WORDS Graham Wood PHOTOS Paris Brummer

Two gigantic Agoodjie warriors stand guard outside a Plettenberg Bay home. The bronze sculptures by artist Nandipha Mntambo are from a series inspired by the Amazonian palace guards in Dahomey (modern-day Benin), an elite regiment of women warriors. Their spirit presides over the house in more ways than one. The house is actually “Twin Residences”, as architect Marielise van der Merwe of MVDM Architects dubbed them – separate but connected, meant for two generations of the same family. (The owner’s son is an architect, and gave valuable input on key decisions.) And these sculptures and others (including a large Edoardo Villa on the front lawn) are part of an art collection – carefully curated by the owner, an avid collector – that’s central to the spirit of the place. It relates to Marielise’s approach, and her thinking about “the relationship between architecture and art, and the way they communicate with each other”.

To start with, she says, the site demanded a certain architectural presence. Situated on a prominent spot at the end of Beachy Head Road, the buildings overlook the Beacon Island Hotel, Robberg and the beach, and had to hold their own among those landmarks when being looked at. The MVDM design team’s philosophy, however, strives for something more than simple attention-grabbing tactics. Whatever boldness the design has, she believes, needs to be equalled by a sense of harmony. Being visible also means that, as much as it was designed to capture views, the home needed to protect the privacy of its owners.

Marielise’s solution drew on something close to her heart: the organic architecture of the legendary 20th-century architect Frank Lloyd Wright. Her father – also an architect – spent time at Wright’s winter home/studio/architecture laboratory Taliesin West in Arizona as a young man, getting first-hand inspiration from the master. Marielise describes Wright’s organicism as a philosophy in which architecture “stems” or “flows from” its natural setting, emerging from the landscape rather than imposing on it. Architecture and landscape need to complement and enhance each other.

That was no small order. Not only does the approach demand a certain poetry, but the site, she explains, was “steep as hell” – and sandy. The foundation required more than 200 piles, so it is quite literally “embedded”. “The entire house is carved into the hillside,” she says. “This project would not have been possible without SGB Construction, who handled the site’s complexities with grace and capability.” Its rounded edges and curves were inspired as much by the dunes as “the sea, and the mountains in the background”, reinterpreted to create powerful sculptural forms. Its bulk, however, is fragmented, so that the structure doesn’t appear monolithic. The separation or pulling apart of the two residences also helps to open the architecture to its surroundings, allowing the setting to flow through and around the house. Ribbons, swoops and wavelike forms add grace and movement. As much as the home draws you in, its interiors also spill out into courtyards and nooks. There’s a kind of motion in the experience of the architecture, and in its form.

Inside, a sculptural staircase opens up a triple-volume central well, with light pouring in from above. “The staircase is probably the centrepiece around which the whole building is organised,” says Marielise. “It weighs more than a tonne…” Which is to say, its presence at the heart of the home adds another layer of bespoke craft.

Marielise and the MVDM design team were responsible for the interior design, too. Again echoing Wright, the house embodies a “unified” approach, in which architecture, interiors and furniture come together in concert, guided by a single hand and a singular vision. She refers often to the idea of a “golden thread” that runs through every aspect of the design, from the grand scale to the tiniest detail, drawing on local handicraft to soften and humanise the sculptural concrete, glass and steel. Handmade tiles from Wolkberg Casting Studios, used in abundance, in many ways echo the organic forms of the building itself, reprising its themes on an intimate scale. The beautiful finishes feature on interior and exterior walls, creating a seamless continuity between inside and out. At times, too, the joinery blends with the architecture, serving as walls and room dividers.

The theme of context through craft continues in details such as the specially commissioned mohair rugs and textiles by Frances van Hasselt and The Ninevites, which again reflect the signature forms of the architecture. Pendant lights by Ashanti Design, suspended in the stairwell, bring in colour. Marielise added her own touches to the furniture, for example by tracing the forms of the headboards for the manufacturers. She did bring in some outside influences in furnishings sourced from the likes of Ligne Roset – pieces that easily harmonised with the existing architectural shapes and forms. These help to create a context of luxury and sophistication that brings out those characteristics in the locally manufactured items.

