COMPLIED BY Gina Dionisio PHOTOS Niel Vosloo (Robertson Cottage); Elsa Young (Scarborough House, Umdloti home, Greenside Home, Malmesbury Home, Johannesburg Home Pniel Farmhouse, Witklipfontein Eco Lodge, Eclectic Hout Bay Home); Dook (Monaghan Farm House, Keurboomstrand Home, Montagu Home, Modern Pretoria Home, Minimalist Joburg Home, Oudtshoorn Heritage Home); Greg Cox (Steenberg Home, Modular Scarborough House, Nieu-Bethesda Home, Modern Hout Bay Home, Lanseria Estate Home); Nicolas Mathéus (Menorcan Home, Provence Farmhouse); Paris Brummer (Franschhoek Home, Kerala Estate Cottage); Warren Heath (Klein Karoo Home); Lar Glutz (Salt Rock Home)

Whether nestled among indigenous plants or surrounded by centuries-old trees, these homes invite you to escape the everyday and immerse yourself in a world of natural beauty. These houses from the VISI archives showcase the timeless allure of a gorgeous garden.

Robertson Cottage

For three years, Etienne Hanekom drove past a derelict 150-year-old cottage on his way to his grand old Victorian in Robertson, without noticing the nondescript ochre building. Then, one day, a friend told him that a small cottage near his house was for sale. Upon finally noticing it and entering it for the first time, Etienne instantly fell for both its dimensions and the price.

“It was a forgettable, run-down, sad little house,” Etienne says. “A long, narrow house built of clay with four windows and a front door. Yet I walked in and knew I wanted it. The house had a certain atmosphere that I liked, a feeling that resonated with me.”

There is always a house that winds its way into Etienne’s heart. These are his personal projects. And they are always very personal, even when they’re not meant to be.

As he began to transform the dilapidated cottage, Etienne fell more for it. He mostly works with large spaces, but he has a particular fondness for small ones. By the time he had completed the pink vaulted bathroom, he had sold his much larger Victorian house down the road and was making plans to move into the narrow little cottage.

Read the full story on this Robertson Cottage.

Scarborough House

“I thought I was a city girl – until I spent lockdown in Scarborough,” says South African film director Nicole Ackermann. That this small coastal village just outside Cape Point Nature Reserve in Cape Town is now her home was as much a surprise to her as it was to her family and friends. A place of wild winds and brutally cold water, its untamed beauty is not for everyone – yet it struck a chord with the globe-trotting Nicole the moment she arrived. “My time here changed my outlook and values significantly. Up until then, I was more outwardly seeking for inspiration; now I realise the value of looking inwards more.”

When the world returned to “normal”, Nicole found herself back in Los Angeles for work, but regularly trawling property websites in the hopes of finding a home in Scarborough. “It was quite a revelation that, although living here wasn’t necessarily what I had envisaged for myself, it was what I desperately craved.” So when this house came up for sale, her family were sent to check it out. “I remember my sister sending me a video that she took outside the back kitchen door,” says Nicole with a smile. “Hearing the cicadas and the sound of the ocean made me incredibly emotional; it was like a homecoming. Just like that, it was a done deal – I literally bought it unseen.”

Read the full story on this Scarborough house.

Umdloti House

It was a serendipitous Sunday drive that delivered the current owners to this prime property in Umdloti. They were met by spectacular views out towards the local surf break, and a 400-year-old milkwood standing sentinel in the front garden. “We had been thinking about buying a home in Umdloti for a while, so to happen upon this place without trying too hard felt like the realisation of a dream,” they say.

Although the couple live full time on a farm on the North Coast, the family have a long association with Umdloti, dating back to the early 1900s, when a great-grandfather lived there.“ We have great memories of the times we spent here over the years, and we wanted to emulate that with our own children,” say the owners. “The original house was tucked away behind such an overgrown garden that you couldn’t see the sea, and you had to fight your way through an impenetrable banana plantation to get to the milkwood,” they add.

Read the full story on this Umdloti house.

Monaghan Farm House

This house in Monaghan Farm in Lanseria, on a beautiful spot overlooking a bend in the Jukskei River, began with a bold, Brutalist architectural idea – but the result is an incredibly subtle, sensitive response to its setting. The owners, Wendy and Lukas van Niekerk wanted a home made entirely of steel and raw, exposed concrete, and this spectacular plot of land offered them the chance to build from scratch. Lukas, an engineer, is a huge fan of the work of 20th-century Italian architect Carlo Scarpa, who is famous for his sensitive use of concrete as well as experiments with concrete and steel – and the Van Niekerks’ architect, Enrico Daffonchio, went to school in Scarpa’s hometown of Venice in Italy. The fates had aligned.

Despite what Enrico refers to as its “strong architectural language”, the house they designed together is nestled into the landscape and, when viewed from higher up the hill, is practically invisible (helped by the green roofs planted with endemic grasses to recreate the landscape it’s built on). It is, quite literally, sunken into the landscape to keep its presence unobtrusive.

You descend from street level to the front door via steps that lead to a path through a courtyard. The bold simplicity of the forms – the slim, straight lines of the roof and overhangs – belie the complexity of the way the house is knitted into its setting, with courtyards and “green fingers” all around bringing the landscape and vegetation up to and between the rooms.

Read the full story on this Monaghan Farm house.

Steenberg Home

There are houses in beautiful settings that try to disappear into the landscape. Others like to perch on a prominent spot and lord over all they survey. This one – a holiday home on a big semi-rural plot on the side of the Steenberg mountains in Cape Town – does neither. Its weighty walls and solid masses seem to emerge from the ground and assert themselves unapologetically on the mountainside, yet the indigenous gardens around its edges blend with the natural fynbos, so it looks as if it is being reclaimed by nature. It is undeniably there, but somehow doesn’t seem like an imposition.

Parts of it form big, monolithic blocks, and others are almost pavilion-like – glass-sided, so you can see all the way through the house from one end to the other – but even they have heavy-looking roofs. An oversailing canopy seems to rest on one section but float above another, overlapping. In many ways, the house has no obvious “face”. It twists around, without a clear front or back. It’s a house that, from the moment you see it, prompts questions. Why does it have those angles? Why doesn’t the floating roof touch the roof below? Why is it even oversailing? But that’s the point. “It’s a bit of a mystery,” says its architect, Chris van Niekerk. There’s a randomness about the way parts of the house have been assembled, intuitively, “like a child playing with blocks”. It has a pleasing, comfortable composition, but it doesn’t explain itself or seem to comply with any rigid and ordered logic.

Read the full story on this Steenberg home.

Menorcan Home

Location, they say, is everything – and “they” would certainly give this one the thumbs-up. With the sea on the horizon, and framed by dry-stone walls softened by pines, olive trees and palms, this idyllic four-hectare estate is situated on Menorca – one of Spain’s Balearic Islands clustered in the Mediterranean.

