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26

32
CURATE How to recreate our
architextural cover look in your space
DESIGN We chat to award-winning
architect Peter Rich about his work
MOTORING Lexus’ RX 350L EX is
stylish, safe and family-friendly
68
36 BODY OF WORK The inspiration for
Laduma Ngxokolo’s MaXhosa rugs
38 ART DETAIL Sculptor Michele
Mathison’s artwork speaks volumes
42 NOTED Design and lifestyle news

50 WORKING WITH TIME Richly 88 PINPOINT With active citizenship at its

detailed yet minimalist, earthy but
luxurious: Kenya’s Arijiju House is
H°NVYNLV\ZZ[\K` PU JVU[YHZ[Z
58 CENTRE COURT ( JOHYTPUN
courtyard is the fulcrum of antique
dealer Paul Mrkusic’s Hurlingham
abode in Johannesburg
68 SET IN STONE Connected to the
landscape via its design and materials,
a Swiss holiday retreat in Morcote is all
about indoor-outdoor living
78 SIMPLE PLEASURES Modest, simple
interiors characterise this award-
winning Bloemfontein home, which
stays true to its original blueprint
core, Joburg’s Victoria Yards embraces
the combination of social development
and commercial enterprise – in style
92 GARDEN Succulent expert Dr Ernst
van Jaarsveld has lent his expertise to
Babylonstoren’s inspired shade house
for succulents
100 FOOD Versatile grains and pulses take
[VW IPSSPUN ¶ HSVUNZPKL JYPZW ]LNNPLZ HUK
MY\P[ ¶ PU OLHY[` OLHS[O` KPZOLZ PKLHS MVY
winter feasting
107 FOOD & DRINKS NEWS A look at new
1VI\YN LH[LYPLZ HUK H ]LNHU ^HMÅL ZWV[
in Cape Town, plus the latest in libations
– here’s what to savour right now
108 TRAVEL Explore the ancient seaside
towns of Puglia, Italy, on a journey
that uncovers local delicacies and
ON THE COVER Photograph by
Greg Cox
8 EDITOR’S LETTER Tiaan Nagel on what
initiated the Architecture & Design issue
10 HOUSEANDLEISURE.CO.ZA
14 THE HOUSE AND LEISURE ONLINE
SHOP Find decor and gifts in our store
24 PERSPECTIVE Multimedia storyteller
Malibongwe Tyilo considers what our
architecture says about us
106 COMPETITION: CAPE ESCAPE Eight
couples will each win a two-night stay at
South Beach Camps Bay worth R11 500
114 SUBSCRIBE Get 35% off House and
Leisure – plus delivery to your door

100
127 STOCKISTS
traditional herbal digestivi
128 STYLE PROFILE Meet Lesley Lokko

116 LOUNGE AROUND From rose-

tinted sofas to perfect pouffes, sleek
24 PHOTOGRAPHS: MONICA SPEZIA/LIVING INSIDE, HEIN VAN TONDER, SUPPLIED

sidetables and statement rugs, we’ve

rounded up all the freshest design
offerings for your living room
122 NEWS On-trend ideas for updating
your kitchen (page 122), bathroom
(page 124), bedroom (page 125)
and kids’ rooms (page 126)

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now email subs@magsathome.co.za or call 087-405-2221. To download

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6 HL | J U N E 2 0 1 8
EDITOR’S LET TER

ach month when we sit down as a team to plan

our initial outline for an upcoming issue, I already
have a few clear notions about what I’d like it to
contain. But when the time came to brainstorm
this Architecture & Design issue, I had no idea
how we should tackle the theme. I knew what
I did not want, however – a magazine dedicated
to megastructures and ego. And so the conversation quickly turned to domed buildings and ‘softer’
spaces. The team were unanimously interested in structures and spaces that wrap and embrace
their users, that reveal themselves slowly and that react to their surrounds in a gentle way. Quite
the opposite of strict linear skyscrapers in Sandton clad in reflective glass… This line of thinking
reminded me of the first time I saw fashion legend Rei Kawakubo’s 1997 collection for Comme des
Garçons, Body Meets Dress, Dress Meets Body – often referred to as the ‘lumps and bumps’ range.
It explored the space between the body and the outer garment: Kawakubo filled the tube-like
dresses, cut in gauzy gingham fabric, with huge billowy cushion insertions that grossly distorted
their shapes and, in turn, forced their wearers to react to their surroundings in a different way.
This revolutionary idea of conceptualising garments around the negative or non-areas
around the body sparked much debate. Commentators asked, ‘Are these still clothes, or is this
architecture?’ The idea that attire could be so unaccommodating of the human form – and how
that in turn impacts on the environment beyond the clothes – made me think about ‘traditional’
spaces in a new way. The Japanese have a word, ma, that helps express this thinking, and which
can be roughly translated as expressing the unidentified ‘gaps’ outside of actual structures – the
negative or neglected spaces around structures – and how in themselves these become places or
things to consider. The idea of these ‘pausing spaces’ is a concept that I really love, and this notion
of looking at and embracing the quiet moments ‘in between’ leads us to see that they can in fact
be the building blocks for grander gestures. In some cases they are the grandest of gestures.
Then, in one of those random connecting moments at the same time as planning this
issue, I saw one of the most touching films of my life (yes, I’m dramatic like that). Call Me By
Your Name is in part set in a gorgeous apricot orchard in Italy during the early 1980s, and
as this complicated coming-of-age story unfolds, apart from falling in love with both main
characters, you also can’t help but fall in love with all the ‘quiet moments’ and scenes with
no dialogue in the movie. These are its ma moments, which work together to create this
strange, melancholic love story in a film that, unlike many Hollywood blockbusters, actually
feels real and in turn makes you as the viewer feel vulnerable – it’s really beautiful.
So this Architecture & Design issue is dedicated to grand-because-they-are-not-grand
spaces made with honest materials that explore simple, uncomplicated forms, as well as
homes that either intentionally or unintentionally explore this idea of ma. In fact, looking
back at the process of making it now, it seems that fortuitously and serendipitously, the
TIAAN’S PHOTOGRAPH: VALENTINA NICOL

idea of ma was realised from the very first conversation about the issue. May it leave you
feeling inspired and transported to more romantic and thought-provoking places.

– Editor
Follow me x tiaannagel

houseandleisure houseleisureSA HouseAndLeisure houseandleisure

8 HL | J U N E 2 0 1 8
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 ONLINE

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1 SILENCIO, PLEASE
Dedicated to the creative communities of Paris’

COMPILED BY: LISA WALLACE. PHOTOGRAPHS: DAVID GOLDBLATT’S ‘ZULU WOMAN SALVAGING BRICKS FOR A WHITE CONTRACTOR FROM INDIANS’ HOUSES DEMOLISHED
Montmartre district, Silencio is an urbane relic
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find out more, simply scan the QR code (left).

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8 9 2

7 10
CLOCKWISE FROM
TOP RIGHT
1. Siseko ceramic mugs
in White (R138 each), Kin
Culture Shop 2. Rose quartz
ring (R420), Meraki Jewellery
Design 3. A5 handstitched
notebook (R269), Essie
Letterpress 4. Kuhle blush
napkins (R365; set of four),
6 4 Kin Culture Shop 5. Brut
Rosé MCC (R230; 750ml),
Saltare 6. Beeswax and olive
oil hard hand lotion in Blood
Orange & Ylang-ylang (R120),
5 Mies 7. Genuine leather pen
and cable roll-up (R350),
Major John 8. Lwazi platter
in Grey (R395; medium), Kin
Culture Shop 9. Jute planters
(from R260; small), handle
basket (R680), floor baskets
(from R1 140; medium) and
cylinder basket (R460), all Mia
Mélange 10. Pattern Silver
Hex bangles (R650 each),
Meraki Jewellery Design.