Perhaps for this reason, the house receives the owner’s art collection – a deeply personal layer – with ease and generosity. And those giant Agoodjie warriors extend the artistic spirit outwards, protecting a space for life within, rather than against enemies from without. mvdmarchitects.com | @mvdm.architects

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WORDS Gina Dionisio PHOTOS Courtesy of SAOTA

Tracing SAOTA’s 40-year journey, the exhibition at Brundyn Arts & Culture in Cape Town, presented in partnership with Poliform, invites visitors to look closely at how architecture is made.

Through architectural models, large-scale imagery and accounts of the practice’s design process that has developed over four decades, Shaped by Place: 40 Years of Architectural Practice reveals how spaces relate to one another.

SAOTA began in a small Sea Point apartment in 1986 and moved to Church Street in 1992, the street on which the exhibition now opens. Its approach developed within a wider Cape tradition of responding to climate, landscape and life between indoors and out.

“Cape Town taught us to look carefully at how a building sits in its landscape and how people move between inside and outside. Those questions have stayed with us as we’ve worked elsewhere. Bringing the work back to Church Street feels particularly meaningful,” says Stefan Antoni, SAOTA principal.

“We want people to see how an architectural idea develops through questions, drawings and conversations. Sharing that process gives younger architects something they can test against their own experience. After forty years, we have knowledge to pass on, and the exhibition is also an opportunity to hear what others are asking of architecture,” says Greg Truen, SAOTA principal.

The exhibition invites students, emerging architects and the wider public into the discussions that shape the practice’s work.

Throughout October, talks with SAOTA principals and invited guests will explore architectural practice, social opportunity, the Cape’s modernist heritage and the implications of automation for design. Upcoming talks include:

The exhibition takes its name from SAOTA’s new monograph, Shaped by Place, which is available for pre-order. Through projects and reflections, the book develops the exhibition’s ideas beyond the gallery. Its four themes are Form and Foundations, Atmosphere and Experience, Context and Culture, and Legacy and Influence.

Shaped by Place: 40 Years of Architectural Practice runs until 31 October at Brundyn Arts & Culture, Mandela Rhodes Place, 21 Church Street, Cape Town. saota.com | @_saota

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WORDS Palesa Mohola PHOTOS Eduardo Macarios

Located in the bustling coastal neighbourhood of Praia Brava in southern Brazil – a beach destination known for its strong waves – Apto Bravissima was designed not only to blend in with the natural landscape but also to double as a retreat for slowing down and spending time with family. The 372 sqm design incorporates a minimalist approach with subtle references to a coastal setting, beginning with a revision of the original floor plan to better use space and shape the layout around the family’s needs.

Wood and stone were predominantly used throughout the apartment, with finishes of a matte, natural appearance that reinforce the inviting and timeless character of the interiors. Masonry was adapted in the support areas, including the kitchen and laundry room, to improve everyday functionality without straying far from the design concept.

Removing visual and physical barriers between the interior and exterior created a continuous spatial experience that enhances natural light, ventilation and the ocean views. This began with the creation of a multipurpose space designed with the grandchildren in mind – a room intended for spending time together, whether studying or playing, while also providing additional support for the bedroom suites.

This idea extended to the balcony and surrounding landscape, which were designed by Terraco Paisagismo, a contemporary exterior architecture and landscaping firm that installed gardens on the balconies, establishing visual continuity with the natural surroundings.

The lighting scheme celebrates the natural interaction between light and space, letting daylight shape the interior as it shifts throughout the day. Indirect lighting and table lamps introduce softer, more intimate layers of brightness, creating a space that feels both considered and inviting. Finer details include Danish-designed lamps that the clients selected on their travels; for this family, these are not merely lighting fixtures but pieces that bring a sense of history to the interior, threading sentimental value into the design narrative. | @simaramello

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With 300 locations worldwide and seven Best International Estate Agency Marketing Awards, Fine & Country’s expert Luxury Property Advisors combine local market knowledge with international reach.

This dual offering is powerful because it provides nuance.

Locally, it’s understanding that no two markets are the same. Every suburb offers a different lifestyle, and every home has its own character. Globally, it’s exposure, credibility, and a shared commitment to presenting exceptional homes with care.