Known for its sandy beaches, warm waters and megalithic stone monuments, as well as a population that loves a good music fest (including the International Organ Festival) and its unique wine-based gin, Menorca is certainly one of the ideal places on the planet to build a family getaway. This property, originally a farmhouse, was once owned by a family from Barcelona, who had the temerity to divide it into three separate flats. Thankfully, the beautiful home has now been remodelled and restored by its new owners, who proved to be far more sympathetic to its origins.

Read the full story on this Menorcan home.

Greenside Home

It takes a good eye to spot potential in a fixer-upper, particularly in a city like Johannesburg. There are some real gems – almost always undervalued – but their qualities are often lost beneath the add-ons that barnacle their way onto houses over time. Christo Vermeulen and Nico Venter are serial renovators. Inevitably, after a few years of living in a house, they find their eyes wandering.

They most certainly do have a knack for recognising the signs that something special might be lurking beneath the surface a nondescript exterior. Christo is a former textile designer turned builder/renovator – with a sideline in manufacturing bespoke features, especially metalwork and ironmongery – and Nico is an urban designer with an interest in the city’s architectural history. Together, they make a formidable team: insightful and capable, with the perfect combination of vision and respect for the innate qualities of a good find.

Read the full story on this Greenside home.

Modular Scarborough Home

As the owners and founders of hope distillery, one of the first small-batch distillers of craft gin in South Africa, Leigh Lisk and Lucy Beard had grown tired of living on-site at their distillery in Cape Town, and wanted a bolthole to which they could escape every weekend. “Both Leigh and I are keen cyclists and runners who love the outdoors, and so the natural beauty of Scarborough and its proximity to the city made it an obvious choice for us,” says Lucy.

Initially, they had bought an old, abandoned tennis court in the coastal village with a view to building on that, but the prospect of a two-year brick-and-mortar build saw them buy an old one-bedroom, prefab home in the village as a stopgap. “We initially saw it as an interim house that would allow us to stay in Scarborough while overseeing the build – but we ended up loving the house so much that it has become our home.”

Having long admired the German Huf Haus (a prefab-style home) as well as the tiny house movement (an architectural and social philosophy that advocates the simplification of living spaces), the idea for something small and sustainable quickly took hold. “We liked the idea of building a modular structure that would blend into the environment with minimal impact, and a container home made sense as it’s less expensive than building from scratch,” says Lucy.

Read the full story on this modular Scarborough home.

Keurboomstrand Home

There was a non-negotiable in the client brief: respect the land. It’s not difficult to see why – the parcel of earth the residence was built on is pristinely beautiful. “The farm is situated near Plettenberg Bay, on a large portion of land filled with indigenous forest, with rivers running through it and a view of the Tsitsikamma Mountains,” says architect Paul Oosthuizen, giving context to his client’s instructions. “There was one patch of invasive wattle on the land, which was cleared – this became the area we developed.”

To find the perfect spot on which to build, Paul surveyed the sloped piece of land by climbing some of the tall trees on its periphery, then decided on the bottom of the hill, so the house could be nestled into the forest and give his client a view of the riverbed. Next up, Simon Hart and his team at No Fuss Construction brought Paul’s vision to life. The result is a home that feels intimately connected to its woodsy surroundings, and secluded from the world beyond. In fact, reaching it is a pursuit that requires visitors to make the last 60-metre journey on foot.“ As you approach, you drive along a road that’s right up against the forest to your left,” says Paul. “You then park in a garage that’s buried underground, get out, and walk along a boardwalk that goes through a canopy of trees, about eight metres off the ground, before you arrive in the courtyard. It offers the guests the sense that they’ve ‘discovered’ a house in the middle of a forest.”

Read the full story on this Keurboomstrand Home.

Malmesbury Home

“There was a wonderful feeling of glamorous decay to her,” says interior designer Etienne Hanekom of the grand old Victorian home he is lovingly restoring in Malmesbury. Languishing elegantly on a ridge overlooking the historic farming town an hour west of Cape Town, the generously proportioned four-bedroom house was built in 1850, when Malmesbury was still a popular destination for its revered hot springs.

Recent history, however, has not been kind. Rapid industrialisation of the town, as well as the ignominious positioning of a busy arterial road right in front of the house, threatened a fate of idle deterioration. Until Etienne stepped in. “I’d been keeping an eye on her, as I frequently used to drive past on my way to visit my parents,” he says. On an impulse, he decided to stop for a closer look, and discovered that the rambling 2 500m2 property took up an entire residential block, and had several unused outbuildings. The main house still retained original, metal- pressed ceiling tiles, timber floorboards and shutters, cast-iron fireplaces, and a deep front stoep so particular to its era.

Read the full story on this Malmesbury home.

Johannesburg Home

In Johannesburg, there’s no mountain and there’s no sea,” says architect Anthony Orelowitz, referring to homes in Cape Town that tend to look outwards, seeking to catch a glimpse of the ocean or frame a view of Table Mountain. “Here, you have to create your own habitat.” And that, at heart, was the basis of his response to Johannesburg’s urban character when he designed his own home in the city’s forested suburbs. Anthony’s firm, Paragon, is responsible for some of the city’s most significant commercial architectural landmarks – but, he says, “I hadn’t done a house in nearly 15 years.” Nevertheless, working closely with architect Elliot Marsden and interior designer Julia Day, he conjured a vision of what it means to make a home in Joburg, at once perfectly suited to the city and utterly unlike its neighbours.

To create his habitat, Anthony turned to the archetype of the atrium house: an internal courtyard wrapped on all sides by the house, creating a peaceful sanctuary at its heart, open to the sky. He calls it a “self-contained oasis in the city”. The house is essentially a series of pavilions, with vast sliding doors and screens that can be opened and closed to reconfigure a mosaic of spaces in a variety of ways. (A new rail system had to be designed to manage the massive glass panels that make up the sliding doors.)

Read the full story on this Johannesburg home.

Provence Farmhouse

One might’ve expected a couple to pick Tuscany as their European home, but it was an area northeast of Marseille in Provence that they chose instead. Dazzled by the beauty of the place and its historical heritage, for 20 years this globetrotting family had rented houses in the area, waiting for the ideal moment to buy their own. A few years ago, they were lucky enough to find a Provençal farmhouse in its original condition that had once belonged to the family of 19th-century French novelist Alphonse Daudet – and its renovation turned out to be a fascinating journey.

Steering the makeover was architect Pierre-Olivier Brèche, head of the multidisciplinary firm POBA. “I was immediately drawn to the wonderful topography of sloping land – it was an opportunity to play with levels of patios, terraced gardens and roof lines,” he says.

Read the full story on this Provence farmhouse.

