WORDS Gina Dionisio PHOTOS Serena Eller/Ellerstudio

Located within a character-filled residential building, the 115 sqm apartment was purchased by the owner more than thirty years ago and, over time, fell out of step with its occupant’s lifestyle. The rooms were small and disconnected, lacking the social atmosphere the owner had envisaged. Local architecture studio STUDIOTAMAT was brought in to improve the flow and breathe new life into the interiors.

“The key focus of the project was to correct what the client described as ‘the most significant mistake’ of the house’s previous life: the downsizing of the kitchen. We reversed that logic, transforming it into the engine of conviviality – a dynamic volume from which movement can be observed, and the life of the house can be joined without ever feeling apart from it,” says Valentina Paiola, an architect at STUDIOTAMAT.

On entry, the apartment reveals itself through a continuous sequence of rooms connected by visual and physical thresholds. At the centre lies the kitchen – the heart of the home – enclosed by custom-made burgundy-glazed partitions.

It is the material and visual choices that create a sense of flow throughout the apartment. The original panelled parquet flooring has been carefully restored and runs uninterrupted across the space, while above, a fine burgundy line traces the walls, marking their height. The apartment’s original geometry is embraced rather than concealed: structural columns are integrated into custom oak joinery with bookshelves and built-in seating, transforming a constraint into a functional element that organises space and encourages interaction. Mario Bellini’s Camaleonda sofa in green velvet and bespoke benches upholstered in Relief fabric by l’Opificio echo the geometry of the kitchen’s terrazzo floor, introducing a motif that reappears in a different chromatic variation in the reading room. The custom terrazzo flooring, with its geometric pattern, adds another layer of continuity between surfaces and furnishings.

The dining room acts as a visual break. The table and vintage Libellula chairs by Giovanni Carini occupy a room visible through reeded glass and burgundy metal partitions that separate without enclosing, allowing natural light to move freely throughout the apartment.

The reading room, a more intimate space, houses the owner’s extensive book collection. Here, deep tones and tactile finishes help to create a secluded, quiet atmosphere.

In the bedroom, large bespoke oak wardrobes wrap the space, incorporating central panels upholstered in Filigrana fabric by l’Opificio. In contrast, the rear wall is finished in Harlequin’s Elsworthy Wide Width wallpaper, whose subtle organic pattern forms a backdrop to a Flou bed in ochre velvet – a chromatic accent that echoes the tones of the living spaces.

“The challenge was to give a home to thousands of accumulated books. We were not interested in creating an undifferentiated open-plan space, but rather a tailored sense of fluidity. From the custom terrazzo to the oak joinery embracing the structural columns, every detail was conceived as a prototype allowing the memory of Flaminio to coexist with a new everyday dynamism,” says Valentina.

What emerges is a home that adapts naturally and welcomes those who enter – a convivial space that holds memories while making room for new ones. | studiotamat.com

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Casa Continua appeared first on Visi.

PHOTOS Elsa Young

Johannesburg-based architecture practice Hubo Studio, which we’ve featured in VISI numerous times, has been named a finalist in three categories. It is one of just five firms globally shortlisted in the Best Small Firm category, placing the studio among the most impactful emerging practices worldwide.

In addition, the studio’s flagship project, the Redhill Early Learning Centre, has been recognised on the global stage. It has been selected as a finalist in the Architizer A+Awards Educational Interiors and Kindergarten categories.

The Redhill Early Learning Centre, located in Johannesburg, is widely recognised as a pioneering educational environment. Designed around principles of child-centred learning, the project reimagines the school as a “mini city” – a network of interconnected spaces that promote curiosity, independence and collaboration. Its central piazza, vertical ateliers and seamless integration of indoor and outdoor environments create a dynamic landscape for early childhood development.

“This recognition is incredibly meaningful for us,” said Asher Marcus, Founder and Lead Architect of Hubo Studio. “It reflects not only our work, but a broader belief that architecture can shape the way children learn, think and grow. To be representing South Africa on this platform is something we are deeply proud of.”

Voting for the Popular Choice Award opens on May 4 and runs until May 15, allowing the global public to select a winner in each category. Supporters can vote once per day. The winners of the Architizer A+Awards will be announced in June 2026. | awards.architizer.com

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Hubo Studio Named as a Global Finalist in Architizer A+Awards appeared first on Visi.