Together, local luxury and global expertise fuel a singular promise: whether you’re investing in Cape Point or selling a townhouse in London, you’ll be in the hands of experienced professionals equipped with market-relevant pricing, timing, and negotiation insights.

After all, moving home is one of life’s most important financial and emotional decisions. And it looks different to everyone. Built on unique presentation, widespread exposure, and a luxury service experience from consultation to completion, Fine & Country’s award-winning marketing strategy is dedicated to the small differences that make a home stand out.

The result is a selection of properties with features that extend far beyond a postal code or plot size. Fine & Country looks for the story that lies beyond the listing.

Discover a remarkable home, or evaluate your own with Fine & Country – a network built on trust, service, and a considered approach to luxury real estate.

Explore or appraise a property at fineandcountry.co.za.

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WORDS Graham Wood PHOTOS Sarah de Pina

When Rolf Nel and Karen Smith decided to build this house, it represented more than just a building that would tick off items on a preconceived “shopping list” of architectural requirements. Theirs was a marriage later in life – they both had grown-up families – and building a house was about giving tangible form to their new life together, not just luxury or comfort.

Although not an architect himself, Rolf is from a family of architects, and had a “convoluted idea of what architecture should look like” – but how it felt was more important. “We had our story,” he says. Rolf and Karen had found a corner stand in Midstream Estate in Centurion, overlooking a section of veld and trees that had been preserved as part of a greenbelt, with views that seemed to stretch on forever, to the horizon.

The stand had its challenges. When the couple initially took architects Johan Wentzel and Grete van As of W Design Architecture Studio (WDAS) to the site, however, the architects recall only a “scraped” patch of ground. The estate’s architectural guidelines, Johan and Grete felt, didn’t off er a design language that would make the most of the opportunities presented by the natural context. “Usually, when we start a design, we have something to guide us, something to grab onto,” says Johan. Here, they found nothing.

With their hands tied, they decided to propose something radical: nothing. Or at least something that looked as if it was barely there. “It’s something we’ve always dreamt of doing – building a building that doesn’t exist,” says Johan. If that sounds paradoxical, consider the shelter of a cave or a tree: it makes a space, it becomes a place, but it isn’t architecture. Johan and Grete decided to simply do something akin to “pulling the veld outside over the stand like a blanket”.

Architecturally speaking, the home took the form of an earth-covered ground fl oor housing the public spaces and living areas, with a barn-like bedroom structure on the upper level, clad in roof sheeting. The only “presence” on the site, it’s as simple an architectural expression as you’ll fi nd anywhere.

They called on legendary landscape designer Patrick Watson to bring the veld back, something he is perhaps uniquely qualified to do. (A recent monograph of his work is titled Veld.) The result is a house and garden that merge with the nature beyond, the house itself “folded in”.

The illusion of disappearing architecture is enhanced with some deft architectural trickery. The slight downward slope of the driveway, for example, is countered with two landscaped berms on either side that rise to the height of the first floor. The roof has been planted with tall, swaying grass (as high as an adult or higher) so that, from the street, the landscape appears to roll out almost uninterrupted. “If the wind blows through the grass, it is absolutely magical,” says Grete. The first-floor “barn” seems to be floating in a field.

The massive, three-metre-wide, brass-clad pivot front door intentionally requires a bit of effort to push open. The effect is one of descending to an underground entrance, when in fact it’s a perfectly normal one-storey building at this point – although, with the placement of large dolomite rocks sourced from a nearby excavation, it certainly has a subterranean cave-like feeling. “It’s almost like portal from one world to another,” says Johan.

The entrance hall is another disappearing act. While an Angus Taylor sculpture greets you as you walk in, you find yourself in a minimalist box. “It’s just open and extended views,” says Grete. “It starts to feel almost infinite.” It’s as if you’ve left the world of suburbia far behind. “Your immediate impression is this incredible sense of peace,” says Rolf. “You feel an absolute connection with nature.”

Inside, the volumes are generous, and centred on a large, open living area. It’s a pared-down space, quiet and free of distractions. But it is warm and rich in natural colours and textures, never distracting from its setting. Rolf describes it as a space that “holds you in a way that’s really comfortable and beautiful”.