Nieu-Bethesda Cottage

Most famous for its legendary, reclusive, eccentric resident, artist Helen Martins, and her home, the Owl House, the town of Nieu-Bethesda is as far as you can get from South Africa’s big metropoles. From Joburg, it’ll take you just under nine hours to get to this remote dot nestled among the koppies of the semi-arid Great Karoo; it might be 15 minutes less from Cape Town. And that’s just one reason that made Joburg couple Marc Watson and James Moffatt’s decision to buy a house here a brave one. The other was that they bought it without seeing the interior.

Visiting here as tourists in 2018, they bought the cottage based purely on its charming iron friezes and traditional wooden shutters, only guessing at what was hidden behind the heritage façade. “But we had a good sense of what such a traditional home would hold,” says Marc.

Read the full story on this Nieu-Bethesda cottage.

Pniel Farmhouse

Smitten by its location in the picturesque village of Pniel at the foot of the Simonsberg mountain in Stellenbosch, Dané Erwee and Chris Willemse bought this 2.5-hectare piece of land 10 years ago. The idea was to start a flower farm that could supply their floral retail business, Okasie. “There was nothing here then besides a few gardenia bushes and plum trees,” recalls Chris, a horticulturist. “Our first mission was to build a road that would allow the builders to access the land.”

Architect Henri Comrie was entrusted to design the house. “We chose Henri for his strong ideas, and because we knew he’d give us something timeless,” says Dané, a master florist and landscape designer. “In fact, his answer to our brief for a re-imagined farmhouse was so spot on that, from the moment we received the proposed plans for this house, we honestly didn’t change a thing.”

Set between two peaks, the 400m2 house strikes an iconic pose against its backdrop of majestic mountains. “It’s like a temple that locks the peaks into its power forever,” explains Henri. “The idea was that, by establishing itself as a central place in this huge landscape, the house is able to command a potency far exceeding its size.”

Read the full story on this Pniel farmhouse.

Witklipfontein Eco Lodge

Architect Xavier Huyberechts has a wonderfully poetic way of describing the way he designed the weekend getaway he and his brother, Damien, built on their farm in the Vredefort Dome – the oldest and biggest meteorite impact site on the planet. He wanted to “gently lift the carpet at the bottom of the hill and slide the house underneath”.

And that’s exactly what he’s done. A green roof runs seamlessly from the hillside and over the house, like a blanket of earth that renders it almost invisible from many angles. In fact, the way it has been designed and built means it can – and will, at the end of its life – disintegrate and become reabsorbed into the earth. It’s made almost entirely from the earth, and emphatically for the earth.

Xavier runs a commercial architectural practice in Johannesburg known for pioneering sustainable architecture. With Damien taking on the role of building contractor, they set about creating an earth house using local materials. It may be built of stacked stone, rammed earth, handmade compacted earth bricks and earth bags, but this is no Hobbit burrow. Beneath that green roof is a clean-lined, low-slung, modernist-inspired villa, with lofty volumes and floor-to- ceiling glass doors that slide away into wall cavities and open the house completely to the surrounding landscape.

Read the full story on the Witklipfontein Eco Lodge.

Franschhoek Home

It has been a 21-year-long labour of love. Marti Heyns-Foster admits that, when she first moved into her corner home on a shaded street in the Winelands, it wasn’t her dream abode. But it had good bones, high ceilings, original wooden floors and plenty of natural light, and the young mother knew she could work with the basics. Over the following two decades, with her sharp eye for the quirky and the unique, Marti lovingly curated a sanctuary filled with French-inspired decor and objects. “In my opinion, a home should evolve over time, reflecting your changing tastes as you develop as person,” she says. “A real home is a representation of how all the members of the household live and grow.”

The property is set far back from public view, at a jaunty angle. In front, a formal French garden spills out towards the road, the result of a visit to a château in the Loire Valley that overlooked a striking landscape. “My friend, designer André Carl van der Merwe (author of Moffie), was there with me to celebrate a friend’s birthday, and he sketched out the garden for me, creating an illusion of symmetry.” Today, dominated by two ancient white stinkwood trees, Marti’s indigenous rhus-hedged garden is not yet two years old – and is a genteel alternative to the white pebbles that filled the space before.

Read the full story on this Franschhoek home.

Kerala Estate Cottage

The vast tracts of private land that fan out from the Witte and Bastiaanskloof rivers in the Bainskloof Valley are home to the elusive Cape leopard and impressive birdlife. This is the Kerala Estate and reserve, and being here is a nature lover’s ultimate escape – a chance to unplug while appreciating the fynbos-scented air and the thrill of bracing mountain-water swims.

Keri Paddock and husband Sam understand this appeal, and after purchasing their sweeping Bainskloof property in 2018, set about creating serene living spaces so their family and friends can fully benefit from the surroundings. In fact, their 800-hectare chunk of paradise forms part of the Boland Mountain Complex in the Cape Floral Region, one of nine areas in South Africa designated by UNESCO as World Heritage Sites.

With a clear idea in mind, the couple tasked architect Bridget George of KLG Architects with updating the existing buildings. They also contracted landscaping company Oasis Design to integrate the dwellings into the terrain, and to create unexpected garden spaces filled with fynbos and proteas.

Read the full story on this Kerala Estate cottage.

Montagu Home

The scenic Route 62 o the Klein Karoo unfolds into vivid pictures of rolling rocky mountains and lush vineyards, followed by a slow ascent as you head into the historic town of Montagu, as well-known for its beautifully preserved buildings as it is for its hiking trails. The old town might seem an unusual location for this modern and minimalist home, but it turns out to be ideal for a hideaway in which time stands still.

“Hendre transformed the design into something we love,” says homeowner Martly Calitz of the interior designer who pieced together the significant details that make this home unique – including the decision to paint it mostly white with touches of black, which sets off the warm, earthy terracotta floors beautifully. Hendre Bloem is known for his clean and modern yet luxurious aesthetic, and he very much shared the couple’s vision of creating a home that embodies the maxim “less is more”.

Read the full story on this Montagu home.

Klein Karoo Farmhouse

With a reputation for designing trailblazing buildings across the globe, Greg Truen and his partner Nancy Kashimoto chose to use a different approach when taking on the renovation of a 200-year-old farmhouse. Instead of putting their own contemporary spin on the structure, they breathed new life into the property in the most respectful way. “The idea was always to keep what I found on the farm as pure as possible,” says Greg. Lured by the charming building in Buffelsdrift, a farming district nestled between the Swartberg and Langeberg mountains, Greg embarked on a design and renovation process that spanned four years and would transform the neglected property into a working olive farm.

The property included outbuildings that Greg also saw potential in – the old wine store, for example, would be given a second life as a guest suite. One of the challenges he faced was that some of the previous additions hadn’t been done particularly sensitively and, he says, “I wanted to strip the farmhouse back to what it was, and let it sit in a less encumbered way in the landscape.”

The buildings had been constructed using the poured earth method, and covered with various types of plaster over the years. Greg chose to collaborate with architect Jaco Booyens, who has a particular interest in building with clay and earth.

Read the full story on this Klein Karoo farmhouse.