WORDS Annette Klinger PRODUCTION Steve Smith PHOTOS Greg Cox

There are many reasons why house Stekhoven is special. Location, location, location are the first three. Situated in the suburb of Newlands, it has a front-row seat to the full parade of natural splendours at the foot of Table Mountain’s eastern slopes. River frontage, burbling spring, tranquil pond, private waterfall, close-up mountain view? Check, check, check, check and check. In short, it’s the type of site that makes Cape Town property developers’ hearts flutter.

Reasons four and five relate to the residence itself. The house was designed by renowned architect couple Adèle Naudé Santos and Antonio de Souza Santos during what’s described as their golden era in South Africa between 1968 and 1973, before both went on to achieve starchitect status in the US – albeit each in their own right, after their separation in the 1980s. Along with six other residences and two apartment complexes in the Southern Suburbs, House Stekhoven forms part of the Santoses’ limited-edition portfolio of South African architecture, and its design (as well as the highly desirable plot it occupies) has secured it Grade IIIA status – the highest local heritage grading.

But perhaps the most special thing about it is the fact that it’s still occupied by the same residents who commissioned it in 1971 – Mike Stekhoven and his wife Penny. “We were living in a cottage with our four children, and we realised it was getting too small,” says Mike. “I opened up the property section in the newspaper and saw a plot in Newlands for sale. I offered 80% of the asking price, which I won’t mention, because today you can maybe buy a good meal with it… An hour later, the offer was accepted. The next day, my phone was ringing off the hook with people who’d seen the plot asking me to name my price.”

The son of an architect himself, Mike wanted a Modernist house, having admired architect Gawie Fagan’s House Raynham around the corner. “I went to university with the chairman of the Cape Institute for Architecture, David Jack; I told him I’d bought a beautiful piece of land, I wanted to build a Modernist house, and I asked for his suggestions for the best architects,” he says. “At the top of his list were Adèle and Antonio de Souza Santos.”

Beyond knowing what he wanted, Mike’s brief was quite generous, the only specifications being that the house should be designed around the view, and the layout oriented around the kitchen, where the family loved spending time together. “When you go into the kitchen, you’ll note it has magnificent views of the garden,” he says. “The layout of the house, the way it worked, was what we wanted. The whole thing has worked from day one.”

The double-storey floor plan is a squashed “L”, with the inside of the letter predominantly glazed and oriented towards the mountain, and the outside comprising a bagged-brick facade punctuated by cylindrical projections. An iconic design aspect is the north-west facade’s concrete balcony and loggia, which echo the curves of the mountainous view and shade the interior from the harsh northern glare.

While the design the architects came up with has been widely cited in curriculums and publications for its technical mastery and distinctive sculptural form, it was also created with small children in mind. Neighbouring each other in a step formation, what used to be the kids’ rooms all open onto the balcony, where the undulating design of the loggia shepherds you towards the exterior spiral staircase to the right, rather than the master suite on the left, where the line veers sharply in a rectilinear direction, offering a tailor-made escape route for the kids when they were growing up.

Upon completion in 1972, the house generated considerable interest locally – and further afield. “Within a year of building, people were asking to see the house, and universities were bringing classes and groups of visitors from overseas,” recalls Mike. “It was lauded from the get-go.” More than half a century later, the building shows no signs of ageing – and the land it sits on remains highly desirable, with new projects continuing to reshape the Newlands landscape. “We’ve lived here for 50 years,” Mike says. “We’ve had a marvellous time. We’ve loved the house. We’ve loved the garden. Our hope would be that whoever gets it after us will value it to the same extent, and not want to touch anything. It certainly deserves that.”

Adèle Naudé Santos and Antonio de Souza Santos

Adèle and Antonio’s early collaboration in South Africa between 1968 and 1973 shaped a thoughtful, socially responsive approach to modern architecture. Working during a period of political tension and rapid urban change, they engaged with questions of climate, community and cultural context. Their South African work laid a rigorous intellectual foundation that later propelled both to stellar careers in the US, where they became respected figures in architectural practice, teaching and critical discourse. Adèle is the principal architect at Santos Prescott and Associates, and served as the dean of the School of Architecture and Planning at MIT. Antonio is Professor Emeritus at New Jersey Institute of Technology. | santosprescott.com

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Newlands House appeared first on Visi.