He explains that he and Karen often have their children and grandchildren visiting on weekends, filling the living area with activity. Karen loves to cook, so the kitchen is central. “Everyone chips in,” he says. “It becomes a festive occasion.” At the same time, he adds, when it’s just him and Karen at home, what comes to the fore again is the connection with the “untamed spirit” of the veld.“

Our story is about connection,” says Rolf. “It’s about connection to people, and it’s about connection to nature. The house holds you comfortably in the present.” | wdas.co.za

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WORDS Steve Smith PHOTOS Cameron Prins, Supplied

Few South African creative practices have achieved the global influence that SAOTA has enjoyed. Over four decades, the Cape Town-based architectural firm has evolved from a small studio into one of the world’s most recognisable names in residential and commercial architecture, with projects spanning six continents and a portfolio that’s contributed significantly to the lexicon of contemporary luxury homes. Yet despite its international reach, SAOTA’s architecture remains rooted in the landscape, climate and culture of South Africa.

As the practice celebrates its 40th anniversary in 2026, its story is not only one of remarkable growth, but of an enduring partnership between three architects whose complementary strengths have shaped its identity.

Founded in 1986 by Stefan Antoni, the practice emerged during a period of profound change in South Africa. “When I qualified it in 1985, South Africa was in a political mess, and the economy was struggling. But even while studying, I had this ability to pick up work,” recalls Stefan. “By the time I graduated, I’d done a little shopping centre and a couple of houses.” After a few frustrating months working for another architect, Stefan struck out on his own with offices in Sea Point. “It was a real blessing, being based in Sea Point. We attracted clients from the Atlantic Seaboard just when the property market there exploded in value.”

It obviously couldn’t have been all serendipitous luck – it was also a reputation built around design. Stefan’s early work was bold and contemporary, challenging conventional notions of domestic design. While much of the architectural world remained focused on inward-looking spaces, his big, expansive homes embraced openness, light and an intimate relationship with the landscape. “At the time, architecture was in a big lull. Modernists like Gawie Fagan were always doing exceptional work, but we were now in a Post-modern world. I didn’t want to do silly little boxes, like other architects were doing. From the very first project, our buildings were strong and characterful.”

With project folders building up on his desk, Stefan needed more people – and one of them was Greg Truen. When Greg joined the practice in 1995, the studio consisted of just 14 people. South Africa was entering a new era following its first democratic elections, and Cape Town democratic elections, and Cape Town was beginning to attract unprecedented international attention. What followed was a period of extraordinary momentum.

“I’d set up a small practice in Durban for a couple of years with a friend – really just working from home – but it wasn’t going anywhere,” recalls Greg. “So at the end of 1994, I got on a bus and came to Cape Town for a couple of interviews. I got two job offers, one of which was from Stefan. There was already a buzz around him then, so it felt like an easy decision.”

Also from Durban was Philip Olmesdahl, a graduate of the University of KwaZulu- Natal; he and Greg knew each other at university. “The industry in Durban was plagued by fee negotiations; basically, the cheapest would do the job,” remembers Philip. “I was in Cape Town in December, on holiday, and Greg said, ‘Why don’t you apply?’ So I did. I had an interview, and started in January.”

And so the seeds of success were somewhat unwittingly sown. “There was no vision or anything back then,” says Stefan. “It was just survival. The first nine or 10 years were tough.” He’s underselling things a bit: as Greg says, Stefan had established a reputation. Its distinction lay in an architectural language shaped by South Africa’s unique way of living. Long before “indoor-outdoor living” became a global aspiration, South Africans had developed homes that blurred the boundaries between architecture and landscape. Verandas, courtyards, pergolas and generous terraces responded naturally to the country’s temperate climate, while open-plan interiors encouraged a more relaxed way of inhabiting space.

With the practice’s creative DNA firmly established, the team fortified, an upswing in the economy after our first democratic elections, and the world’s attention swivelling towards Cape Town, those seeds began to germinate. Based on a series of residential projects in Cape Town, they were commissioned to do a Radisson hotel and a residential project in Dakar, which then led to projects in Switzerland and Spain. These were picked up on and featured on respected design-focused website The Cool Hunter – and suddenly, the world knew.