14 HL | J U N E 2 0 1 8
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PHOTOGRAPH: VALENTINA NICOL

VI
 V I E W curate

PAUSE FOR
THOUGHT

PRODUCTION AND STYLING

JEANNE BOTES
ART DIRECTION IAN MARTIN
PHOTOGRAPHS GREG COX

CLOCKWISE
F RO M T O P L E F T
Wall paint in Autumn Fern 3 60YR
40/297 POR, Dulux; leather pouffe
R2 000, Moroccan Warehouse;
ceramic U-planter R490 (large),
Vorster & Braye, and faux aloe
R1 530 (70cm), Plant 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.
 C L O C K W I S E F RO M B O T T O M L E F T
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.

20 HL | J U N E 2 0 1 8
 V I E W curate

T O P L E F T, C L O C K W I S E F RO M B O T T O M L E F T
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 I G H T, C L O C K W I S E F RO M B O T T O M L E F T
Trading bricks R100 each, Moroccan Warehouse; Bud
ceramic vase R580 (large), Vorster & Braye; Indian marble
plates with aged patina finish R495 each, Weylandts; green
stoneware bowl R200 (small), Moroccan Warehouse.

L E F T, C L O C K W I S E F RO M B O T T O M L E F T
Wall paint in Autumn Fern 3 60YR 40/297 POR and 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 Hertex; Flake Rim ceramic bowl
R860 (medium), Vorster & Braye; cut aloe R20, Kenly’s.
 SHOT ON LOCATION AT STUDIO 26 OPEN AIR STUDIO, UNIT G, WESTRIDING VILLAGE, 30 CROSS RD, TABLEVIEW, CAPE TOWN; STUDIO26.CO.ZA.
A B OV E , C L O C K W I S E F RO M B O T T O M L E F T
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; 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 Kartell R16 669, True Design.

R I G H T, C L O C K W I S E F RO 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
FOR SUPPLIERS’ DETAILS SEE THE STOCKISTS PAGE

(small), all Vorster & Braye; Picadilly glass tumblers R595 (for set of
six), Weylandts; ceramic U-planter R420 (medium), Vorster & Braye.

22 HL | J U N E 2 0 1 8
 V I E W curate

C L O C K W I S E F RO M T O P L E F T
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 ceramic 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.
.

VIEW A
VIDEO OF
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HOUSEANDLEISURE.CO.ZA
V I E W perspective
BUILDING
HISTORY
MALIBONGWE TYILO
G
rowing up in the Eastern Cape
between Dimbaza, King William’s
Town, Bhisho, Alice and East London,
I imagined towns and cities on other
continents to be exotic. I thought the soil
in these places, collectively known to me
as ‘overseas’, would feel different; even the
leaves on the trees would be different. As for
the buildings, I expected to step off the plane
into super-futuristic cities.
Admittedly, my logic was a bit dodgy. Like
many South Africans, I grew up on a diet
of local as well as US and British TV shows,
and I don’t recall seeing exotic leaves in
any of those shows. Nor did the New York
neighbourhoods in my favourite sitcoms look
particularly futuristic. Yet the fantastical
‘overseas’ remained in my imagination.
When I landed in New York City as a young
adult on my first trip as a fashion buyer, the
drive from the airport to our Manhattan
hotel was a bit of an anticlimax. Yes, the
buildings along the way looked somewhat
‘New York’, but sans the cinematic lighting
of TV shows, a brick there doesn’t look any
more ‘overseas’ than a brick in East London.
A day later, walking through Manhattan and
visiting Times Square, I relaxed and started
taking in the city for what it is. I could enjoy
the buildings and the stories they told of the
people who call NYC home.
Later on I travelled to Barcelona, Spain.
By then I’d accepted that all these ‘overseas’
places were on the same planet as SA and
would therefore share similar characteristics.
I had dropped unrealistic childhood fantasies
and could appreciate the differences among
24 HL | J U N E 2 0 1 8
the similarities. Strolling around Barcelona,
I was overwhelmed by the weight of history
in the architecture. I could imagine the lives
of the people who laid those first bricks.
A few years later in Dubai, I was blown
away by the very opposite: there the shiny
new buildings made the city feel like a theme
park. Even though the architecture didn’t
seem to pay much attention to history,
somehow it maintained a vernacular
language that feels very ‘Dubai’. It said
something about the people who chose this
desert settlement as a home in pursuit of
their capitalistic goals. Finally, little points
of difference were starting to shine through
in each city I visited.
Every year, my boyfriend and I travel from
Cape Town to visit family, as we’re both from
the same area in the Eastern Cape. While
we’re there we go on long drives, checking
out historic buildings. A fascinating one we
visit each time is the derelict Ntaba KaNdoda
National Monument in the former Ciskei.
All alone in the mountains, it’s a tall cement
structure with a dark history, deserving
of far more interrogation than it receives.
On the way there, you pass numerous
villages. In the Eastern Cape, the rondavel
is a ubiquitous element of a homestead –
so much so that you hardly notice it. Yet
recently, on our trips, we’ve been seeing
larger, modernised variations of this
structure. No longer is it one round room:
there could be multiple rooms, and the
building could be a hexagon, an octagon,
or an octagon with three sides chopped
off to make space for a covered veranda.
It might not strike you as high architecture,
but in these and other buildings, there is
a sense of the vernacular developing at an
unrushed, quintessentially Eastern Cape
pace. Here, too, the architecture speaks
of the people who call these villages home –
of sons and daughters who no longer live here
but are investing in and injecting a reverential
modernity to traditional family homesteads.
Here, in these structures of the province
I couldn’t wait to leave as a child, there’s
an ever-evolving identity to the vernacular
architecture that I look forward to returning
to year after year.  malibongwe
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 man-
made marina and the largest aquarium.
PHOTOGRAPH: CARLA LATSKY
RONDAVELS
Modern interpretations of the African
hut can be found in countries across
Southern Africa, including Lesotho,
Swaziland and Botswana.
 an sca e an arc i ec ure come o e er in
ou rican arc i ec e er ic s ex i i a e
enice rc i ec ure ienna e
TEXT GARRETH VAN NIEKERK PHOTOGRAPHS BARRY GOLDMAN

he 2018 Venice Architecture Biennale

– which sees 63 countries presenting their
expertise across the floating Italian city – will
feature a space dedicated exclusively to the genre-
defying 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
Architecture Exhibition that will see 71 architects 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 In the post-apartheid context, Rich’s work moved to reconcile Western
material, and manner, that reflects Rich’s community- architectural traditions with lessons learned from traditional African
collaborative investigation of architecture. architectural practice. Critically in democratic South Africa, this
Rich was raised, and is still based, in Johannesburg awareness of the past has contributed to the construction of new ‘places
where, at the time of his studies and entry into his of reconciliation’ that re-engineer active social engagement through their
profession, apartheid structures sought to literally architectural attitudes.
dismantle Southern African indigenous architecture. Westridge House and Garden – Rich’s private home in Parktown,
Iron Age ruins were in danger of complete destruction, Johannesburg – has, for instance, reorientated itself over 30 years from
as were functioning settlements built by amaNdebele its early Victorian orthogonal plan into one that adopts the diagonal
people and others living in South Africa at the time. courtyard movement developed by amaNdebele architects over the
As the threat grew, some young architects and centuries, encouraging a meeting of the organic and the formal at
architectural students began to fight back. It was the point of the courtyard.
a battle in which Rich – and his cofounders of the Much of Rich’s architectural practice in general has included working
activist group Architects Against Apartheid – would directly with ‘communities as clients’, addressing the need for the
seek to rally against the destruction, but ultimately it regeneration of the fragmented and damaged social landscape by
was a fight that they lost. Today, many settlements and entering into learning relationships with the communities.
structures have either been totally destroyed, integrated His drawings of his buildings and spaces – including Westridge,
beyond recognition in rapid urbanisation, or fallen to Mapungubwe, Amanzwi, Bwanari and Silonque, among others – provide
ruin, but Rich’s drawings of the sites and structures a look into the workings of Rich’s prolific creative process. For Rich, the
remain as the few custodians of this lost knowledge. drawings can often be more significant than a building; similar sentiments

26 HL | J U N E 2 0 1 8
 V I E W design

T H I S S PR E A D, C L O C K W I S E
F RO M FA R L E F T
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
Architecture, Architecture as Landscape 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 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
request a reconnection with our own intuition, to
create a humane architecture built of the continent
they come from. peterricharchitects.co.za

T H I S PAG E , C L O C K W I S E F RO 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.

