc owcase ase). ). linenhouse.co.za
F O C U S news
CAMP OUT EVERY NIGHT With the Teepee Room bed (POR; 2.45m high; includes mattress; excludes linen), every day is sure to start and end with a sense of adventure. Made of solid oak veneer and supported by a five-pole structure covered in synthetic leather,, it includes a remote-controlled leather remote-controlled light light-and-sou -and-sound nd system system.. circu.net
DESIGN AT PLAY PLAY Safety and comfort are top of mind when it comes to seating for your little ones. Ideal for ages two to seven, the Birch Kids chair in White by Bootoo (R585; includes delivery countrywide) adds style to the mix, too. designstore.co.za
NEW BESTIE Heartworks’ Minxy Monkey in Mixed Yellows by (R395; 30cm tall) has se io s BFF po pottential al
COOL CHILDREN’S ROO ALL THE BOXES FOR FU FUN, COLOUR AND CRE
COMPILED BY ROSALYND WATS PHOTOGRAPHS SUPPLIED
HEL HE LLO BAB BABY Y bratee your new brat new arriv arrival al wit withh ch charming arming sto stone newar waree fro from m e Baby Collection in Pastel Blue, Blue, Dune or Milky Mi lky Pink rom R254 for a set of two ramekins). lecreuset.co.za
JUNGLE BUDDIES The kids will be b e up for a virtual safari with this playful, pure cotton Wild Midnight scatter (R479; 40×60cm; includes feather inner). thebedroomshop online.co.za
WOODLAND FOREST FRIENDS WALLPAPER IN NEUTRAL BY ARTHOUSE MAKES A SUPER-CUTE BACKGROUND
T S E R E O G F A D P N S A T L S I D K O C O O W T S D E N H A T T , E E S N . U S L C I R A I T C E , D ) N ’ E S R N I E I L L S P E P D U U S L R C O X F E . ; A S Z S . E O R C . T S T G A N M I S H E T D Y U K L C I C T N I S , ; ) H Y G R I E H I V M L 5 E 4 . D 2 D ; N R A O P ( L O D O E T B N M G I O R O E R P E A E P P L E L E A T W E S H E T D E U R L U C T N A I ; E M F C 2 D 5 N × A M M 0 1 O ; C . L E L S O R U / O 9 H 7 T 7 R R A ( D E S N U A O T H E T N . R U A C Y R I B C L F A O R T Y U S E E N T R N I U R O E C P S A
FOR A YOUNGSTER’S SPACE (R779/ROLL; 10m×52cm; INCLUDES WALLPAPERING TOOL AND DELIVERY). STICKYTHINGS.CO.ZA 126
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B U Y E R S ’ G U I D E
STOCKISTS home.co.za @home home.co.za @home Ameri can Sh utte rs rs americanshutters.co.za Andr ew Domini c andrewdominicfurniture.com Ashl ey Furni ture Ho mestor e ashleyfurniturehomestores.co.za beautifulage.co.za BeautifulAge beautifulage.co.za BeautifulAge
Hertex hertex.co.za Hertex hertex.co.za Home Fabrics homefabrics.co.za House and Leisur e Shop Shop shop.houseandleisure.co.za Italtile italtile.co.za James Mudge james Mudge james mudge.c o.za Jo Malone London jomalone.co.za London jomalone.co.za kenlys.myshopify.com Kenly’s kenlys.myshopify.com Kenly’s
Sofacompany.com za.sofacompany.com Sofacompany.com za.sofacompany.com Something Good Studio Studio somethinggoodstudio.com Starke Ayres starkeayresgc.co.za Ayres starkeayresgc.co.za Sticky Things stickythings.co.za stleger.co.za St Leger & Viney stleger.co.za The Bedroom Shop Shop thebedroomshoponline.co.za
Blu Line blu-line.co.za bulthaup.com bulthaup bulthaup.com bulthaup bulgari.com Bvlgari bulgari.com Bvlgari Caesarstone caesarstone.co.za Cemcrete cemcrete.co.za Chair Crazy chaircrazy.co.za Circu circu.net Clinton Friedman clintonfriedman.com Friedman clintonfriedman.com Coricraft coricraft.co.za Coricraft coricraft.co.za corobrik.co.za Corobrik corobrik.co.za Corobrik Country Road woolworths.co.za Créma Design cremadesign.co.za Design cremadesign.co.za Dark Horse dark-horse.co.za Horse dark-horse.co.za Design Store designstore.co.za Dokter and Misses Misses dokterandmisses.com dulux.co.za/en Dulux dulux.co.za/en Dulux Ebony Curated ebonycurated.com Curated ebonycurated.com Egg Designs eggdesigns.co.za Designs eggdesigns.co.za eurolux.co.za Eurolux eurolux.co.za Eurolux
K Light klight.co.za Light klight.co.za klooftique.com Klooftique klooftique.com Klooftique Kohler kohler.com La Grange Interiors Interiors lagrangeinteriors.co.za Le Creuset lecreuset.co.za Liam Mooney Studio liammooney.co.za Studio liammooney.co.za Linen House linenhouse.co.za House linenhouse.co.za Lucky Fitsch lucky-fitsch.com Fitsch lucky-fitsch.com mezzanineinteriors.co.za Mezzanine mezzanineinteriors.co.za Mezzanine mobelli.co.za Mobelli mobelli.co.za Mobelli Moroccan Warehouse 021-461-8318 MRP Home mrphome.com Home mrphome.com Newport Lighting newport.co.za Lighting newport.co.za okha.com Okha okha.com Okha Pezula Interiors pezulainteriors.co.za Plantation Shutters plantation.co.za Shutters plantation.co.za Plant Couture Couture plantcouture.co.za Poetry poetrystores.co.za
The Lighting Warehouse Warehouse lightingwarehouse.co.za therugcompany.com The Rug Company therugcompany.com sofaworx.co.za The Sofaworx Company sofaworx.co.za The Tile House thetilehouse.co.za House thetilehouse.co.za True Design truedesign.co.za Design truedesign.co.za U&G Fabrics ugfabrics.com Fabrics ugfabrics.com Vorster & Braye vorsterandbraye.co.za Weylandts weylandts.co.za Weylandts weylandts.co.za woodbender.co.za Woodbender woodbender.co.za Woodbender woolworths.co.za Woolworths woolworths.co.za Woolworths yuppiechef.com Yuppiec hef.c om om yuppiechef.com Zimbo’s Trading zimbostrading.co.za Trading zimbostrading.co.za
COMPETITION TERMS AND CONDITIONS For full competition terms and conditions, visit houseandleisure.co.za/terms-conditions.