“There was a sudden shift aft er 1995,” says Greg, “and for a while, it puzzled us. Then we realised they’re obviously coming to us because they see something in the work – a connection to landscape and a kind of easiness in the way space is used. Most of the things people like are surprisingly universal. They want to connect with the landscape. They want to live in spaces that empower them, that make them feel good.”

As with any creative business, it’s often the business part that’s difficult to manage. Designing the cool house is easy; running a business is hard. As design-focused as he is, it’s here that Philip played a critical role in SAOTA’s operational and technical excellence, helping to transform a successful design studio into a global practice capable of delivering increasingly complex commissions around the world. The secret is in the systems the practice developed to deal with the 70 to 120 projects it had on its books.

“Because we work remotely, there’s no sense that we’re huge,” says Philip. “We do have around 400 people working for us – but it’s not like you’re going into a big corporate office every day and seeing all of them. You’re not conscious of the size. Also, each of our eight principal architects has a project group. And the project groups vary in size from 20 to 50 people. So SAOTA is really a group of studios; and each principal architect has a different identity and a different trajectory on the work that’s been meaningful to them and their teams.

“The teams have been together for 17 years, so they’re run like independent companies. It means everybody’s getting an opportunity to learn different things. Skills development is great, as is the reward they feel. And if there are business changes in the market… We’re resilient. Because there are many smaller projects, we can fill the holes far more easily than if we were reliant on two or three big clients.”

With regular informal and formal check-ins on all projects, the co-founders are able to keep a close eye on the work product and on the practice’s financial performance. That balance between creative ambition and disciplined execution has become one of SAOTA’s defining strengths. It means that even though there’s been a fortuitous element of having the right design approach at the right time, growth has never actually been accidental. Alongside architecture, the founders helped to establish complementary businesses – including interior architecture studio ARRCC, and furniture and product design brand OKHA – creating a multidisciplinary ecosystem where architecture, interiors and object design inform one another.

The practice has also invested heavily in systems technology and collaboration. During the Covid-19 pandemic, when much of the architectural profession faced uncertainty, SAOTA experienced one of the most significant periods of expansion in its history. Remote collaboration dissolved geographical barriers, allowing the practice to work more seamlessly with international clients while continuing to design from Cape Town.

Yet despite its scale, SAOTA resisted becoming formulaic. Each of the founding partners is a self-confessed design addict, aware of each project their “studio of studios” has taken on. Whether it’s a cliff – side villa in Los Angeles, a waterfront residence in Sydney or a home on the Atlantic Seaboard, each project starts with a careful reading of place, climate and the lives of its occupants. Underlying this philosophy is a confidence born of South African creativity.

“I don’t think South Africans appreciate how unique our design culture is,” says Greg. “There’s far more freedom here. There’s an entrepreneurial spirit and a willingness to experiment. People are expressing themselves, rather than simply fitting into an industry.

Forty years after its founding, the practice’s influence extends well beyond the homes it has designed. It has elevated perceptions of South African architecture on the international stage, inspired a generation of architects and designers, and demonstrated that world-leading design can emerge from the southern tip of Africa without sacrificing its identity.

For Stefan, Greg and Philip, perhaps the greatest achievement has been building a practice that transcends any individual architect. Four decades on, the glamour of their buildings and their celebrated success are ultimately underpinned by three individuals who not only have a shared creative vision, but who have been able to work together – and build something together – over four decades. It’s not a common outcome in the creative world, where personal ambition and forceful egos can often hold sway.

It’s appropriate that Stefan has the final word to describe the chemistry that is the foundation of their success: “We are similar in some ways, but also very different. Philip works super-fast; he’s super-clear, super-organised, very demanding. You can either survive Philip and learn massively from him, or you just jump out. Greg is gentlemanly, very proper – you’ll never hear him raise his voice. And ‘charmingly brutal’ is the term I use to describe my own approach. You’re going to get bruised with me; it’s part of the process. I regularly give my team a hard time, but I do it with a certain kind of endearment – and they know I really do care.” | saota.com

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WORDS Palesa Mohola PHOTOS Supplied

Launched in 2013, Open Studios continues to be one of the Mother City’s most-loved design events, giving the public the opportunity to explore and engage with the city’s creative professionals and design enthusiasts for free. This year, with over 30 studios opening across two nights, Open Studios will spread across five neighbourhoods, grouped into walkable clusters, with visitors encouraged to explore the route on foot or bicycle – though some locations may require a short drive.