Eclectic Hout Bay Home

The Hout Bay home that creative director, interior designer and curator Tracy Lynch and husband Frank van Reenen (the equally off-the-charts artist, sculptor and animator) share with their teenage daughter Franny perfectly expresses their unique view on the world. As founder of Studio Lee Lynch and the creative director of Nando’s Design Programme, much of Tracy’s is work is about reinvention; Frank’s is also inventive, but with a side order of dark, playful and wacky.

Three years ago, when they decided to swap their inner-city Victorian home in Cape Town for a spacious out-of-towner, they were looking for a well-designed space they could move into immediately. “A new, modern space is contrary to anything we’d ever lived in before, but as my days are creatively charged, I was hankering after something calm, structured and resolved,” says Tracy. But that never happened. Not long into the house-hunting process, they fell in love with – and bought – a garden… with peacocks, a vineyard and a garden cottage as part of the package.

Read the full story on this eclectic Hout Bay home.

Salt Rock Home

It’s a great house to wake up in every morning, and a great house to dwell in,” says interior designer and artist Lisa Twyman of her home. “It makes you feel free, positive, motivated, excited.”

Lisa and husband Will Haynes fell in love with the plot situated in Salt Rock, on the Indian Ocean coastline north of Durban, because of its geography – so much so that the build became very much about the garden. “We did not want to impose on it or mess up the flow of it too much,” she says. “During the first few years that we lived here, any extra budget was spent on the garden and planting.”

The key principle for Lisa and Will was that the house needed to become a part of the landscape. This meant including elements such as a ground-floor living area that opens up completely to the outdoors, allowing the spaces to be opened or enclosed as required. This “blurred boundary” – as Lisa describes it – between interior and exterior is further enhanced by the fully open-plan nature of the living, dining and kitchen spaces, as well as the application of simple, low-maintenance materials such as unadorned off-shutter concrete, and the balau wood used for cladding and screening where necessary.

Read the full story on this Salt Rock home.

Modern Hout Bay Home

It was 13 years ago in 2007, that New Yorkers Jim Brett and Ed Gray were first enchanted by Cape Town. At the time, Jim was Head of Home at leading US retailer Anthropologie and was on a buying trip to South Africa with local design promoter and exporter Trevyn McGowan of The Guild Group. The three of them embarked on a trip cross-country, visiting the studios of artisans and designers, and formed an immediate bond. “I had never met anyone who could match my passion for handicraft and design,” Jim says of Trevyn.

“As we travelled to South Africa more often, we fell in love with the country, specifically Cape Town and its environs,” Ed says. So, it came as no surprise to family and friends when he and Jim decided to build a home for themselves in Hout Bay, just 30 minutes from Cape Town’s city centre, in which they hope to eventually spend six months of the year. Enlisting the help of Trevyn and her husband and business partner Julian, it was only natural that they would continue their trajectory of working with local designers, furnishing the home with pieces by some of the country’s most prominent names.

Read the full story on this modern Hout Bay home.

Modern Pretoria Home

Our journey on this project started with a phone call, which turned into a fascinating conversation,” says architect Greté van As of meeting the owners of this striking home for the first time. Having distilled their passion for balance between nature, people and architecture into an award-winning signature style, architectural duo Johan Wentzel and Greté van As of W Design Architecture Studio were, she says, thrilled at the opportunity to design a new residence for a like-minded family on one of the last pieces of pristine bushveld in Pretoria.

Blessed with spectacular views towards the north, and with the magnificent Bronberg Mountain as a backdrop, the architects were inspired to design a home that would merge unobtrusively into this very unique landscape. “We challenged ourselves to leave behind the smallest of footprints while introducing built structures into the sensitive surroundings,” Johan says.

Read the full story on this modern Pretoria home.

Lanseria Estate Home

When architect Gillian Holl set about designing a house for the generous piece of paradise she shares with her husband Ivan, an engineer, and son Noah, one of her first considerations was to create a space that did not simply blend in with the surrounding grasslands and Magaliesberg foothills, but was actually knitted into the landscape.

To this end, the Holls excavated to allow the steel-framed building with floating concrete slabs and swathes of glass to settle unobtrusively on the riverside terrain. But estate regulations required all excavated earth remain on-site – and even after creating the grassy berms that hug the garden, there was still plenty left over. The solution? A central rammed-earth wall that forms an axis from the entrance all the way through the airy house.

Read the full story on this Lanseria Estate home.

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.

It was a time when the symmetries and conventions of old suburbia were being turned inside out. Streets were walled off, living spaces opened up, on to courtyards, bricked patios and a new seclusion. Flow and transparency became all-important, framed in a new vernacular of simple materials and earthy textures.

Read the full story on this minimalist Joburg home.

Oudtshoorn Heritage Home

All Karoo towns have their own rustic appeal, but Oudtshoorn has panache. The flamboyant spirit of the feather barons lives on in its lavish sandstone buildings with their broekielace fretwork – and in its feisty charm.

Interior designer David Strauss succumbed to this charm five years ago while looking for a house to buy for once-a-month getaways from Cape Town. He found a solid old sandstone classic, built in the town’s Victorian heyday, in West Bank. No palace this: a deep stoep, a string of small rooms off a wide central passage, the only flourish a wagon-wheel precast fence. Some renovation was necessary, but the age of the house meant the exterior could not be modified and any alterations would have to be undertaken under the strict eye of the heritage authorities.

“I was a bit lost to start off with because I knew nobody,” says David. “But this is such a friendly town. And everybody knows everybody else, which is very helpful. If you get stuck, you just ask somebody, anybody.”

Read the full story on this Oudtshoorn heritage home.

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The post 26 Enchanting Garden Homes appeared first on Visi.

WORDS Annette Klinger PHOTOS Jan Ras PRODUCTION Mark Serra 

Architect Kate del Fante will be the first to tell you: she’s unapologetically contemporary, favouring a minimalist aesthetic over an ornate one any day of the week. “It’s a style that celebrates the sculptural aspects of architecture,” she explains. “Materials are pared back to one or two elements, so that you enjoy the space and the form of the building.” 

While the stripped-down sophistication of contemporary architecture might not scream child-friendly, Kate’s clearly defined aesthetic doesn’t come at the expense of liveability and fun – which has secured her a dedicated family fanbase. 

Case in point: the three-kid clan who tasked Kate with a sprawling three-storey villa on a forested hill in the sought- after suburb of Bishopscourt. The brief? To modernise the existing Mid-century residence into a contemporary home that seamlessly accommodates the divergent needs of a five- member family – each of whom, naturally, would like their own view of Table Mountain. The result is a home that blurs the boundaries between inside and outside with features such as wraparound stacking doors, and courtyard penetrations that introduce light and greenery into every aspect. 