28 HL | J U N E 2 0 1 8
V I E W motoring

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look of the car is not really compromised.
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 HARMONIA:
Sacred Geometry,
the pattern of existence
An exhibition by
Gordon Froud
Gordon Froud, Geometry and the human figure 3, 2018, Black and white digital print on archival paper, 1205x900mm framed

13 April to 15 June 2018

www.standardbank.com/SacredGeometry
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Monday to Friday 8am – 4.30pm and Saturdays 9am – 1pm. Tel: 011 631 4467

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I M A G I N E M O R E

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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 collection
TEXT AND PRODUCTION
GARRETH VAN NIEKERK
PHOTOGRAPH
GRAEME WYLLIE

FEET
I tap my feet while I’m
designing, clicking as
I find the flow of the line.
My work has a lot of
linear patterns to create
good rhythm, and so my
feet dance all the time
while I’m making them.

STOMACH
If I experience any doubt,
I use my gut to gain some
element of trust so that
I can do what I do best.
Sometimes you don’t
have confidence in your
abilities, and design is not
always precise, so as an
artist you need to work
with a gut feeling to get
it as right as possible.

HANDS HEAD EYES

My hands are my tools: I sense the texture
of the work. I use them to measure without
a ruler, to get a feel for the dimension and
scale of a pattern I’m working on. I also
use my hands to gauge the quality of what
a person who is touching the knits will feel
in the product.
To capture the spirit of what is really
on my mind, I use my brain to think
in an in-depth 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.
Colour is so scientific, so dynamic;
I love observing it. When someone
sees colour, it elicits a certain
mood and I try to interpret what
I do physically to make sure that
what I see is perceived in the
same way by that individual.

36 HL | J U N E 2 0 1 8
 V I EW inspiration

EARS NOSE MOUTH

Knitwear production is a noisy affair and all the
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. 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.
Certain things carry different kinds
of smells – for instance, to me, every
season’s theme has a particular scent.
For every collection that I create, I pay
attention to my senses, and smelling
is the one I consult to get a sense that
what I’m doing feels and looks unique.
I use my mouth to interpret
a collection’s theme to
the whole team so that we
can capture the mood and
understand what we’re
about each season.
maxhosa.co.za
TEXT ALEXANDRA DODD
PHOTOGRAPHS HAYDEN PHIPPS, WHATIFTHEWORLD GALLERY
peaking to Michele Mathison, it
quickly becomes evident that he
is a sculptor’s sculptor, an artist
immersed in the fundamental
weight, substance and texture of
the world. ‘My work is deeply influenced by
the materials I use,’ he says from his studio
in Denver, southeast of Johannesburg,
where he is ‘exploring, researching, making
maquettes’ toward a new body of sculptures
that builds on States of Emergence, his 2017
solo show at Whatiftheworld Gallery.
But it is not just the essence locked into
wood or stone or metal that he is trying to
set free. Mathison is driven as much by the
contemporary conceptual freight of his
forgings as by the fundamental life of his raw
materials. The works on States of Emergence,
for example, began their lives as pieces
of rock destined for reconstruction into
everyday objects – counters, gravestones,
pavements – but were transformed into
artworks that invite reflection on their
materiality and on what stone sculpture
means in a commoditised world.
Born in Zimbabwe and based in Joburg,
Mathison has a familiar no-nonsense,
feet-on-the-scorched earth quality about
him. His work speaks in a grammar that is
concise and hewn. Powerfully invoking the
regional turbulence and forced migration
of recent decades, it traffics in currencies of
value, exchange and movement, of resource
extraction and material transmogrification.
38 HL | J U N E 2 0 1 8
Anyone who’s paid a visit to Cape
Town’s Zeitz Museum of Contemporary
Art Africa (Zeitz MOCAA) may instantly
call to mind ‘Chibage’, a haunting pile of
empty maize husks cast in ceramic, or his
steel sculpture ‘Ikhuba’, a progression
of hoes, the ancient versatile implement
used to harvest root crops. Mimicking
the operations of capital, human labour
is rendered abstract. A disembodied
matt black sequence of tool shapes
stands out against the white space of
the gallery, evoking movement, like
a painting by Umberto Boccioni or
Giacomo Balla made three-dimensional.
Boccioni, Balla and their fellow Italian
Futurists were obsessed with technology, T H I S S PR E A D,
industrialisation, speed, youth and violence C L O C K W I S E F RO M A B OV E
– things that spoke of the technological Artist Michele Mathison in front of
his sculpture ‘Relief’, which formed
triumph of humanity over nature. But that part of his 2016 solo exhibition at
was more than 100 years ago. Almost two London’s Tyburn Gallery; part of
decades into the 21st century, Mathison Mathison’s series Uproot, ‘Plot’
is interrogating the ongoing social and – a life-sized crop of maize cast
from steel – was also on show
environmental impacts of technology’s
at Tyburn in 2016; ‘Intrusion’ is
grip on the planet. And he’s coming to made from a huge block of marble
these questions from both a rooted and and was displayed as part of his
mobile sub-Saharan perspective. most recent solo exhibition in
‘Mathison’s work interrogates Cape Town, States of Emergence;
‘Lost Ground’ was also an element
humanity’s dependence on land and of Uproot at Tyburn Gallery.
traditions of crop cultivation; the value
of labour; how symbols of labour become
political tools; and the ways in which we
embed spiritual significance in nature,’
says Raphael Chikukwa, deputy director
V I E W art detail
V I E W art detail
and chief curator at the National Gallery
of Zimbabwe in Harare. Chikukwa curated
Harvest, an exhibition of installations
created by Mathison for the Dudziro show
at the Zimbabwe Pavilion for the 55th
Venice Biennale (2013), which recently also
ran at Zeitz MOCAA. ‘These installations
were acquired the same year to keep them
intact and preserve them for the people of
Africa,’ explains Chikukwa.
Meanwhile, Mathison is concocting new
structures, inspired by abandoned roadside
materials – ‘grasses, bits of steel and stone’
– that draw his eye on recces along 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 and
the micro-economies of people scavenging
around the dumps. I’m interested in the life
that emerges and exists around these dumps.’
40 HL | J U N E 2 0 1 8
Mathison was brought up by his mother T H I S PAG E , F RO M T O P
– ‘had no father figure to take me fishing or ‘Chainsaw’ formed part of Mathison’s
solo show Manual at Whatiftheworld
fix cars’, he says. So when he began his art Gallery in 2014; his evocative cast
studies, he was quickly drawn to the hands- ceramic sculpture ‘Chibage’ is in
on, physical aspects of sculpture and making. the permanent collection at Zeitz
‘I love the alchemy of welding, carving MOCAA in Cape Town.
and grinding,’ he says. ‘I was at Michaelis
[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 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 sculpture ‘Volition’ has just been
installed in Norval Foundation’s sculpture
park. michelemathison.com
 To attention and at your service.
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 V I EW news

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 harvest time
f

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ach year, Jo Malone London puts together a limited-
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quintessentially British. The newest addition is English
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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
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 V I EW news

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44 HL | J U N E 2 0 1 8
 Taking a couturier’s approach to interiors, Gavin Rajah
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 V I E W news

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PHOTOGRAPH: VALENTINA NICOL

O
S
WORKING
WITH TIME Seconds stand still in the design of Arijiju House,
which is set in an immense conservancy embracing
the landscape of the Kenyan Highlands
TEXT GARRETH VAN NIEKERK PHOTOGRAPHS MARISKA VAN DEN BRINK

50 HL | J U N E 2 0 1 8
 H O U S E borana
T H I S PAG E
Arijiju House has been designed to ‘disappear’ into the surrounding
landscape of Kenya’s Borana Conservancy, in which it is located.