What to expect

The programme is divided across two evenings:

• 14 October: Twenty-one studios spread across the city clusters of De Waterkant, CBD and Gardens.
• 15 October: Ten studios in the creative districts of Woodstock, Salt River and Observatory.

2026 Participating Studios

Wednesday, 14 October – 21 studios

• Bomax
• Chris van Niekerk
• dhk
• Jacobs Parker
• Jane Visser Architects
• Jenny Mills Architects
• Kevin Fellingham Architects
• KMH
• My Place in Cape Town
• Ohkre Collective
• Paragon Group
• Peerutin Karol
• Revel Fox and Partners
• Salt Architects
• SAOTA
• SEA School of Explorative Architecture
• Stewart & Partners
• Terra Design
• TwoFiveFive Architects
• VDMMA
• Wolff Architects

Thursday, 15 October – 10 studios

• ACG Architects
• Craft of Architecture
• Design Network
• GAPP Architects & Urban Designers
• In House Design Studio
• Meyer and Associates
• Mobius Interior Architecture
• R&L Architects
• Source Interior Brand Architects
• Yes&

The event, known for bringing together architecture, interior, landscape and urban design enthusiasts, presents the perfect opportunity to explore the intersection of Cape Town’s skylines and streetscapes. Entry is free, with route maps available online and at participating studios. | openstudios.co.za

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WORDS Lori Cohen/Bureaux PRODUCTION Sven Alberding/Bureaux PHOTOS Greg Cox/Bureaux

You don’t expect to find a building that doesn’t quite behave like a house on an ordinary suburban street. Yet behind a high wall and the canopy of an old tree, Jonty and Lee-Ann Olmesdahl discovered a space that followed none of the usual rules. Once a sculptor’s studio, it opened in a single sweep: six metres of glass, a pitched roof and a tapering footprint that pulled the garden indoors.

“When we first opened the gate, it was like walking into a secret garden,” says Jonty. “You look up at a huge expanse of glass and roof, then back at these massive trees. It was spectacular.” The scale was irresistible, though almost everything inside needed undoing and rethinking. The floors were buried under years of paint and oil. The mezzanine cut awkwardly into the height. Two structural protrusions sat squarely in the fl ow of the room. “It was beautiful… and completely chaotic,” Lee-Ann recalls. “The light was incredible, but nothing worked.”

Both Jonty and Lee-Ann have 20-plus years in the fashion world under their belts, and across the house, it shows: this space is all about layering, harmony, the instinctive pairing of materials until something clicks. “It’s like styling an outfit,” says Lee-Ann. “You’re mixing textures, colours, proportions – until it just feels right.” Which is why the building’s unusual proportions didn’t unsettle them; they simply read the shape and added what made sense. Along one side, this instinct led to a full-height mirror wall. Timber slats cut to the exact dimensions of the facade’s mullions frame the mirror and bring the rhythm of the exterior indoors. The reflections soften the long, narrowing plan and create quieter moments in the tall space.

Opposite this, the main wall plus the two structural protrusions are clad in repurposed terracotta roof tiles sourced as damaged job lots. Jonty trimmed each tile by hand: intact edges for the fl at surfaces, smaller offcuts for shallow relief. Working with the tiles became a kind of puzzle, he says. Because each pallet of tiles came with different flaws, he had to sort through every piece, finding ways to use chips, variations and odd edges. The inconsistencies ended up giving the surface its texture and depth – a material that began as salvage became one of the most distinctive architectural gestures in the house. “Once those tiles went up, I knew I was committed to not going with a minimalist white space,” he says.

Where the mirror wall moves horizontally, the green-glazed bathroom tiles that wrap the protruding columns draw the eye upwards. They run floor to ceiling, and visually link the lower level to the mezzanine. The colour echoes the courtyard planting and adds a small lift of energy. “It was about creating layers,” says Lee-Ann. Together – mirror, roof tile, green tile – they give the space a structure it never had before.

With that rhythm set, the kitchen found its natural position. Originally tucked into the narrowest end of the plan, it was moved to the widest section to allow the living and dining areas to fl ow. Low cabinetry and open shelves keep the surfaces calm so the larger architectural elements remain the focus.