WORDS Gina Dionisio PHOTOS Montse Capdevila

The renovation of La Fusteria (Catalan for ‘carpentry’) in Alt Empordà is a perfect example of how architecture can update and extend a building’s life without compromising its character or heritage.

The Catalonia-based architecture practice Clara Crous Arquitectura was tasked with restoring and adapting the space, transforming it into a home designed for family gatherings and holiday rentals.

The two Catalan vaults on the ground floor – a typical feature of traditional workshops in the region – served as the primary spatial catalyst for the renovation. To improve flow and functionality without compromising the building’s identity, the architects consolidated daytime living on the ground floor, relocating the kitchen adjacent to the living area to form an open space that unfolds beneath the vaults. The more private spaces, such as bedrooms, bathrooms and a small terrace, are accommodated on the upper floors.

Materiality also plays a central role in preserving the building’s character. The original walls were restored with lime mortars and plasters, which allow the masonry to breathe while bringing light and texture to the interiors. The restoration of handmade toba floors and artisanal tiles further reinforces the connection to traditional materials and craftsmanship.

As a result of the sensitive renovation, La Fusteria emerges as a comfortable, contemporary home shaped by its storied past. | claracrous.com

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post La Fusteria appeared first on Visi.

PHOTOS Supplied

What began as a meeting between like-minded designers has evolved into a collaboration that brings a distinctly South African perspective to one of the world’s most influential design stages.

Cape Town-based studios SAOTA and OKHA, together with YARDCOM, a global leading supplier of outdoor furniture, have conceived an immersive spatial installation for Salone del Mobile.Milano 2026 that explores architecture, interiors, furniture, and landscape as a single integrated system. This marks the first time a South African architecture practise will be designing a pavilion at the prestigious showcase.

Designed by SAOTA principals Greg Truen and Dani Reimers, with team members Lu Ke and Zander Deysel, the pavilion draws on the culture of outdoor living that characterises many South African homes, presenting a spatial experience that prioritises movement, proportion, and atmosphere.

“Rooted in the ideas behind SAOTA’s Kloof House, the pavilion expresses the belief that architecture should operate as an open system rather than a closed object. Layered, interconnected spaces create a dialogue between people, building, and landscape, deepening the connection to place,” says Greg Truen.

For the pavilion, OKHA has developed a bespoke furniture collection for YARDCOM titled ‘Forma Lenta‘. Developed through OKHA’s Design Under License model, the collection brings the studio’s architectural design language into an outdoor context.

The collection includes sofas, armchairs, daybeds, and tables, conceived to move seamlessly between interior and exterior environments.

Defined by grounded forms and a quiet material refinement, ‘Forma Lenta’ establishes a measured dialogue with the architecture and reinforces the pavilion’s emphasis on cohesion and restraint. “The pavilion allows the furniture to be experienced in relation to space, light and movement, rather than as isolated pieces,” says OKHAs creative director Adam Court.

A defining feature of the collection is its use of bronze-finished, gunmetal, and soft-gold aluminium, an uncommon choice in outdoor furniture. “It allowed the work to move beyond a purely performance-driven expression,” explains Adam. Combined with refined etched surface treatments, the material introduces depth, patina, and a subtle interaction. “The etched finish softens the surface and changes how it interacts with light, so the pieces shift subtly over time. That introduces a sense of duration – something closer to architecture or even artefact than conventional outdoor furniture,” he adds.

For those heading to Milan for Salone del Mobile.Milano, you’ll find the collaborative pavilion in Hall 18 from 21–26 April 2026. saota.com | okha.com | yardcom.net

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post From Cape Town to Salone del Mobile.Milano 2026 appeared first on Visi.

WORDS Annette Klinger PRODUCTION Steve Smith PHOTOS Paris Brummer

“I’m a cinematographerI, so my whole life is about looking at things and finding the best angle to make them beautiful,” says Johannes Pieter Nel, owner of a Mid-century Modern residence designed in 1958 by the late APS Conradie – hailed by some as South Africa’s answer to American architecture great Frank Lloyd Wright. “Being able to wake up and live in a space that aesthetically stimulates me 24 hours a day is very special.”

While Johannes was immediately drawn to the retro sensibilities of the house when it came on the market, he only learnt about its architect from the former owners, after which he did a deep dive into Conradie’s prolific Modernist oeuvre. It’s one that encompasses public works such as libraries, schools and police stations – but he especially earned renown for his Dutch Reformed churches and residences. “I started visiting some of the houses and churches he built, including his first church in Rawsonville, which is very similar to this house,” says Johannes. “There’s a very churchy, cathedrally kind of vibe to many of his earlier houses, I think because he started out designing churches.”