O PP O S I T E PAG 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 a sentence in what will become
a continuum of sorts’, she says. Koutsoudakis is
m Lagos, where she is completing a penthouse
project before jetting off to the Salone del Mobile in Milan and the
Spanish island of Mallorca for a site visit.
Arijiju, she adds, has been called ‘the most beautiful house in Africa’
by a major international luxury travel and lifestyle magazine. And no
wonder: it took over five years to complete the residential project, 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 African adventure’ 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
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 setting in mind, the house’s design sought 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 added to make the structure ‘disappear’ into its surroundings:
‘Everything in this property speaks of an ethos of subtlety and quiet
authenticity,’ says Koutsoudakis.
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.

52 HL | J U N E 2 0 1 8
 H O U S E borana

T H I S S PR E A D
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 H I S PAG E , C L O C K W I S E F RO 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). 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, 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 H I S PAG E , F RO 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 of house, you either go for colour or high texture when
designing, and there’s a wealth of tactile 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,’ 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.” So we just created the framework for the concept that now
grows and works as time passes, allowing the house to live, to evolve
itself, in its own way.’ arijiju.com, life.za.com

T H I S S PR E A D, F RO M A B OV E
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-clad headboard, designed 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 structural
elements, high volumes
and exceptional
materials,’ says designer
Maira Koutsoudakis.
H O U S E hurlingham

TEXT GRAHAM WOOD STYLING HEATHER BOTING PHOTOGRAPHS GRAEME WYLLIE

58 HL | J U N E 2 0 1 8
 T H I S S PR E A D, F RO M L E F T
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 considering building a home
of their own. As often happens in
Joburg, in among all the usual suburban
jumble of pastiche and pretence, there will suddenly 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 Antique, Art
& Design Association (SAADA; saada.co.za) and running an online
vintage jewellery and antique store – Bancroft 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 ‘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.’
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
I-beams or pillars that typically betray alterations where rooms
have been opened up or joined together – the lines of the ceiling
were unmolested. The plaque 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.
60 HL | J U N E 2 0 1 8
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 flushes through the courtyard over the
water’, cooling the spaces around it and letting out the 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 self-
contained 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
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 beyond it, connecting to the tree-lined
 T H I S PAG E , F RO 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
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.

O PP O S I T E PAG E , F RO M L E F T
Accompanying a pair of silkscreen prints by
Walter Battiss are a contemporary Polish glass
vessel, a mouth-blown orange vase with a hand-
applied 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

street beyond. It might be a self-contained sanctuary, but the whole

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 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, Mid-
Century, and contemporary art and design, which for him, as
a dealer in antiques, is also fascinating. It’s not surprising that the
complexity of the house – with its Chinese box of courtyards 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 out, 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’s taste in furniture and design, the
house has found a dazzling new expression of its original form,
complemented by a thoughtful collection of late 20th century
and contemporary local art that seems made for its walls, plinths
and display nooks. ‘It’s uncomplicated, modest and unpretentious,’
says Paul – but as inspiring as ever. bancroftantiques.co.za

62 HL | J U N E 2 0 1 8
 T H I S PAG E
The entrance
hall leads into
the main living
area on the right,
while the central
courtyard on the
left is open to the
sky, appearing
as a 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.

O PP O S I T E
PAG E ,
F RO M T O P
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-Century-
inspired 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

HOUSEANDLEISURE.CO.ZA

64 HL | J U N E 2 0 1 8
 T H I S S PR E A D
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 Mid-
Century Danish
furniture designer
Hans Wegner.
H O U S E hurlingham

T H I S PAG E , F RO M T O P
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), a self-portrait figural
corkscrew by Alessandro Mendini for Alessi (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-grey 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 MDD for Nordlux (nordlux.com), and the Soho bedside
table in Oak, also from Mezzanine, is home to a white ceramic
Rosenthal Studio-line vase (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 Mid-
Century chromed lamp – another fortuitous secondhand find.

Together with changes in level and

a fantastic choreography of skylights
and windows at different levels, the
architecture creates a serene, almost
magically self-contained atmosphere.

66 HL | J U N E 2 0 1 8
 T H I S PAGE , C L O C K W I S E F RO M T H I S I M AG E
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.
 T H I S S PR E A D
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 washed-
concrete walls, while a rusted,
raw-steel front door poses
an invitation to view the
minimalist aesthetic beyond.

68 HL | J U N E 2 0 1 8
 H O U S E morcote

SET IN STONE
With a strong connection to its surrounding
landscape, this minimalist weekend home in
Morcote, Switzerland, provides a tranquil haven
that epitomises indoor-outdoor living
TEXT AND PRODUCTION FRANCESCA SIRONI PHOTOGRAPHS MONICA SPEZIA/LIVING INSIDE
 T H I S PAG E , F RO 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
(baettig-design.ch). The pair
hen a couple from Basel, of Pila ceramic vases by Zaven
hail from Atipico, a collective
Switzerland, began looking for of Italian artists (atipico.com);
a weekend home with a ‘discreet a glimpse of the living room with
presence’ in a quiet location, its central fireplace: to the left,
it was only natural that they an opening leads to another of
numerous central courtyards
turned to the small, peaceful
that were created ad hoc to
town of Morcote, a former filter light into the house.
fishing settlement nestled between Lake Lugano
and Mount Arbostora that has been named
‘the most beautiful village in Switzerland’. The
area, which is characterised by its picturesque
setting, has few inhabitants, but the presence of
numerous breathtaking palaces and chapels in its
historic centre as well as the Romanesque-style
church Santa Maria del Sasso makes it a popular
destination for tourists and visitors.
The project requirements for the couple’s
house on the slopes of Mount Arbostora were
clear: a simple design, reduced sizes and an
‘almost invisible’ structure with a strong 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 translate them into a design. We
knew the Swiss studio Wespi de Meuron Romeo
Architects of Markus Wespi, Luca Romeo and
Jérôme de Meuron (nephew of Pierre de Meuron,
the founder of renowned architectural firm
Herzog and de Meuron), and we immediately
sensed that we had a certain understanding and
a common language.’
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
that lead from the road below, the only noticeable
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 architects. ‘In addition to the green covering,
this almost camouflages the facade’ – an effect
that will be amplified over time as the materials
are exposed to the elements. ‘The crooked walls
and slightly pitched roof are dictated by building
codes, which is why the layout is three adjoining
bodies with a rectangular base around the
entrance courtyard.’ Sheltered by olive trees
and indigenous vegetation, the building merges
seamlessly with its surrounds, offering a direct
view of the landscape without any interference.

70 HL | J U N E 2 0 1 8
 H O U S E morcote

T H I S PAG E
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).
T H I S PAG E ,
C L O C K W I S E F RO M B E L OW
In the kitchen, the work surface reprises
the prevailing material of choice – concrete –
offset by ClassiCon glass vases and a bowl in
Quartz Grey 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

T H I S PAG E
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 minimalist 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 loggias that allow
the bedrooms’ inhabitants to relax both indoors and out,
this unique weekend getaway is exactly what its owners
wanted it to be – a discerning retreat that is completely at
one with its natural environment. wdmra.ch

74 HL | J U N E 2 0 1 8
H O U S E morcote

T H I S PAG E
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).

O PP O S I T E PAG E ,
CLOCKWISE
F RO M T O P
R IGH T
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.
76
HL | J U N E 2 0 1 8
FOR SUPPLIERS’ DETAILS SEE THE STOCKISTS PAGE
 H O U S E morcote

COMPILED BY ROSALYND WATSON PHOTOGRAPHS SUPPLIED

C L O C K W I S E F RO M T O P L E F T
‘Mundu Wa Mwaki I (A Man Of Fire)’ artwork by Kaloki Nyamai (acrylic and mixed media on canvas, 1.98×2.31m) POR, Ebony
Curated; engineered oak Dillon dining table with wooden top in Worn Tobacco R22 000 (0.78×1.9m), SHF; Shanghai rattan chair
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
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 Institute
of Architects (SAIA) Merit Award for
its design. And in 2015, current owners
Johan Olwage and Janus Pretorius
purchased the house from Almud
Britz, having fallen head over heels for the small but perfectly
formed structure.
‘An attentive property agent who understood that we were 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 her husband’s work
and insisted that we should be the next owners.’
Johan and Janus moved into the space in January 2016, and
set about furnishing it in a way they felt suited its unique, pared-
back 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 for it to remain as close as possible to the original 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 furniture 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. ‘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 Magistretti, 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
meticulously placed windows that allow a varying play of light
78 HL | J U N E 2 0 1 8
into the interiors throughout the day. This means that despite its
relatively small size, it ‘exudes a sense of generosity with the barrel-
vaulted ceilings, creating a maximum sense of spaciousness,’ says
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
African artist 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
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, ‘extravagance of any kind was clearly 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
worth treasuring.
H O U S E waverley

T H I S S PR E A D, C L O C K W I S E F RO M A B OV E
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.