“The original house had nice bones, but it was oriented in such a way that you couldn’t fully experience the mountain,” says Kate, who decided to gut most of the existing structure and redesign the layout so the master bedroom and entertainment areas wrapped around the view. A tricky aspect of the original floor plan was the oblique angle at which the two wings of the house met. “We came up with the idea of introducing timber cladding to the exterior to distinguish the two angles, and played around with interesting angles throughout the design to give it a bit of interest.” 

Kate lucked out with clients who share her love for off- shutter concrete. “Bare-faced concrete is stunning, but it needs to be offset by crisp, pristine elements. So, for the interior, I gravitated towards whites and greys, with timber for warmth – used consistently on counters, kitchens and joinery.” 

Interior designer Hendre Bloem echoed the sculptural qualities and materiality of Kate’s interior architecture by introducing furniture and accessories that showcase the innate properties of concrete, timber, steel and stone. “There’s a constant interplay between the rawness of the materials,” he says. “The Roll dining table, for example, has roll and burn marks from the manufacturing process on the round mild- steel base, which is contrasted by a very refined stained-oak tabletop. And in the bedroom, you have a masculine Dokter and Misses floor lamp of raw metal and concrete, combined with the sumptuous, soft elements of the upholstery, curtains and rugs.” 

Leaning into the large, open-plan, double-volume spaces, Hendre created pockets of intimacy by varying height and scale. “Often, in a large living space, you run the risk of it looking like an airport lounge, with a bunch of seating that feels quite impersonal,” he says. “For this lounge, I custom- made a modular couch, but broke it up with a marble plinth, so that it can operate as a small seating area for intimate gatherings or as one big entertainment space. Similarly, the two turmeric-coloured swivel chairs can form their own reading nook next to the fireplace, or be added to the seating for larger gatherings. The low blue daybed can be used for lounging both inside and outside.” 

Beyond aesthetics, it’s the house’s adaptability to an ever- evolving family that Kate and Hendre believe has made it such a success. “It was always about that,” says Kate. “The family is connected, but they’re also able to be separate and find their own sanctuaries – whether it’s the study, the kitchen or the pyjama lounge.” Each with their own views of Table Mountain, obviously…  delfantestudio.co.za | hendrebloem.com

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WORDS Gina Dionisio PHOTOS Johanna Lehtinen (Copenhagen Apartment); Paris Brummer (Fish Hoek House); Dook (Montagu Home); Supplied

Understanding the fundamentals of colour can make all the difference before embarking on an interior design project. We spoke to interior design professionals Jeremy Volkmann, owner of BHC School of Design, and Hendre Bloem for their expert advice on using colour to create a space that feels cohesive, stylish, and uniquely yours.

1. Choose the Right Colour Palette

The foundation of every beautifully designed room lies in its colour palette. “The use of colour can be so personal, and the psychology behind how a person interacts with the design plays an important role,” says Jeremy. The key is to determine the room’s focal point:

• For bold walls: Choose accent colours that highlight the architectural features or create a dramatic backdrop.
• For statement furniture: Opt for neutral wall colours to let your furniture shine.

By establishing a clear focus, you ensure all the elements in your room complement one another seamlessly.

2. Balance Bold and Neutral Colours

“I look at the space as a whole because everything from the furniture colour to rugs, feature lights and even artwork can play a role in determining the wall colour,” explains Hendre. Striking the perfect balance between bold and neutral tones is an art form:

• Bold colours: Add vibrancy and personality.
• Neutral shades: Ground the room and provide a soothing contrast.

This harmony ensures your space remains cohesive while reflecting your style.

3. Layer Textures for Depth

One hallmark of professional interior design is the thoughtful layering of textures. This approach adds depth and interest to your space. Combine:

• Soft fabrics like velvet or linen.
• Rugged materials like leather or wood.
• Metallic finishes for a touch of glamour.

“The trick is to layer fabrics, textiles and paint that are all relatively similar in hue,” says Hendre.

4. Understand Colour Schemes

“Before choosing the colours you’d like to use in your interiors, it’s important to understand the fundamentals of different colour schemes – specific combinations of colours, compiled to form harmonious spaces,” says Jeremy. To master this, use the colour wheel to your advantage:

• Harmonious schemes: Use colours adjacent to one another on the wheel for a calm and peaceful vibe.
• Complementary schemes: Pair opposite colours on the wheel for bold contrast and energy.

These techniques help bring personality and purpose to your interiors.

5. Apply the 60/30/10 Rule

Proportion is everything in design, and the 60/30/10 rule provides a foolproof formula for achieving harmony. Here’s how it works:

• 60%: Dominant colour – covers the largest area, such as walls or large furniture.
• 30%: Secondary colour – used for upholstery, rugs, or curtains.
• 10%: Accent colour – reserved for accessories like cushions, artwork, or decorative objects.

“This timeless guideline for compiling a colour scheme involves the use of proportion when deciding on colours for a space, and results in harmony,” says Jeremy.

Ready to Learn More?

Want to dive deeper into the world of interior design? Our 8-week VISI X BHC Interior Decorating Core Principles online course is designed for aspiring interior decorators who want to master the essentials, including:

• Space planning
• Colour theory
• Design elements and principles

Study Anytime, Anywhere

Our on-demand model makes it easier to fit learning into your schedule. Select your preferred start date from the dropdown calendar at checkout and begin your journey to becoming a design pro.

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Outlining exactly what goes into making a bespoke lighting system, Hoi P’loy founders Ploy Phiromnam and Guy van der Walt tell us about their new Rise & Fall Pendant, which was launched at Cape Town Furniture Week 2024.

The Idea

”When our brand was in its infancy we were very inspired by vintage lighting. We consciously sought to avoid “replicas” or “faux” vintage lights, but we often drew on cues from a traditional aesthetic. An iconic staple of the Victorian era, the classic porcelain “rise-and-fall” pendant was the kind of thing that we would frequently encounter on expeditions to the Milnerton Market and the like. Except for a brief re-emergence in the 70s with Guzzini’s Rise & Fall (you know, that one that was also big in 80s kitchens with its coiled suspension cable), we hadn’t seen any exciting developments that had built on the concept. So it was always something that we had in the back of our minds. We toyed with the idea about 8 years ago, made a quick prototype, and then got side-tracked while the test piece gathered dust on the shelf. Then as part of a recent social media campaign we’re running themed “ideas that never made it”, we posted some pics of the old girl and got a positive response. So we decided to give it a go.” 

The Aesthetics

”As a brand Hoi P’loy is synonymous with an aesthetic that skirts the line between the past and the present. When it came time to pick a direction we were torn between old and new.

”On the one hand, we wanted something closer to the original design, but with the sophisticated brass elements we’ve become known for and on the other hand we’ve become much more adventurous lately in playing with bold shapes and colours, which resonate more with a vibrant contemporary aesthetic. We couldn’t decide… so we ended up making both alongside each other. Each speaks a very different visual language, and the response has been great towards both of them. People say “l just love your new rise-and-fall” and our first response is always – which one?