Beyond experiencing the house on a personal level – the beauty of its intricate brick- and woodwork, the rhythm of its oblique angles, the movement of sunlight through its many feature windows – Johannes didn’t know much about its specific history until he was contacted by the Cape Town Heritage Foundation, who requested that the building be included in an APS Conradie architecture tour. The resulting tour more than delivered on anecdotal gems, such as the fact that the five-bedroom house was commissioned by a Dutch Reformed minister, and that the splayed walls in the open-plan living space were purpose-designed to accommodate his organist wife’s electric organ. “On the day, one of the older architects attending approached me and told me his father used to do all the carpentry for APS Conradie. He recalled how he used to sit on his dad’s lap while he was working on his commissions, and actually became quite emotional.”

It’s easy to see why. The woodwork in the house – from the ramp balustrades and the window frames to the panelling and joinery – is finished immaculately, bringing a warmth to the design that would be difficult to replicate with another material. It’s also an inextricable hallmark of Conradie’s works that speaks to his meticulous nature.

Johannes’s keen eye for detail – and nose for a Facebook Marketplace bargain – served him well when it came to furnishing his home with an enviable collection of Mid-century finds. “If I wasn’t in the film industry, I’d definitely be in the antiques industry, because I’m addicted to driving to small towns and discovering pieces that I find aesthetically beautiful. I’ve gradually filled the space with a combination of Mid-century furniture and more contemporary pieces, so it doesn’t feel too antiquey.”

Owning a period home that seemingly doesn’t have a bad angle has had its perks for Johannes, who’s used it as a filming location for everything from a pizza commercial to a murder-mystery series. Asked to frame his perfect shot, he thinks for a beat before answering: “The swimming pool area faces west, where the sun sets. Around 6pm, for about 15 to 20 minutes per day, the sun filters through the blinds and makes these warm sun stripes that fill the entire ramp area, where my dogs are usually lying.”

You can almost imagine it – the sun setting, the shadows getting longer, before darkness eventually envelops the house and the scene fades to black…

Albertus Petrus Snyman “APS” Conradie

(16 November 1925 – 26 December 1999)

Known for his visionary, organic approach to Modernism, APS was a devout Christian all his life. He overcame a speech impediment to study architecture at the University of Cape Town, and graduated in 1951 with distinction. His work – especially his houses and churches in Cape Town – blended clean modern lines with sensitivity to landscape, climate and natural materials, drawing inspiration from Frank Lloyd Wright while forging a distinctly South African idiom. It’s accurate to say that Mid-century Modern architecture was championed in South Africa’s white Afrikaans community, and in line with the National Party’s promotion of a more progressive Afrikaner image. As a fierce patriot and an ardent supporter of the Afrikaans language, APS was at the architectural forefront of that.

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Boston House appeared first on Visi.

Cape Town’s most desirable addresses are often defined by their relationship to the mountain – and few are as intimately connected as Tafelhaus No.17.

With just twelve apartments, Tafelhaus No.17 is quietly confident in its scale. The architecture is composed and deliberate, shaped by gentle curves, depth and proportion – a contemporary interpretation that sits comfortably within Oranjezicht’s established character.

Designed by Bruce Wilson Architects with interiors by Maison & Marble and developed by Chapter, the project reflects a considered approach to contemporary living. Gentle curves, balanced proportions and a restrained material palette give the building a calm architectural presence that sits comfortably within Oranjezicht’s established character, with sustainability quietly integrated through responsibly sourced materials and energy-efficient water-cooling systems.

Inside, open-plan living spaces are shaped by arched thresholds and softened transitions that guide movement through the home. Walnut veneer cabinetry with fluted glass, satin brass detailing and carefully selected stone surfaces introduce warmth and tactility, creating interiors that feel both refined and enduring.

Each residence opens toward the surrounding landscape, with expansive private balconies extending living spaces outward. Here, panoramic mountain views are not a feature, but a constant presence – grounding daily life in something enduring and distinctly Cape Town.

Oranjezicht remains one of Cape Town’s most sought-after neighbourhoods, balancing residential calm with proximity to the city’s cultural energy. De Waal Park, neighbourhood cafés and landmarks like the Mount Nelson, A Belmond Hotel sit moments away, while Kloof and Bree Street bring the city’s restaurants, galleries and boutiques within easy reach.