PR EV IO U S PAG E
Shielding the front entrance from the living space is a ‘honeycomb’
wall, on which hangs an artwork by Landi 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), 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 HL | J U N E 2 0 1 8
H O U S E waverley
 T H I S PAG E
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 PP O S I T E PAG 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.
H O U S E waverley

T H I S PAG E , C L O C K W I S E F RO 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 PP O S I T E PAG 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 HL | J U N E 2 0 1 8
The house consists of three
interlinked, barrel-vaulted
structures and has high
ceilings and meticulously
placed windows that
allow a varying play of
light into the interiors.
PHOTOGRAPH: VALENTINA NICOL

IS
 T H I S S PR E A D, C L O C K W I S E
F RO M T H I S I M AG E
After perusing Victoria 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

n a sunny Saturday morning, Joburg

TEXT ZODWA KUMALO-VALENTINE
PRODUCTION GARRETH VAN NIEKERK
PHOTOGRAPHS GRAEME WYLLIE
arts and culture lovers buzz around
Daville Baillie Gallery, clutching bubbly
and croissants. They are not only here
to see the artwork of designer Faatimah Mohamed-
Luke 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 comprises
artists’ studios and artisans’ 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 HL | J U N E 2 0 1 8
 L E I S U R E pinpoint

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 will soon be
moving its currently Kyalami-based microbrewery
to the premises.
The Victoria Yards property is situated in
Lorentzville in an area that has been anchored
by fast-food chain Nando’s global head office on
Victoria Road since the early 1990s. A river runs
through the Yards, too – the Jukskei, one of Joburg’s
largest waterways. 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 it might be tempting to compare Victoria
Yards to Group 44’s other (much better-known)
development at 44 Stanley in Milpark, the new
project’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 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 warehouse, a large, open room
with an inviting fireplace makes an ideal setting
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 difficult 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 working to bring in a group to set up sound studios
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, sustainability 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
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 precinct, it looks likely to provide
inspiration to developers around the country
over the next few years. victoriayards.co.za

T H I S PAG E , C L O C K W I S E F RO M R I G H T
Handmade jeans are fashioned on 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.

90 HL | J U N E 2 0 1 8
T H I S S PR E A D
Babylonstoren farm at
Simondium in the Western
Cape has added a custom-
made 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.
 L E I S U R E garden

TEXT CATRIONA ROSS PHOTOGRAPHS GREG COX

hen everyone (erroneously, it turns out)
imagined that the Western Cape was
a water-rich place, English-style gardens
ruled and bright flowers cascaded from
planters at nurseries. But drought has
forced us to find beauty in less obvious
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, 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
gardening, and by answering gardeners’
questions on Babylonstoren’s new Candide
app (babylonstoren.com/gardening-app).
A legend in the botanical world, 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 all sides.
‘Succulents need fresh air, and sunbirds
fly in and pollinate the plants,’ he says.
Gecko shelters – planks with inner hollows
– were installed on high beams so their
residents can feed on succulent-harming
tiger moths at night. Only biological pest
control is used here: a predatory mite is
used for red spider mite; the dwarf diurnal
gecko (Lygodactylus capensis) controls
other harmful insects during the day.
94 HL | J U N E 2 0 1 8
With 3 000 to 4 000 species, South
Africa has the richest diversity of succulents
in the world. They range from the tiny
Crassula setulosa, a few millimetres high,
to the giant baobab (Adansonia digitata)
with a stem circumference of up to 45m.
Water-conserving adaptations make them
visually arresting: consider the black
spiny aloe, Aloe melanacantha; the surreal
halfmens (Pachypodium namaquanum);
sosatiebush (Crassula repestris); and
elephant’s foot, Dioscorea elephantipes.
Many are edible, from the tuberous
kambro (Fockea edulis), eaten by the San,
to succulent mint and French thyme.
Examples of the first local succulents
ever recorded grow in Van Jaarsveld’s
shade house: the carrion flower Orbea
variegata, and Cotyledon orbiculata (pig’s
ear), picked by Dutch missionary Justus
Heurnius while visiting the Cape of
Good Hope on the ship Gouda in 1624.
Here, Van Jaarsveld’s miniature
gardens are on display. ‘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
T H I S PAG E , C L O C K W I S E
F RO M T O P L E F T
Succulents thrive in terracotta pots – these
are from Pot Port in Brackenfell (potport.com);
sekelblaarplakkie (Crassula perfoliata var.
minor) is easily grown from seed or cuttings;
climbing onion (Bowiea volubilis) is an unusual
species that harnesses light for photosynthesis
in the absence of aerial leaves. Here it pairs
with string of hearts (Ceropegia woodii) in a
verdant cascade; rambling aloes (Aloiampelos
One of the most
rubriflora) widely admired
bear blooms throughout the year.
 L E I S U R E garden

T H I S PAG E , C L O C K W I S E
F RO M T O P L E F T
Bear’s paw (Cotyledon tomentosa 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
(Cyphostemma juttae); this miniature
garden includes an assortment of
typical Cape species: concertina
plant (Crassula rupestris), Haworthia
chloracantha, Haworthia glauca
and cliff bells (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? ‘People think
succulents need full sun, but they
just need sufficient light,’ says 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 grow,’
he says, breaking a piece off the leaf
of a fairy crassula to plant. Mother-
in-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 over-
exposure 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’s milky sap burns the eyes
like nobody’s business). Succulents turn
abuse to good use: every time a branch
of spekboom (Portulacaria afra) is
trampled into the ground by elephants,
it propagates itself. ‘They turn a
negative thing into a positive,’ says
Van Jaarsveld. ‘We can learn so much
from them.’ babylonstoren.com

T H I S S PR E A D, C L O C K W I S E
F RO 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
plants (Kalanchoe luciae) make 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 HL | J U N E 2 0 1 8
L E I S U R E garden
 HOW TO POT
YOUR OWN
SUCCULENTS

HOUSEANDLEISURE.CO.ZA

98 HL | J U N E 2 0 1 8
RECIPES AND STYLING
CARO DE WAAL
PHOTOGRAPHS
HEIN VAN TONDER
Bulgur wheat salad with baby beetroot and charred fennel.

100 HL | J U N E 2 0 1 8
 L E I S U R E food

Smashed orange lentils with saffron cauliflower and crispy sage.

BULGUR WHEAT SALAD
WITH BABY BEETROOT
AND CHARRED FENNEL
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
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.
SERVES 4
SMASHED ORANGE
LENTILS WITH SAFFRON
CAULIFLOWER AND
CRISPY SAGE
500ml dried orange lentils
500ml water
102 HL | J U N E 2 0 1 8
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
10g packet of fresh sage leaves
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 serve warm.
SERVES 4
SALMON TROUT
WITH RED QUINOA
AND SPINACH
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
In a pot, bring the quinoa and water to the
boil and, once bubbling, reduce the heat to
a simmer for 15 minutes. Drain the quinoa,
place it in 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
and pine nuts, tossing now and again until
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 medium-
high heat, fry the fillets in the olive oil (begin
with the skin side down for 3-5 minutes).
Over high heat, char the spring onions
in a griddle pan with a little oil. (To retain
a golden colour, avoid turning them too
often.) While the spring onions are cooking,
add the spinach to the quinoa mixture 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. Serve immediately.
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 fruit. 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
barley with the bones facing upwards.
 L E I S U R E food
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, HONEY-
ROSE SYRUP,
PISTACHIOS
AND GRANOLA
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 remaining syrup
from the baking tray over each. Salmon trout with red quinoa and spinach.
SERVES 4
 M ORE GO T
OR O
F

NOW TRY
SAKE WITH
GRAPEFRUIT
& GINGER
.ZA
HOU

CO

EA
S

NDL E.
EISUR

Slow lamb with quince preserve, brinjals and pearl barley.