”Overall, we’ve tried to keep both of them fairly minimal which is always a good formula for timelessness. I suppose we’ll have to wait and see which one, if any goes the distance. Based on initial feedback, we’re feeling optimistic.”

The Creative Methodology

”Interestingly enough, the initial phase – the conceptual sketches and drawings are often the quickest and easiest. We’re talking as little as 15-20 minutes sometimes. This is the part that most people imagine when they think of a designer – someone sitting at a desk dreaming up ideas. The reality is that after those initial ideas, a long and gruelling series of prototypes follows, starting with extremely crude “segments” of the design aimed at quickly testing and solving technical challenges, gradually evolving into ever more refined manifestations of the initial idea. Sometimes some drastic changes render the light almost indistinguishable from the original idea. But either way, it’s very satisfying to overcome the various hurdles and to end up with the end product. This is especially satisfying if the result is seemingly very simple to the untrained eye, but clever solutions have been found too complex and demanding “under-the-hood” configurations. Finally, there’s a great deal of testing that goes into making sure the light is viable for production and daily use.” 

Ergonomics and Engineering

”We save a massive amount of time by working with 3D engineering software before making any parts. This forces us to consider the complex technicalities of the designs before spending time making them. We use Solidworks, and then often before manufacturing working prototypes out of metal, we 3D print mock-ups. This can help to highlight proportional problems, as well as the sequence of steps to assemble parts.

In the case of the rise-and-fall pendants, the balance of weight between components is crucial, and on this occasion, this was done by swapping out the parts for little weight bags and then designing around those target weights. The engineering software does a pretty good job of forecasting volume and weight, but ultimately we have to make real working prototypes from the final metal that will be used to perfectly match the weight characteristics that the designs demand.” 

Materials

”We have always been drawn towards brass and for the more traditional style, we used solid brass hex-bar, both for the weight and the light housing. It’s quite something to hold in one’s hand. It’s difficult to explain other than that it gives the light a sense of gravitas.

For the more contemporary light, the one with the bold colours and shapes, we went with a combination of steel and aluminium, powder coated in a collection of custom mixed matte colours. They appeal to a very different design pallet, but in the right setting become a focal talking point. We’re excited about the potential that each design has to become an iconic part of our signature range.” 

Advice

”The most valuable lesson we’ve learnt over the years is to not be precious about initial ideas, but rather to “play” through a series of prototypes as the design evolves. It’s really important to begin working quickly and “carelessly” to achieve an end result that retains a “spontaneous” flare. It’s often counterintuitive because one naturally wants even the early iterations to look good. There’s a natural tendency to feel that maybe one can get lucky, and the first one might be the final one. But that’s rarely the case. So it’s important to solve the various initial design challenges that emerge with little regard for finishing or refinement. The renowned vacuum cleaner designer, James Dyson famously worked his way through 5127 prototypes before arriving at the design that revolutionised the industry. We can all learn from this approach – allow yourself to make mistakes in the pursuit of learning and refinement.” 

+ VISI Masterclasses

Ploy and Guy are also one of our VISI X BHC School of Design interior design course industry experts. Each online course has a Masterclass where we chat to a celebrated professional interior designer, getting their insights and expertise gleaned from years of experience with real-world interior design projects.

• CLINTON SAVAGE – Clinton Savage Interiors and Architecture
• HENDRE BLOEM – Hendre Bloem Interior Design
• PLOY PHIROMNAM & GUY VAN DER WALT – Hoi P’loy lighting
• MIA SENEKAL – owner, murmur furniture design

Looking for more design inspiration? Sign up to our weekly newsletter, here.

The post Anatomy of a Light appeared first on Visi.

Four interior design gurus – Jeremy Volkmann, Hendre Bloem, Mia Senekal and Clinton Savage – share their approach to using both bold hues and neutrals in projects. Because before you pick up a paintbrush, a few expert tips can make a huge difference.

Choosing the Right Colour Palette for a Specific Space

MIA When selecting a colour, I look at what the space needs to hold. What is the feature of the room? If it is the walls, then I would go for a bold accent colour – but if it is the furniture pieces, then I’d prefer to use a neutral palette for the walls.

JEREMY Although the use of colour is fairly subdued in my designs, I tend to involve the client in the process at an early stage. The use of colour can be so personal, and the psychology behind how a person interacts with the design plays an important role. As a rule, however, I tend to avoid colour trends because they usually date over time, and rather try to focus on a neutral palette, with more textured surfaces within the environment.

CLINTON Before starting any project, there is a process of getting to know the client – understanding their vision and what inspires them, and how this translates into the space. Colour plays a very important part in this. Finding the right balance between trends and longevity will also influence the colour palette, as well as existing decor and lighting. The room in question and its functionality – be it the main bedroom, a child’s bedroom, the kitchen, a study – also plays a role in determining the right colour palette. Each space has an intended purpose that it will serve, and the colours need to work with that.

Balancing Bold and Neutral Colours in Interior Design

HENDRE It’s all about balance when it comes to the use of colour and tones. I look at the space as a whole, because everything from the furniture colour to rugs, feature lights and even artwork can play a role in determining the wall colour. Hendre Bloem Interior Design is known for neutral colour tones that are used in quite bold ways.

JEREMY Neutral colours are timeless, comfortable and warm – and they’re definitely my “go-to”. Accents of bolder colour tend to come thorough in decor accessories such as throws, pillows or artworks. I’ve certainly had to adapt my design style over the years, which has allowed my spaces and designs to evolve. I would suggest using tints or shade variants of the neutral colours chosen as the “bold” colour. Playing with the brightness of these shades will help to set the desired feeling within a space and can create an illusion of depth.

Creating Interest and Depth in a Space when using Primarily Neutral Colours

HENDRE Here it’s all about the layering of tones and the introduction of textures as a contrasting element. I have used the same sort of colour tone on certain projects, yet have achieved a great sense of depth and warmth by combining this with various textural materials. The trick is to layer fabrics, textiles and paint that are all relatively similar in hue.

CLINTON Using textures and layering always creates interest in a space that is primarily made up of neutral colours. Artwork is a great design element for creating a focal point, and so is interesting furniture. Adding reflective furniture pieces and mirrors while paying special attention to lighting is also key.

Incorporating Current Colour Trends into Designs, but still Ensuring Longevity and Timelessness

MIA I like to use trending colours on smaller accent walls or furniture pieces – this allows for easy changes with time. That’s the magic of paint: you can alter an entire space by just repainting one wall; it all looks new and fresh.

HENDRE When it comes to paint, I tend to choose neutral and monochromatic tones. That said, using on-trend colours can also make a statement in key spaces, and especially in areas that are easily repaintable. At Greyton Lodge, areas such as the guest loo and wine bar are great examples of using a single colour on walls, and how it then blends seamlessly with the other tones used in the space.