Brought to market by Revo Digital and sold exclusively by Revo Property, Tafelhaus No.17 presents a rare opportunity to secure a refined foothold at the base of Table Mountain. Sales open Thursday, 30 April at 12PM via Connect, Revo Digital’s interactive price list, with launch-day pricing available for a limited time. Explore Tafelhaus No.17 at tafelhaus17-oranjezicht.co.za

The post Tafelhaus No.17: A Boutique Address in the Heart of Oranjezicht appeared first on Visi.

COMPILED BY Gina Dionisio PHOTOS Dook; Jan Ras; Paris Brummer; Warren Heath; Greg Cox

From Brutalist masterpieces to modernist marvels, these homes channel the spirit of the past in bold, unexpected ways. Whether it’s sculptural forms, vintage palettes or era-defining details, each space is a celebration of retro design at its most striking.

Linksfield Ridge Home

Polish-born architect Frank Jarrett left a rather eclectic collection of landmarks across the city of Johannesburg, his works ranging from the offices of Chancellor House – the original home of Mandela and Tambo Attorneys – to the slightly less discreet Gold Reef City theme park development. In 1951, Jarrett was commissioned to build a private residence on the Linksfield Ridge for Greek timber merchant Manoussos Broulidakis, who clad the interior of the modern stone, brick and terrazzo home in glowing floor-to-ceiling wood. Thankfully, many of these features remain today. The front door is Burmese teak, the floors are covered in gleaming parquet. But perhaps most breathtaking of all are the richly varnished panels of sandblasted pine that line the eastern wall between the living area and the kitchen, and which enclose a Bond-worthy staircase leading up to the home’s bedrooms.

Read the full story on this Linksfield Ridge Home.

Modernist Home in Bishopscourt

Keurbos manages the clever trick of being both conspicuous and concealed. It stands out in the architectural sense: this Gawie Fagan-designed Modernist bungalow-style home bears no resemblance to the Neo-Georgian squares and contemporary concrete rectangles that occupy Bishopscourt’s streets. And it’s hidden both physically and conceptually: built on a steep slope, Keurbos sits well below street level on a verdant hillside. It’s a discrete structure in a discrete location, accessed via a descending panhandle driveway that requires very specific directional instructions to find. If you know anything about the late architect’s approach, you’ll know that’s all intentional. This giant of South African Modernist architecture had sense of place as one of his key design principles, and his structures all show a sensitivity to the landscape – Keurbos nestles into the hill, rather than dominating it.

Read the full story on this Modernist home in Bishopscourt.

Minimalist Joburg Home

Edoardo Villa’s journey had been a long one: from Italy to South Africa as a prisoner of war, and from classic realism to abstract modernism as an artist. After his release, he chose to stay on in Johannesburg and for a time lived and worked at the home of artist Douglas Portway in Kew, a suburb on the eastern fringe of the city.

Villa soon became a prominent figure in the local art world and in the great surge of creative innovation that lit up the middle of the century. He was able to buy the Portway house in 1959, and in 1968 commissioned Ian McLennan to design a house for him on the same property, giving him no brief and a very small budget.

Read the full story on this minimalist Joburg home.

Fresnaye Family Home

There’s something altogether contrary about designing a Fresnaye house that presides over the Atlantic Seaboard without giving a second thought to the views. But when it comes to this dazzling home, there’s no desire to follow the rules. You’ll find soft curves where you’d expect sharp right angles and, while you’re cleverly protected from onlookers, glass-walled neighbours find themselves exposed.

“They didn’t care a damn for the views,” says architect Robert Silke of Robert Silke & Partners about the homeowners’ brief. “It had to be a functioning family home – that it has views is a bonus.” But take one glance at the bleached-white, three-storey structure that looks a little like an abstract jigsaw puzzle from the outside and you know there’s more to this house than just a family home. Robert insists that “it’s a pragmatic family home, not a showpiece house”, then a moment later gleefully proclaims, “It’s a bit like a spaceship arrived in Fresnaye.” Then again, this architect has quite the contrary reputation, shunning the dominant vernacular for edgy takes on Art Deco and early minimalism that feel at once retro and fresh.

Read the full story on this Fresnaye family home.