104 HL | J U N E 2 0 1 8
 L E I S U R E food

Figs with goat’s cheese, honey-rose syrup, pistachios and granola.

competitionsouth beach

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PHOTOGRAPHS: SUPPLIED. *TRANSPORT TO SOUTH BEACH CAMPS BAY IN CAPE TOWN NOT INCLUDED
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For competition rules, visit houseandleisure.co.za/terms-conditions.
House And Leisure houseleisureSA
 L E I S U R E   savour

MODERN TALKING
QUICK ON If you’re looking for fine dining but prefer to skip the fuss, head to Farro
THE DRAW in Illovo – Joburg’s brand-new space for adventurous and indulgent eating.
Think whole fried cauliflower on a bed of hummus, a delectable guava
The rum revival is in full swing and
sorbet, fresh focaccia breads and perfectly roasted pork belly.
this month it’s all about Moscow Mule
Shop G16, Thrupps Illovo Centre, 204 Oxford Rd, Illovo,
cocktails made with Sailor Jerry
Sandton; 071-618-4352. farro.co.za
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

GOOD TO GO
THE SMART MODULAR ELLIPSE LUNCH
POT IN WHITE (R279) BY DUTCH FIRM
MEPAL IS LEAK-PROOF AND DISHWASHER-
FRIENDLY. YUPPIECHEF.COM

COMPILED BY ROBYN ALEXANDER, GARRETH VAN NIEKERK

PHOTOGRAPHS ROBYN DAVIE, ELSA YOUNG, SUPPLIED

SERENE CUISINE
WITH THE LAUNCH OF GREI RESTAURANT, SAXON HOTEL, VILLAS & SPA WELCOMES A NEW STAR TO
ITS LIST OF GAME-CHANGING CHEFS: CANDICE PHILIP. HERE, PHILIP EXPLORES HER LOVE OF UNUSUAL
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MADE IN ITALY
Created in the Italian
Alps at a 160-year-old
brewery, Mazzatti now
debuts in SA. Choose from
the full-flavoured Lager
Superiore or the crisp,
WINTER dry Pilsner Superiore.
WONDERS From R26 for 300ml at
Calling Pinot Noir fans: the Makro (makro.co.za),
and Norman Goodfellows,
latest vintages are being
ngf.co.za.
released, including the
2016 version of Bouchard
Finlayson’s flagship SPECIAL TREATS
Galpin Peak Pinot Noir A petite ‘dessert bar’ situated just off Dunkley
(from R355 for 750ml, Square in Gardens in the Mother City, Jessy’s
bouchardfinlayson.co.za) Waffles serves up a delectable array of
and Lourensford’s refined, vegan and gluten-free waffles and toppings
elegant The Dome Pinot – including sweet and savoury options
Noir 2016 (from R135 for – as well as smoothie bowls and coffee. 58
750ml, lourensford.co.za. Barnet St, Gardens, Cape Town; 079-167-5446

J U N E 2 0 1 8 | HL 1 07
 POSTCARD
TEXT KATIE PARLA PHOTOGRAPHS ED ANDERSON/BAUERSYNDICATION.COM.AU/MAGAZINEFEATURES.CO.ZA

T H I S PAG E
Perched atop craggy limestone precipices above the
Adriatic, the whitewashed town of Polignano a Mare
near Bari is one of the prettiest spots along Italy’s
Puglia coastline.

108 HL | J U N E 2 0 1 8
 L E I S U R E travel

FROM 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 carved 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, Turks and Venetians. They all left
their mark – much of it at the table – and this
makes shopping for food and dining in 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 from
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 returned 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 – almond-
paste biscuits, mostaccioli (biscuits flavoured
with cinnamon, cloves and cocoa), cream-
filled 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, 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 flavours and pleasantly bitter finish.
A short distance east of Gallipoli, fourth-
generation 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,
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.

110 HL | J U N E 2 0 1 8
 L E I S U R E travel

T H I S PAG E ,
C L O C K W I S E F RO M T O P L E F T
Unlike most other coastal settlements in
Puglia, Monopoli is a bustling city – but
in its historic centre you’re never far from
a quiet corner in a charming square; small
fishing trawlers dot the harbour at Torre
San Giovanni on the Ionian sea; a pasta
dish made with orecchiette (‘small ears’) is
the speciality at L’Orecchietta in Guagnano
(lorecchietta.com); La Grotta della Poesia
(‘cave of poetry’), a sinkhole at the water’s
edge north of Torre Dell’Orso, is popular for
cliff diving; coffee and pasticciotti, custard
pastries typical of the Salento region, at
Caffè Alvino in Lecce ( Caffè Alvino);
about halfway between Bari and Brindisi,
Alberobello’s characteristic cone-roofed
houses – known as trulli – are a Unesco
World Heritage Site.

O PP O S I T E PAG E
The imposing statue of Lecce’s patron
saint Orontius overlooks the town at its
main square, Piazza Sant’Oronzo.
 T H I S S PR E A D,
CLOCKWISE
F RO M L E F 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 architecture; an Aperol
spritz accompanies lunch at Caffè
Parisi in Nardò ( Caffè Parisi).
Traditional digestivi liqueurs,
produced according to centuries-
old family recipes, are an inevitable
conclusion to meals in Puglia.
 L E I S U R E travel

WHERE TO
EAT & DRINK
ADDITIONAL IMAGES: ISTOCK

PLUS PLACES
TO STAY

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PHOTOGRAPH: VALENTINA NICOL

OC S
 5

SQUARE SCATTERS

1 2 3
6
ROSY PINKS
AND LEATHER
Living-room hues take on a rosier outlook with
soft pinks, offset by sturdier materials such as
leather, wood and metallics.
7
8
9
ROSE-GOLD LIGHTING

4
10

20 11

BRING FLAIR TO YOUR

LIVING SPACE WITH
LUSCIOUS COLOURS 12
AND TEXTURES
COMPILED BY GEMMA BEDFORTH
PHOTOGRAPHS SUPPLIED 19

13
MODERN CLASSICS

14
18

15
17

16

T H I S PAG E , C L O C K W I S E F RO 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 sidetable with leather top in Tan and steel base in Black R1 990, Dark Horse 9. Rose cupboard handle in Pink R90, Handles Inc 10. Posy rug
from the Rosewood collection from R4 950 (1.6×2.3m), Haus by Hertex 11. Cornell upholstery fabric in Rosa from the Bloomsbury collection R590/m
(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/m2, St Leger
& Viney 16. Satyrium wallpaper in Poetry by Daleen Roodt R670/m2, 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 HL | J U N E 2 0 1 8
 NATURE-INSPIRED EXTRAS

BUTTER YELLOW
2
AND WOOD
Tactile materials and sunny fabrics in shades of honey
1 and gold are an easy way to warm up a space.

3
5

15
7
LUXURIOUS LEATHER

14 8

10
12

13

WOOD AND GLASS

11

T H I S PAG E , C L O C K W I S E F RO M T O P L E F T
1. Legend bookcase by Christophe Delcourt from R126 890 (1.96×2.09m), Roche Bobois 2. Nido Brown pendant light by Faro Barcelona R3 710,
Newport Lighting 3. Dinesen oak flooring with natural oil finish R3 886/m2 (0.25×1.24m; excludes shipping and fitting), bulthaup 4. Facet 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/m2
(includes design, manufacture and installation), Plantation Shutters.
118 HL | J U N E 2 0 1 8
 F O C U S living rooms

3
5

PETITE PENDANTS SKY BLUE AND

SANDSTONE
Understated neutrals complement
a palette of pale blues in an interior that
2 packs a laid-back yet uplifting punch.