G L A L M A I W G S N I D D N L E I O R H F
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STYLE PROFILE
LESLEY LOKKO educator r. Architect and educato Pan-Africanist. Under ndercover cover ero erotica tica aut author hor COMPILED COMPIL ED BY GAR GARRET RETH H VA VAN N NIE NIEKER KERK K PHOTOGRAPH DEBOR DEBORAH AH HURFO HURFORD RD BROWN
I was born in Dunde Dundee, e, Scot Scotland, land, but
raised rais ed in Ghan Ghana, a, WestAfrica. I left Ghana because I wassen wassentt toan En Engli glish sh boardin boar ding g sch schoo ool. l. And the there re was a co coup up d’état. I’m Hea Head d of Scho School ol at the Univ Universi ersity ty of Jo Johannesb hannesburg’ urg’ss Grad GraduateSchool uateSchool of Arch itecture, and a novelist (of chick-lit Architecture, ‘bonkbuster ‘bonkbu sters’).Yes, s’).Yes, it’ it’ss true. I started writing ero erotic tic ficti fiction on becau because se I wante wanted d to make som some e mon money ey.. I love being an architect in Africa because we’re the world’s youngest continent in terms ofaverageage ofaver ageage andit sh show ows: s: en enorm ormou ouss energy, ene rgy, you youthfulnes thfulnesss and vigo vigour! ur! People think architects are or organiseda ganiseda nd borin boring. g. Butthe real realityof ityof be beingan ingan arc archit hitectis ectis a lo lott of cho chop p andchange andchange.. The They y real really ly are jacks jacks-- and jillsjills-ofof-all-t all-trade rades. s. Female architects are archit architects. ects. Plaina nd simp simple. le. My earliest memory of design is the lo long, ng, low lo w ho horizo rizont ntal al lin lines es of thebung thebungalo alow w in Takor Tak oradi adi,, Ghan Ghana, a, wh wher ere e I gre grew w up up.. My
My go-to comfort food is everything,
I’m reading The War ThatEndedPeace ThatEndedPeace::
sadly. The restaurant I love best is Lucky BeanRestaur BeanRest aurantin antin Me Melvil lville le.. The They y kno know w meso we well ll I do don’ n’tt hav have e to or orde derr. My winter drink is Babylonsto Babylonstoren ren Chardonnay Chardonnay.. (It’ (I t’ss my summ summerdrink, erdrink, too too.) .) I always travel with my pass passpo port rt anda lit littl tle e pin pink k wooden pig that my sister gave me. I’ve no ide idea a why why.. The one place I’ve visited that I’ll never forget is Réunion Island.
Margarett MacMil MacMillan lan The Roa Road d to 19 1914 14 by Margare
favourite piece of design in Johannesburg
From my travels I always like to bring back
is theCBD theCBD.. Itneve Itneverr fail failss to imp impres ress. s. When
memori mem ories es (as opp opposedto osedto pho photogra tographs phs). ).
and The Women by TC Boy Boyle le.. I’m listening to Spot Spotify ify (w (which hich doe doess the choo choosing sing for me). I hate it when I ha havetooman vetoomany y thi thing ngss to do do.. I am definitely not patient. If I could change one thing about South Africa it would be follow follow-up -up culture. Don’t leave Joburg without trying eve everything. rything. And
I’m notbeing face facetiou tious! s! When I was younger I used to think that I co could uld think beyo beyond nd my imaginat imagination ion.. Some of
I dress up I wear ple pleats ats (but notby Issey Issey). ).
My next dream holiday is Edinburgh.
the best advice I ever got was no nott to wast waste e
My kitchen cupboard staples are sun-
It’ss my favo It’ favouriteplace uriteplace to unwind unwind.. If
driedtomatoes and Ghanaian pep driedtomatoes pepper per sauce, sauc e, thou though gh eate eaten n separ separate ately ly..
money were no object, I’d treat myself
people’ss time tell people’ telling ing the them m whatyou don don’t ’t want to do. Tell them what you do want to do – a nd nd m ak ake i t s na nappy. gsa_unit12
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to an exc exceedin eedingly gly earlyretirem earlyretirement ent..
HL | J U N E 2 0 1 8
“The life of a designer is one of ght: ght against the ugliness.” Massimo Vignelli Award-winning Italian designer
CENTURY UPTOWN - Manhatton. 600 mm x1200mm. Natural Surface
STILES - Cape Town
STILES - George
STILES - Mossel Bay
37 Paarden Eiland Road
12 Commercial Close
Bolton Street
Cape Town, 7405 T: 021 510 8310 F: 021 510 8317
[email protected]
George, 6529 T: +27 44 8713222 F: +27 44 8710721
[email protected]
Mossel Bay, 6506 T: +27 44 6951800 F: +27 44 6951877
[email protected]
www.stiles.co.za