Waterkloof House

A few years ago, when a handful of curious architects made a pilgrimage to this spectacular 1970s house in Waterkloof in Pretoria, one described it as a “time capsule”. “We’ve lived here for 48 years,” says its owner. As a result, the architecture and the furniture are perfectly preserved, looking just as she envisioned them nearly five decades ago. Everything has been meticulously maintained, and the house has an almost otherworldly, hallucinogenic quality that leaves you feeling transported in time.

It was designed by architect Petrus Paulus (Piet) van den Berg, a Pretoria architect who, while prolific, hugely versatile and tirelessly experimental over his 50-year career, seems little known outside of local architectural circles. “Piet was a great friend of ours,” says the owner. She and her husband simply wanted “something different” when they engaged him to do the design.

Read the full story on this Waterkloof House.

Art Deco Hotel

You can’t miss Tropicana – at least on paper. As you can see here, the striking hotel is a dreamy piece of confection that you could as much take a bite out of as step inside. Among its mostly monochromatic neighbours, the light-blue-and-pink Tropicana looks like it’s crowned by a permanent rainbow and staffed by My Little Ponies. Except it’s deceptively hard to spot in the flesh.

Rising from a small triangular plot of land where Sea Point’s Kloof Road forks, Tropicana’s pale blue-meets-pastel pink manages a trick of hiding in plain sight. Along with its curves and soft lines, the blue half of its exterior merges with the sea and sky for most of the day, while the pink folds it into the blush of sunset. Robert Silke, founder of Robert Silke & Partners – the architects of the building – describes it as having “an almost holographic appearance, like you’re not sure if it’s pink or blue or silver”. It’s genius… and a fortuitous stroke of luck

Read the full story on Tropicana.

Renovated Waterkloof Home

The five-bedroom house is located within a large garden in Waterkloof, a hilltop suburb to the east of Pretoria with views over the city and the Magaliesberg mountains. Although the property is not listed as a heritage resource by City of Tshwane, and is younger than 60 years so is yet to be protected by the National Heritage Council, it has been recognised for its strong architectural significance.

W design architecture studio worked with heritage consultant Nicholas Clarke to illustrate and justify all aspects of the renovation and allay concerns by local architects and the Pretoria Institute for Architecture who regard the property as being a strong representation of Pretoria Architecture.

Read the full story on this renovated Waterkloof home.

Kenilworth Home

You know, I counted every single brick in this house,” says architect Adèle Naudé Santos, smiling, as she stands looking around the main bedroom of the first house she ever designed – a solid Modernist four-bedroomer completed in 1967 and situated in a narrow, leafy avenue in Cape Town’s Kenilworth.

She may not actually be joking. Their modular layout, visible through the unplastered whitewashed walls, means you could conceivably measure the dimensions of the house brick by brick. US-based Adèle may now be a world-renowned architect, but back then she was just starting her career, and this was her first-ever build. And as if the stakes weren’t high enough, the client was her father, the late architect Hugo Naudé.

Read the full story on this Kenilworth home.

Forest Town House

The Colemans are not your average suburbanites – although chatting to the humble Audrey Coleman, now 90, you wouldn’t guess it. She and her late husband, Max, were active human-rights advocates during the apartheid years, both working for the Detainees’ Parents Support Committee, with Audrey also a long-standing and celebrated member of the legendary human- rights organisation, Black Sash.

House Coleman has major cred too. Built in the early 1980s, it’s a masterpiece of clean lines and geometric shapes and, though tailor-made to be its owners’ retirement home, it’s also a piece of South African design history. “Our son Colin was a student at Wits University and insisted that Pancho Guedes was the only person for the job,” says Audrey of their choice of architect.

Read the full story on this Forest Town house.

Pinelands Home

There’s a certain witchiness to Robert Silke‘s new family home in the Cape Town suburb of Pinelands. A darkly dramatic front gate framed by a brick archway reading Caverswall opens onto a narrow garden path, which leads you to a house that’s equal parts imposing and intriguing, with a steeply pitched, clay-tiled roof, spiral chimneys and brickwork finish – all in the same burnt-honey shade. “It’s basically a gingerbread house, right?” says Robert, taking in the facade of the 1938 Arts and Crafts Revival structure he shares with partner Gideon and their one-year-old daughter Lilith.