1 6

SUBTLE TONES

19 20

10 9

18

17

16
HEAVENLY BLUES

15
11

13

12

T H I S PAG E , C L O C K W I S E F RO 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,
Home Fabrics 7. Sullivan sidetable with oak-oiled base in Walnut and Duco top in Grey R2 910, Mezzanine 8. 2260 Sandy Beach polished floor
slab POR (1.44×3.05m), Caesarstone 9. Caesarstone, oak and brass Luna drinks cabinet in Grey and Black R80 700 (10.95×17m), Weylandts
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
Clair from R11 090, Roche Bobois 18. Chalk Ocre Glazed ceramic wall tile R369/m2 (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/m2 (includes installation), American Shutters.
 4
2 STRIPES MEET CHEVRONS

1 5

13

14

10
12

11

INTERCHANGEABLE STORAGE
8

T H I S PAG E , C L O C K W I S E F RO 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.

120 HL | J U N E 2 0 1 8
 F O C U S living rooms

ADD SOME SHINE

TERRACOTTA AND STRIPES

Get back down to earth with modern colour – think chocolate brown, rich
stone and cheerful coral – combined with clean-lined yet classic furnishings.

10

MINIMAL BUT BOLD

ADDITIONAL IMAGES: ISTOCK. FOR SUPPLIERS’ DETAILS SEE THE STOCKISTS PAGE
7

T H I S PAG E , C L O C K W I S E F RO M T O P L E F T
1. (From left) Zig Zag fabric in Amber and Tangle fabric in Amber, both from the Urban Safari collection R1 451/m, Home
Fabrics 2. Pine mirror R2 999, @home 3. Edge 1 Composition shelving by Vincent Dupont-Rougier from R109 390, Roche
Bobois 4. Odd vase 1 R1 100, Liam Mooney Studio 5. Cork polyrattan sidetable R2 020, Weylandts 6. Bellini 2.5-seater
sofa from R6 995, Sofaworx 7. (From left) Stoneware Flake Rim bowls by Vorster & Braye R975 each (medium) and R1 275
(large), all Okha 8. Bamboo Trellis rug in Orange R166 808 (2.13×3.02m), The Rug Company 9. Sansimeon Stone Accent
chair R6 990, Ashley Furniture Homestore 10. Custom-designed rug R8 900/m2, Gonsenhausers Fine Rugs.
F O C U S news

THE
FLIP
SIDE
Turn food
prep into
a pleasure
with the
elegantly
designed
copper-plated
lifter (R182),
made from
stainless
steel.
woolworths.
co.za

ALL CLEAR
If you’re after a gleaming, minimalist look, try high-
gloss, 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

$Ê)*/")/*&(*" COOKING AREA

HOLDING IMAGE COURTESY OF BLU LINE AND FEATURES CABINETS WITH CUSTOM-MADE GLASS DOORS AND A LAYERED ISLAND OF QUARTZ AND CAST
SEASON
COMPILED BY ROSALYND WATSON PHOTOGRAPHS SUPPLIED TO TASTE
Thanks to fine
materials and
timeless design,
FOR A WARM GLOW IN THE HEART OF YOUR the salt mill in

CONCRETE (POR; INCLUDES MIELE APPLIANCES), BLU-LINE.CO.ZA. FOR SUPPLIERS’ DETAILS SEE THE STOCKISTS PAGE
HOME, INVEST IN A P929C TALLINN PENDANT Oak and pepper
mill in Walnut
IN BLACK AND WOOD WITH COPPER GLASS
(R2 459 for set;
(R964; EXCLUDES BULB). EUROLUX.CO.ZA 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
add marshmallows.
COTTON CAN-DO weylandts.co.za

Screen-printed on absorbent woven cotton hopsack, the cheery

Breeze tea towel in Persimmon (R165; 48×70cm) will make short
work of drying the dishes. skinnylaminx.com

122 HL | J U N E 2 0 1 8
F O C U S news

THE EPITOME OF CONTEMPORARY

TAPWARE, THE PURIST DECK-MOUNT
BASIN MIXER IN ROSE GOLD (R9 775)
BOASTS AN ERGONOMIC DESIGN,
CAREFUL DETAILING AND DURABLE
COMPONENTS. KOHLER.COM

HEAVEN SENT
For a glorious fragrance
that envelops your

HOLDING IMAGES COURTESY OF KOHLER AND THE TILE HOUSE AND FEATURE THE PURIST DECK-MOUNT BASIN MIXER IN ROSE GOLD (R9 775), KOHLER.COM, AND CERAMIC TILES IN MARSALA AND BEIGE, ROPE BEIGE AND
bathroom in minutes, light
a pair of vanilla-scented
Cloudy candles in etched-
glass containers by
David Jones (R302 each).
woolworths.co.za

COPPER MARSALA ROUND MOSAICO TILES FROM THE COLOR LINE COLLECTION BY FAP CERAMICHE (POR; 25×75CM), THETILEHOUSE.CO.ZA. FOR SUPPLIERS’ DETAILS SEE THE STOCKISTS PAGE
DRAMATIC
APPEAL
n easy way to make a statement
is to opt for an unconventional
shape – such as this metal-
framed Quatrefoil Mirror in
Gold (R2 950; 64×96cm).
EMBRACE THE TREND OF shf.co.za
TERRACOTTA AND METALLICS
WITH QUALITY ADD-ONS
OF THE EARTH
Shades of rich terracotta and sand reign supreme in this
COMPILED BY ROSALYND WATSON modern setting, which features ceramic tiles in Marsala and
PHOTOGRAPHS SUPPLIED Beige offset by textural Rope Beige and Copper Marsala round
mosaico tiles from the Color Line collection by Fap Ceramiche
(R485/m²; 25×75cm); thetilehousesa; 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
The versatile
Melt surface light
in Copper by Tom
Dixon (pictured
above; R12 061;
diameter 50cm).
can be mounted
almost anywhere.
crema
design.co.za

1 24 HL | J U N E 2 0 1 8
 PAUL SMITH’S
GEOMETRIC
SPLIT BRIGHT TWINE OF
RUG (FROM R47 301; THE TIMES
Rattan and iron
1.22×1.83m; curve in creative
HANDKNOTTED harmony in the
TIBETAN WOOL) WAS Twister Kubu
Hanging Lamp (from
INSPIRED BY GLASS R2 795; medium).
PRISMS THAT BREAK weylandts.co.za
UP LIGHT TO CREATE
ANGULAR SHAPES.
THERUGCOMPANY.COM

HOT SEAT
Already well known for its outdoor
TURN TO TACTILE ACCENTS AND SUBTLE
furniture, Mobelli’s exquisite range
of statement-making indoor pieces
HUES FOR A RELAXED SPACE THAT’S BOTH
SET SQUARE includes the Ludlow sofa (R14 995): COSY AND VISUALLY APPEALING
Lay on the luxe with its unusual kidney-shaped design
a velvet-covered and sumptuous fabric will lift any
space to new heights. mobelli.co.za COMPILED BY ROSALYND WATSON PHOTOGRAPHS SUPPLIED
scatter in Ochre
(R249; 60×60cm).
home.co.za
HOLDING IMAGE COURTESY OF LINEN HOUSE AND FEATURES AN EMBROIDERED PURE COTTON HARTLEY DUVET-COVER SET (FROM R1 230;
THREE QUARTER; 150×200CM; INCLUDES ONE PILLOWCASE), LINENHOUSE.CO.ZA. FOR SUPPLIERS’ DETAILS SEE THE STOCKISTS PAGE

IN DETAIL
Cuddle up in the
cold with a quilted,
reversible velvet Verity
blanket in Rose Pink
(from R1 299; single).
The Deva table mirror
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 Sandcastle DRESSED FOR BED
(R13 000) an Bedtime can’t come soon enough when it means snuggling up with an
opulent addition to embroidered pure cotton Hartley duvet-cover set (from R1 230; Three
your boudoir. Quarter; 150×200cm; includes one pillowcase). linenhouse.co.za
shf.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 light-and-sound system. circu.net

DESIGN
AT 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)

HOLDING IMAGES COURTESY OF CIRCU.NET AND ARTHOUSE.COM AND FEATURE THE TEEPEE ROOM BED (POR; 2.45M HIGH; INCLUDES MATTRESS; EXCLUDES LINEN), CIRCU.NET, AND WOODLAND FOREST
adds style to the mix, too.