CLINTON While it’s temping to follow the latest trends, we’re always mindful that these will date. Everyone has their own style, so consider choosing furniture, artworks and other key pieces in colours that resonate with you, because these will always be relevant. Bring in current colour trends with accessories such as scatter cushions, rugs, throws and smaller decor items, or with wallpaper and painted accent walls – these can be changed more easily and affordably. Finding the right balance here is the key to creating a timeless look that will not date.

The Role of Natural Light in Selecting the Right Shade

MIA Natural light is the most attractive feature you can have in a space. When it comes to choosing paint colours, I always take the swatches outside to view, because colour changes with light. Natural light is enhanced by lighter colours, creating a sense of grandeur in a space.

HENDRE Lighting is vital, and it’s important to see things such as paint colours in natural light – but also in the same “temperature” that will be used in the home’s artificial lighting. The surrounding environment also has an impact. For example, if the space is a house on the beach, facing west, the glare of the setting sun will likely be quite harsh – so you might want to move away from a very light or pure white colour, and opt for slightly warmer neutral tones.

CLINTON When it comes to aesthetics, natural light does a far better job of bringing out colour than artificial light. Opting for lighter shades will make a space feel brighter; they tend to reflect the natural light that enters a space. To really maximise this, we use considered design elements such as mirrors or, if possible, a big window, for further emphasis and reflection. All of this will result in a space that feels light and open.

Using Colour to Solve Specific Design Challenges and Enhance a Room’s Functionality

MIA Working with smaller spaces is always a challenge. When you use light and bright colours, it opens up a space.

HENDRE Because paint is relatively affordable and easy to apply, we have used it in various scenarios to solve a design problem. We designed a boutique hotel in which natural oak beds were used in the bedrooms, and at a certain point we realised that, because of other unforeseen costs on site, we could no longer create additional headboard elements as we’d originally planned. The solution was to use a feature paint colour – we achieved the balance we were looking for and pulled the whole look together.

JEREMY Without a doubt, the correct paint specification can mask irregularities in the wall surface. There are so many incredible paint techniques available that I often try various textures and techniques in one space. Not only do these surfaces change as the light changes, but they also provide movement and feeling within the space. Be careful, though – if not applied correctly, many of these techniques can result in costly mistakes. I’ve learnt this the hard way!

VISI Online Masterclass Videos

You can hear more from all our experts when you enrol for our VISI X BHC ONLINE INTERIOR DESIGN COURSE. Jeremy Volkman is the owner and managing director of BHC School of Design, which also happens to be the place from which our other design gurus – Hendre Bloem, Clinton Savage and Mia Senekal – graduated.

Each of them has created an extensive masterclass video with VISI’s editor-in-chief Steve Smith, covering:
Interior decorating core principles (Clinton Savage)
Furniture design (Mia Senekal)
Materials and finishes (Hendre Bloem)

Looking for more design inspiration or tips on how to revamp your space? Sign up to our weekly newsletter, here.

The post A Colour Masterclass appeared first on Visi.

We have partnered with the renowned BHC School of Design to create brand new modular online courses – the perfect platform to learn the basics of interior design.

BHC is a highly respected, single-purpose provider of design education, that is accredited by the Dept. Of Higher Education & Training, SAQA, and the Council Of Higher Education.

This Cape Town-based School of design offers a comprehensive 3 Year full-time registered Diploma Programme in Interior Design and now, with the new VISI x BHC Online Interior Design Courses, you have the perfect opportunity to start your interior design journey from the comfort of your home.

If you’re a student thinking of becoming an interior designer, a home owner wanting to revamp your space or a professional needing to earn The African Institute of the Interior Design Professions CPD points, then our comprehensive online courses are perfect for you!

Enrol for the next intake commencing on October 4th.

INTERIOR DECORATING CORE PRINCIPLES

8 Week Online Course | Earn 4 IID CPD Points

This gives you a solid grasp of decorating basics, from elements and principles to colour, style, and trends, enabling you to create well-designed interiors. Explore colour theory practically, experiment with schemes, and apply decorating principles to personal style and trend evaluation.

MATERIALS AND FINISHES IN INTERIOR DESIGN

9 Week Online Course | Earn 4.5 IID CPD Points

Not only will you discover a world of products, materials, finishes, and accessories in interior design, but you’ll learn how to source them, and delve into the key realms of lead times, delivery logistics, installation intricacies, and cost considerations.

LIGHTING DESIGN

9 Week Online Course | Earn 4 IID CPD Points

From understanding natural light to mastering artificial fixtures, this module is all about the art of illuminating spaces that evoke emotions, set the mood, and enhance the ambiance. You’ll also gain a comprehensive understanding of materials, lamps and lighting design.

INTRODUCTION TO FURNITURE IN DESIGN

9 Week Online Course | Earn 4.5 IID CPD Points

Immerse yourself in the fundamentals of furniture selection and design, from understanding the evolution and future of furniture, to basic ergonomics and the variety of material and finishes available. This holistic perspective will allow you to make informed decisions on furniture design.

+ VISI Masterclasses

Each module has a Masterclass where we chat to a celebrated professional interior designer, getting their insights and expertise gleaned from years of experience with real-world interior design projects.

• CLINTON SAVAGE – Clinton Savage Interiors and Architecture
• HENDRE BLOEM – Hendre Bloem Interior Design
• PLOY PHIROMNAM & GUY VAN DER WALT – Hoi P’loy lighting
• MIA SENEKAL – owner, murmur furniture design

The post VISI Launches Online Interior Design Courses with BHC School of Design appeared first on Visi.

Inspired by nature and rooted in ergonomics, her brand murrmurr is making waves with its organic shapes and neo deco aesthetic.

Cape Town-based, Stellenbosch-raised former Design Indaba Emerging Creative Mia Senekal founded distinct interior and furniture design brand murrmurr after nine years of experience in retail interior design.

She is one of the local designers who contributed to adidas’s sustainability-centric flagship store in Sandton City, Johannesburg, opened late last year. The couch she designed for the store, New Moon, is inspired by the phases of the moon and reflects her main influence – nature and the outdoors – where she draws from elements in the world around us and brings them inside our homes. Murrmurr also places a strong emphasis on ergonomic design, ensuring alignment with the highest standards of comfort. We spoke to Mia about her design philosophy and more.

My typical day is filled with enquiries and sending out information on products – which I’m so grateful for. In between that, I visit my manufacturers to check up on the progress and quality of items. When I have free time, I constantly think about (and sketch) new ideas. It’s the part of the business I’m most passionate about, that creative bubble.

What makes a great piece of design, for me, is originality – and that stems from creating based
on a firm concept, having a story behind the design, and it being relatable to customers. Comfort is also key when designing a great piece of furniture.

Functionality comes first. When I first started exploring furniture design in 2019, I set out to understand the ergonomics of furniture – what makes it functional and comfortable. Once I had completed that research, I started to incorporate what I’d learnt into designs that are aesthetically pleasing, and that translate into pieces of art.