“Pinelands was established in the 1920s, when there was a big push around the world for an approximation of English country living,” says Robert. “There was a planner in the UK called Ebenezer Howard, who invented the suburb, which he originally called a garden city. The idea gained global traction in reaction to the Spanish flu – people felt that the way they lived in cities wasn’t healthy. Pinelands was actually the third garden city in the world.”

Read the full story on this Pinelands home.

Johannesburg House

What Toni Twidale wanted even more than a house was to live among the trees. “I wanted to see green all the time,” says Toni, who owns this home with her partner Graeme. “I wanted the outside in.” And so they decided to build a house that would, more than anything, be about the site.

The couple enlisted the help of architect Gregory Katz, known locally for his creative, experimental and often unconventional approach. Toni wanted to keep all the indigenous trees; Gregory’s brief, therefore, became something of a mathematical puzzle around fitting the dimensions of a house between the trees. In the end, he settled on two long, slim “bars”, with alternating strips of open space on either side and between them for the driveway, central courtyard and swimming pool. The two wings are connected by what Gregory calls an “umbilical cord” – a glazed corridor that steps down slightly with the slope of the site. The branches of the trees reach up and over a flat concrete roof, which is planted with wavy grass, essentially lifting what would have been on the ground up a level, and adding to the greenery.

Read the full story on this Johannesburg house.

Modernist Durban Home

On first encounter, House Shaw is brutally simple: a series of three-dimensional boxes, positioned beside and on top of one another on a long, triangular site cut into one of the steep slopes that characterise Durban’s forested university suburb. It is made of face brick, concrete, louvre windows, shutters and a bit of aluminium; no need for paint, wallpaper, air conditioning – not even curtains.

The house belongs to Colleen Wygers, who lived here with her late husband, fellow architect Paul Wygers. Sadly, Paul passed away shortly after we photographed the house; with Colleen’s permission, we’ve included his observations from that interview.

Paul liked to describe the home as Modernism morphing the heritage Durban veranda home – and, when it went onto the market in 2013, the couple bought it within hours of their first viewing. Designed by Hallen and Dibb Architects in the 1960s, it had been commissioned by legal luminary Douglas Shaw. “Douglas Shaw was sitting in an Eames chair in the lounge,” recalled Paul. “We chatted briefly about art and architecture. I don’t think he wanted to leave.”

Read the full story on this Modernist Durban home.

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post 12 Retro Gems That Celebrate the Best of Mid-Century Cool appeared first on Visi.

WORDS AND PRODUCTION Steve Smith PHOTOS Jan Ras

Keurbos manages the clever trick of being both conspicuous and concealed. It stands out in the architectural sense: this Gawie Fagan-designed Modernist bungalow-style home bears no resemblance to the Neo-Georgian squares and contemporary concrete rectangles that occupy Bishopscourt’s streets. And it’s hidden both physically and conceptually: built on a steep slope, Keurbos sits well below street level on a verdant hillside. It’s a discrete structure in a discrete location, accessed via a descending panhandle driveway that requires very specific directional instructions to find. If you know anything about the late architect’s approach, you’ll know that’s all intentional. This giant of South African Modernist architecture had sense of place as one of his key design principles, and his structures all show a sensitivity to the landscape – Keurbos nestles into the hill, rather than dominating it.

These were all elements that held great appeal for the house’s owner of the past 48 years, Lana Hudson. Gawie had designed Keurbos in 1951 for his parents – Chief Justice H A Fagan and his wife Jessie – while he was a final-year student. After Justice Fagan’s passing in 1963, the home stayed in the family until it was put up for sale in 1978.

“We were interested in a house in Nettleton Road above Clifton, but our bid was R5 000 short,” recalls Lana. “It was a lot of money for a house back then, so before we put in another bid, I thought I’d have one more look around. I knew about Keurbos – it had been on the market for a while and there had been an auction, but the family had deemed the bids too low. They put it back on the market, where it sat for a few months again. We then put in an offer that was accepted.”

That final short statement holds much within it. It speaks to great foresight and more than a small degree of bravery to be spending a large sum of money on a house whose architecture was not just progressive for its time, but also an aesthetic challenge to others in the neighbourhood.

But then, Lana does have an impressively canny eye: just cast your own over her wonderful collection of modern art. Her bookcase is filled with works on art and architecture, but her choice of home (and of art) was never an intellectual one. “I buy art because I fall in love with it. If I walk into a gallery and a piece makes my heart beat faster, I know that’s the one to get. I only buy one piece of art per year, so my collection has been gradually built up over the time I’ve lived here.”