FRIENDS WALLPAPER IN NEUTRAL BY ARTHOUSE (R779/ROLL; 10M×52CM; INCLUDES WALLPAPERING TOOL AND DELIVERY), STICKYTHINGS.CO.ZA. FOR SUPPLIERS’ DETAILS SEE THE STOCKISTS PAGE
designstore.co.za NEW BESTIE
Heartworks’ Minxy
Monkey in Mixed Yellows
by (R395; 30cm tall) has
se io s BFF potential

COOL CHILDREN’S ROO

ALL THE BOXES FOR FU
FUN, COLOUR AND CRE HELLO BABY
brate your new arrival with charming stoneware from
e Baby Collection in Pastel Blue, Dune or Milky Pink
COMPILED BY ROSALYND WATS rom R254 for a set of two ramekins). lecreuset.co.za
PHOTOGRAPHS SUPPLIED

JUNGLE BUDDIES
The kids will be 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
FOR A YOUNGSTER’S SPACE (R779/ROLL; 10m×52cm;
INCLUDES WALLPAPERING TOOL AND DELIVERY).
STICKYTHINGS.CO.ZA
126 HL | J U N E 2 0 1 8

STOCKISTS
@home home.co.za
American Shutters
americanshutters.co.za
Andrew Dominic
andrewdominicfurniture.com
Ashley Furniture Homestore
ashleyfurniturehomestores.co.za
BeautifulAge beautifulage.co.za
Blu Line blu-line.co.za
bulthaup bulthaup.com
Bvlgari bulgari.com
Caesarstone caesarstone.co.za
Cemcrete cemcrete.co.za
Chair Crazy chaircrazy.co.za
Circu circu.net
Clinton Friedman clintonfriedman.com
Coricraft coricraft.co.za
Corobrik corobrik.co.za
Country Road woolworths.co.za
Créma Design cremadesign.co.za
Dark Horse dark-horse.co.za
Design Store designstore.co.za
Dokter and Misses
dokterandmisses.com
Dulux dulux.co.za/en
Ebony Curated ebonycurated.com
Egg Designs eggdesigns.co.za
Eurolux eurolux.co.za
Gonsenhausers Fine Rugs
finerugs.co.za
H&M hm.com/za
Handles Inc handlesinc.co.za
Haus by Hertex hertexhaus.co.za
Hertex hertex.co.za
Home Fabrics homefabrics.co.za
House and Leisure Shop
shop.houseandleisure.co.za
Italtile italtile.co.za
James Mudge jamesmudge.co.za
Jo Malone London jomalone.co.za
Kenly’s kenlys.myshopify.com
K Light klight.co.za
Klooftique klooftique.com
Kohler kohler.com
La Grange Interiors
lagrangeinteriors.co.za
Le Creuset lecreuset.co.za
Liam Mooney Studio liammooney.co.za
Linen House linenhouse.co.za
Lucky Fitsch lucky-fitsch.com
Mezzanine mezzanineinteriors.co.za
Mobelli mobelli.co.za
Moroccan Warehouse 021-461-8318
MRP Home mrphome.com
Newport Lighting newport.co.za
Okha okha.com
Pezula Interiors pezulainteriors.co.za
Plantation Shutters plantation.co.za
Plant Couture
plantcouture.co.za
Poetry poetrystores.co.za
Rebel Walls rebelwalls.com
Robin Sprong robinsprong.com
Roche Bobois roche-bobois.com
SHF shf.co.za
Skinny laMinx skinnylaminx.com
BUYERS’ GUIDE
Sofacompany.com za.sofacompany.com
Something Good Studio
somethinggoodstudio.com
Starke Ayres starkeayresgc.co.za
Sticky Things stickythings.co.za
St Leger & Viney stleger.co.za
The Bedroom Shop
thebedroomshoponline.co.za
The Lighting Warehouse
lightingwarehouse.co.za
The Rug Company therugcompany.com
The Sofaworx Company sofaworx.co.za
The Tile House thetilehouse.co.za
True Design truedesign.co.za
U&G Fabrics ugfabrics.com
Vorster & Braye vorsterandbraye.co.za
Weylandts weylandts.co.za
Woodbender woodbender.co.za
Woolworths woolworths.co.za
Yuppiechef.com yuppiechef.com
Zimbo’s Trading zimbostrading.co.za
COMPETITION TERMS
AND CONDITIONS
For full competition terms and conditions,
visit houseandleisure.co.za/terms-conditions.
While all product information was checked
before going to print, House and Leisure
cannot guarantee that prices will not change
or that products will be available at the time
of publication.
HL | J U N E 2 0 1 8 127
STYLE PROFILE

LESLEY
LOKKO
Architect and educator.
Pan-Africanist.
Undercover erotica author
COMPILED BY GARRETH VAN NIEKERK
PHOTOGRAPH DEBORAH HURFORD BROWN

I was born in Dundee, Scotland, but

raised in Ghana, West Africa. I left
Ghana because I was sent to an English
boarding school. And there was a coup
d’état. I’m Head of School at the University
of Johannesburg’s Graduate School of
Architecture, and a novelist (of chick-lit
‘bonkbusters’). Yes, it’s true. I started
writing erotic fiction because I wanted
to make some money. I love being an
architect in Africa because we’re the
world’s youngest continent in terms
of average age and it shows: enormous My go-to comfort food is everything, I’m reading The War That Ended Peace:
energy, youthfulness and vigour! People sadly. The restaurant I love best is Lucky The Road to 1914 by Margaret MacMillan
think architects are organised and boring. Bean Restaurant in Melville. They know and The Women by TC Boyle. I’m listening
But the reality of being an architect is me so well I don’t have to order. My winter to Spotify (which does the choosing for
a lot of chop and change. They really drink is Babylonstoren Chardonnay. me). I hate it when I have too many things
are jacks- and jills-of-all-trades. Female (It’s my summer drink, too.) I always to do. I am definitely not patient. If I could
architects are architects. Plain and simple. travel with my passport and a little pink change one thing about South Africa it
My earliest memory of design is the long, wooden pig that my sister gave me. I’ve would be follow-up culture. Don’t leave
low horizontal lines of the bungalow in no idea why. The one place I’ve visited Joburg without trying everything. And
Takoradi, Ghana, where I grew up. My that I’ll never forget is Réunion Island. I’m not being facetious! When I was
favourite piece of design in Johannesburg From my travels I always like to bring back younger I used to think that I could
is the CBD. It never fails to impress. When memories (as opposed to photographs). think beyond my imagination. Some of
I dress up I wear pleats (but not by Issey). My next dream holiday is Edinburgh. the best advice I ever got was not to waste
My kitchen cupboard staples are sun- It’s my favourite place to unwind. If people’s time telling them what you don’t
dried tomatoes and Ghanaian pepper money were no object, I’d treat myself want to do. Tell them what you do want to
sauce, though eaten separately. to an exceedingly early retirement. do – and make it snappy. gsa_unit12

128 HL | J U N E 2 0 1 8
 “The life of a designer is one of Þght:
Þght against the ugliness.”
Massimo Vignelli
Award-winning Italian designer

CENTURY UPTOWN - Manhatton. 600mm x1200mm. Natural Surface

STILES - Cape Town STILES - George STILES - Mossel Bay

37 Paarden Eiland Road 12 Commercial Close Bolton Street
Cape Town, 7405 George, 6529 Mossel Bay, 6506
T: 021 510 8310 T: +27 44 8713222 T: +27 44 6951800
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