The staircase carries this language upwards. The original pine was stripped back and rebuilt, then finished with the same timber slats as those used on the mirror wall. Between them, narrow mirror panels catch the lines of the tiled walls below. From the mezzanine, the vertical system reads as one composition rising into the pitch of the roof.

Upstairs, the bedroom has a gentler feel. With glazing at both ends and skylights above, the light was intense through the day, and curtains were impossible. Jonty built a canopy bed from leftover timber to create a soft enclosure. Drapes can be pulled around it to temper the morning glare, and the air-conditioning unit is hidden above the frame. “It’s got a bit of that treehouse feel. It’s very serene,” says Lee-Ann. And the bathroom further extends the bold approach to materials: thick stone offcuts cover every surface, including as shelving across the window.

Outside, the courtyard echoes the proportions of the interior without repeating its finishes. Heat-treated pine clads the walls and decking, its warm tones picking up the terracotta used inside. A white perimeter wall shares dimensions with the internal slats, creating a subtle link when the doors are open. The planting is intentionally loose – monstera, palms, jasmine – and kept wild enough to soften the architecture.

The couple’s furniture choices follow the same instinctive mix. Jonty designed the outdoor table, stools and an indoor plinth from off cuts of stone and timber. Vintage chairs, reupholstered finds, and ceramics collected in Japan and Bali and on coastal weekends give the rooms personality without overwhelming them. What began as a paint-splattered workshop has become a home shaped by confident material reuse and brave decisions. And despite all that has changed, Jonty says the spirit of the place remains. “It had this creative energy from the moment we walked in. That part never left.”

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In the heart of Constantia Upper, a collection of six private homes is taking shape in one of the Southern Suburbs’ most outstanding locations.

The Collective comprises six individually conceived residences – Grove, Oak, Glen, Vale, Steen and Terra – each carefully designed around its position within the landscape. Set at 22 Ou Wingerd Road, the estate is tucked quietly towards the end of a peaceful cul-de-sac, with mature trees, layered gardens, mountain views and the vineyard valley beyond forming an integral part of the setting.

Priced from R34.5 million including VAT, the residences range from approximately 544m² to 589m² and have been conceived with an emphasis on proportion, materiality, natural light and the relationship between the home and its surroundings.

With only six homes, The Collective offers an unusually private expression of contemporary Constantia living.

Where Constantia Becomes Part of the Home

Constantia has a character that has been shaped over generations: tree-lined roads, mature gardens, vineyards, mountain views and a sense of permanence that is increasingly rare within Cape Town.

The Collective is deeply embedded within that landscape.

Positioned towards the end of a quiet cul-de-sac on Ou Wingerd Road, the homes enjoy a secluded setting while remaining close to the neighbourhood’s schools, vineyards, restaurants and everyday conveniences. Pedestrian access to Groot Constantia, directly opposite the estate, places one of Constantia’s most established landmarks within immediate reach.

The position also gives the residences an unusually strong relationship with the landscape beyond. Views extend across the vineyard valley, while mature planting and carefully positioned gardens create privacy around the homes.

Here, the setting is not an afterthought to the architecture – the setting was the guiding force behind the architecture.

Six Homes Shaped by Architecture, Landscape and Light

Each home has its own architectural character, while sharing a cohesive design philosophy.

Individually conceived and carefully positioned across the site, Grove, Oak, Glen, Vale, Steen and Terra each have a distinct relationship with the landscape. Generous openings draw natural light and greenery deep into the interiors, while carefully framed outlooks connect the homes to Constantia and beyond.

Covered terraces extend the living spaces towards private gardens and pools, creating a continuous relationship between indoors and outdoors. A considered landscape of mature planting and layered gardens gives each home its own sense of privacy and connection to the surrounding environment.

Together, the six homes form a considered composition – distinct residences brought together by a shared approach to architecture, materiality and an exceptionally attractive setting.

Designed Around the Way Life Unfolds

The Collective has been designed around how the homes will actually be lived in – from the way in which residents arrive, to where people gather, how light moves through the homes and how living spaces transition towards the garden.