Lana’s heart also happens to be astute; her emotionally driven purchases have turned out to be shrewd investments. You don’t want to know what she paid for the Erik Laubscher abstract – my favourite piece in the house – in the ’90s. It’s that same instant emotional connection that made her choose Keurbos. With an innate, instinctual sense for design that is both progressive and timeless, Lana’s radar is joy – and Keurbos elevated her heartbeat more than anything the lofty Clifton sea views had to offer. And it continues to do so. As she walks us through her home, sharing the last five decades of living here, her love for Keurbos and her appreciation for the impact it’s had on her is wonderfully evident. “Great architecture never dates, and I honestly believe that a thoughtfully designed space improves the experience of your life. I appreciate living at Keurbos every day.”

Along with this joy, though, comes an element of responsibility – one she has held close since owning the house. A deep awareness of its architectural provenance means that Keurbos’s bones have been meticulously maintained. Everything from the beautiful brass-edged front door to the wooden ceilings and bespoke built-in furniture that Gawie designed remains; even the kitchen cabinetry, with its yellow wood drawers and brass handles, is original.

One thing that Lana has modified is what used to be an open stoepkamer to the right of the entrance hall. It was a change inherently sympathetic to the home’s architecture, and one that has improved her experience of living here. “Because it was open to the outside, the weather had to be right to use it. At night, it tended to be a bit chilly, and obviously you couldn’t sit out there when it rained. By taking out the breeze blocks and enclosing it with sliding doors, it became a sunroom – and the space in the house that I’ve used the most. It’s warm, it has a wonderful view of the mountain, it’s close to the kitchen and, if I do want to sit outside, it leads straight to the little courtyard.”

It’s in this courtyard, sitting on mauve-and-purple-striped cushions, that Lana and I are chatting. The conversation flows between the story of the house, her love of art and travel, and The Rest Is History podcast that we’re both avid listeners of. She looks happy and content – something Lana attributes much of to living at Keurbos.

Gabriël “Gawie” Fagan (1925-2020)

Gawie Fagan was celebrated for blending Modernist principles with a deep respect for local climate, landscape and vernacular building traditions. Together with his wife and partner Gwen Fagan, he founded Gabriël Fagan Architects in 1963, producing influential work across Cape Town, from Die Es, his own home in Camps Bay, to sensitive heritage restorations, including the Castle of Good Hope. His architecture is marked by warm materials, human-scaled spaces and elegant simplicity, leaving a lasting imprint on South Africa’s built environment. gabrielfaganarchitects.com

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Modernist Bishopscourt House appeared first on Visi.

WORDS Gina Dionisio PHOTOS Del Rio Bani

Designed by Impepinable Studio, Agrosemillas’ new offices reflect both the company’s industrial roots and its shift towards technological innovation and environmental responsibility.

Situated within an industrial complex defined by large vehicles, logistical infrastructure, and production processes – and bordered by vast agricultural fields – Agrosemillas required workspaces capable of supporting concentration, meetings, and technical development despite an environment dominated by noise, dust, and logistical intensity.

Here, work rhythms follow the cycles of the harvest, alternating quieter periods with phases of continuous activity. As such, the building’s design had to accommodate a wide range of users – from warehouse workers to engineers involved in research and innovation – whose tasks and schedules shift throughout the year. At the same time, the architects were required to maintain a direct relationship with the surrounding warehouses, establishing formal continuity with the industrial complex.

Constructed from four reused shipping containers and simple systems crafted locally, the building draws on industrial pragmatism. The architecture responds to the company’s transformation by balancing continuity with its legacy while introducing a more open, youthful, and informal identity. This shift is expressed through the unapologetic use of the company’s corporate colours – green and yellow – applied directly across the building.

Arranged beneath a saw-tooth roof, the containers channel soft, even daylight deep into the interior, producing a surprisingly rich spatial atmosphere. The north-facing orientation of the open planes ensures a constant and controlled entry of natural light.

Workspaces, service areas, and laboratories follow a clear grid to accommodate the shifting patterns of activity throughout the year. Entrances are separated according to logistical flows and workflows, while the intermediate roof surfaces incorporate strips for experimental crops, physically linking research, production, and architecture within a single framework. | impepinable.studio

 Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Agrosemillas Offices by Impepinable Studio appeared first on Visi.