Kitchens sit at the heart of each residence, with bespoke cabinetry and concealed sculleries supporting both everyday living and entertaining. Generous living and dining areas open onto covered terraces, landscaped gardens and private pools, allowing the homes to move naturally between indoors and outdoors.

Bespoke joinery, natural materials and carefully considered detailing continue throughout the residences, creating a material palette that feels warm, refined and enduring.

The intention is evident in the details: the positioning of an opening to frame a view, the relationship between a kitchen and garden, the transition from one material to another, or the way a room is proportioned for both intimate family life and larger gatherings.

All elements has been considered as part of the whole.

A New Build in Constantia – A Rare Occurrence

Newly built homes of this stature within Constantia Upper are incredibly scarce. The opportunity to acquire one within a private setting, with the scale and specification of The Collective, is rarer still.

The estate comprises just six residences, each offering five bedrooms and five bathrooms, with an additional guest cloakroom, generous entertaining areas, private gardens, swimming pools and double garages. Gated access with 24-hour monitoring provides an additional layer of security and peace of mind.

Completion is scheduled for Q1 2028.

A Developer Rooted in the Southern Suburbs

The Collective is being developed by Urban Space, whose portfolio of residential developments has focused particularly on security estates in some of the most exceptional locations within Cape Town’s Southern Suburbs.

Founded by Brendan O’Brien, Urban Space has built a niche around considered residential projects shaped by their setting, with a focus on proportion, context, long-term appeal and classic design.

The Collective marks O’Brien’s return to property development in Cape Town following five years spent in Ireland, during which time he worked closely with the Irish Government, to provide over 150 social housing units. His return to Cape Town – the place he considers home – makes The Collective particularly significant for O’Brien.

“I have, over the years, developed a deep passion for creating homes in Cape Town’s Southern Suburbs and to be launching a project that ties in very well with this passion, gives me an equally deep sense of gratitude,” remarks O’Brien.

The Invitation

The Collective will be released to the wider market on Wednesday, 21 October 2026 at 12pm, with sales taking place through Connect, Revo Digital’s interactive sales platform.

The development is brought to market by Revo Digital and sold exclusively by Revo Property.

With homes priced from R34.5 million including VAT, The Collective represents a rare opportunity to secure a newly built home within one of Constantia’s most established and sought-after settings.

Six residences. One private setting. A considered approach to every detail.

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WORDS Palesa Mohola PHOTOS Manuel Sá

Küster Brizola Arquitetos designed this 200 m² apartment with a family of four in mind, structuring it as a home centred on family life, hosting friends and family, and creating meaningful memories. Here, a chequered pattern spread across the living areas is a defining feature of the apartment, used to organise the social zones and establish its identity.

The ceramic floors were the guiding factor in the selection of materials and finishes throughout the apartment. This also meant that the striking pattern required a careful balance of textures, colours and surfaces – one that would allow it to stand out while working in harmony with other elements. The architects opted for a restrained palette, where white lends a sense of lightness and blue accents introduce a quiet serenity.

The social area sits at the heart of the home, with the grid guiding the architectural layout and its geometry carefully aligned with the custom cabinetry and stone countertops. Since it is a multifunctional area, the shelving unit organises circulation and subtly defines the playroom, game room and living area; to preserve the feel of an open-plan layout, the playroom received a delicate metal-framed partition in place of a solid wall.

The same communal spirit informed the kitchen – a room dedicated to cooking, family gatherings and entertaining, with a Paraná Cromos stone island at its centre.

Shades of green run throughout the kitchen via the Gouache ceramic tiles by Portobello, evoking nature and bringing freshness to the room. These harmonise with the American oak cabinetry found throughout the residence, establishing a continuous material language between rooms – one that brings warmth to the interiors and blends seamlessly with the project’s palette of blue, green and terracotta tones.

To add a personal touch, the furnishings in the game room reflect the family’s appreciation for pieces with historical value, reinforcing the dialogue between memory and contemporary living. Ceramic pieces from the family’s pottery workshop are displayed throughout the home, creating a symbolic connection between past and present while lending a distinctive identity to the interior. A century-old Italian pietra dura table – sourced from Florence and acquired at Cristiano Ross Antique Shop – anchors the room, further deepening the project’s sense of history and emotional resonance. | kusterbrizola.com.br

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