READ MORE: The Flourish Range by Murrmurr

Nature inspires all my designs. For me, a strong concept is hugely important in any range – it gives me a base to design from and room to play; a core to draw on whenever I get stuck or need a new idea. It also creates a story between pieces in a range – a story that is told through design.

The top trends in design that I see coming through in the next year or two will be about incorporating sustainable materials, and playing with various textures and finishes in one furniture piece. Texture and materials have become a big focus in the industry – consumers are looking for something different, something to set an item apart from commonly used materials.

I’ll incorporate these trends into my own brand by focusing on sourcing and integrating sustainable materials, and including a lot of texture – it ties in with our ethos of being inspired by nature.

Among all the pieces I’ve designed thus far, my personal favourite is the New Moon couch from the Moon collection. It was the first piece I ever created, and I’m still in love with its endless curves.

READ MORE: Rising Star: Siyanda Magaba

My advice on the quickest or easiest way to update a home’s interiors is paint. You can also try new plants, fresh linen or one signature couch. That way, you can change things up again in a few years when the urge to uplift a space strikes you.

My favourite room in my own home is definitely my bedroom. It’s a haven that I’ve filled with plants, and a mix of antique and modern pieces that exist in perfect balance. The big bed, with its soft white linen and floral scatter cushions, is so inviting!

My favourite destination for design inspiration is definitely Milan. The furniture industry and fairs are incredible. It’s a hub of design, and it’s filled with energy and creativity.

If money were no object, the piece of design or art I’d treat myself to is Van Gogh’s Starry Night painting. It has been my favourite piece since the age of 16, when I saw it in real life. I was mesmerised.

+ VISI Masterclasses

Mia is also one of our VISI X BHC School of Design interior design course industry experts. Each online course has a Masterclass where we chat to a celebrated professional interior designer, getting their insights and expertise gleaned from years of experience with real-world interior design projects.

• CLINTON SAVAGE – Clinton Savage Interiors and Architecture
• HENDRE BLOEM – Hendre Bloem Interior Design
• PLOY PHIROMNAM & GUY VAN DER WALT – Hoi P’loy lighting
• MIA SENEKAL – owner, murmur furniture design

Looking for more rising stars of South African design or design inspiration? Sign up to our weekly newsletter, here.

The post Q&A with Furniture Designer Mia Senekal appeared first on Visi.

High-impact kitchens remain on the menu – whether that’s through bold use of colour, or dramatic finishes and striking silhouettes. Here are our top kitchen design trends for 2022.

Lucky Number Three

Wood, marble and metallics continue to be a winning combination in kitchens. This magic trio introduces just the right amount of warmth, luxury and practicality to make a space work well and look lush. Atelier (top) has opted for a dramatic solid-marble island for max impact, while in the double-volume space (above), Studio 19 has gone lighter on the island but added another stone variety for extra dimension. Both are complemented by timber and metallic accents.

Blakes London (above) has used the triple threat (marble, wood and metallics) very cleverly by also varying light and dark tones, and linear and round shapes. The result is a pleasing balance that’s timeless but interesting.

High Shine

A touch of gloss in a kitchen ups the ante in terms of glamour. The Cesar kitchen above masterfully combines matte and shine via timber cabinetry with tinted-glass insets, for a change of pace and texture. It’s surprising – and incredibly polished.

Nothing says luxe quite like metallics – whether classic gold or contemporary chrome, they offer an instant upgrade. In the ARRCC kitchen (left), clever use of warm lighting and blonde timber cabinetry amplifies the metallic cladding. BluLine (right) has layered different kinds of glossy surfaces for high-octane glamour, combining metallics with smooth stone and glass.

Nature’s Palette

Colour is no longer considered outrageous in a kitchen, and designers are venturing outside the safe confines of neutrals or navy towards a spectrum of fruit- and foliage-inspired tones. Beata Heuman’s (left) apple-green cabinets combine with marble and wood for a fresh, feminine feel. Martin Moore (right) has gone all out with citrus shades, and the effect is uplifting and energising.

Using a spectrum of soft pastels, Melina Romano created a cocooning space (left), while designer Perniclas Bedow drew on the autumnal tones of maple leaves when designing this colour-blocked Stockholm kitchen (right).

READ MORE: How to Design Your Kitchen

Inside Out

Thanks to mobile units and amazing advances in tech, you can create a cordon bleu setup pretty much anywhere – and Cesar’s Maxima design (above) looks suitably earthy in an outdoor pavilion.

Go With The Grain

Warm, textural, and available in myriad shades and grains, timber is a classic choice in a kitchen – and thanks to new engineered surfaces and contemporary finishes, it’s no longer synonymous with rustic. To break up the expanse of a wall of wooden units, Hendre Bloem (above) introduced linear details to give it a geometric effect.

The Caesarstone design (above) balances cool and warm with stone and timber.

Round About

A return to rounded edges – a nod to the continued popularity of Midcentury silhouettes – is seen in this space by Hendre Bloem at STIL (above), and offers a pleasing alternative to crisp, sharp corners in a kitchen.

Dark Side

Almost counterintuitively, dark kitchens can feel more welcoming and warmer than stark white ones.
It does all come down to using the right textures, and making sure there’s a balance. One Design and Development (above) made the bold choice to use almost blanket black in the space – which, due to its uniformity, actually makes it feel bigger. To ensure it wasn’t too flat, they added one small strip of light timber cabinetry – a clever focal point that lifts it.

In the two kitchens above, by Arclinea (left) and Cesar (right), the key to depth was warmth and texture. In the former, glass-fronted cabinets lit from the inside, an antique rug and light timber floors add layers, while in the latter, allowing the grain of the wood used in contrasting directions to form a feature, gives it natural appeal.

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The post 7 Kitchen Design Trends to Look Out for in 2022 appeared first on Visi.

COMPILED BY Julia Freemantle PHOTOS DOOK (The Arcadia), Justin Chung (OWIU), Lar Glutz (Lisa Rorich), Bjorn Wallander (Viya), Supplied

Balancing Act

The careful balance of light and dark elements with different textures and shapes can create a sense of drama, opulence and space.

Hendre Bloem has combined a feature window with a carefully placed pendant trio to offset the dark tiles and pedestal – and by running the tiles vertically, he’s given height to the space.

John Jacob Interiors built lighting into the fabric of the architecture, and used sculptural sconces and a pendant as focal points.

In this mesmerising space, ARRCC masterfully mixed rough and smooth surfaces, clean lines and organic forms, and dark tones with dramatic warm lighting, for a space that’s instantly arresting.

Moody Hues

Paired with memorable fittings and finishes, colour can instantly up the mood-lifting power of a cloakroom. The key to creating a sense of comfort and luxury is layering.

Using a chrome and marble vanity, delicate ceiling mouldings and a leafy wallpaper, John Jacob Interiors has created a feminine, elegant space that’s light and bright.

Soothing tones, moody backlit mirrors and tactile surfaces combine in this Clinton Savage Interiors bathroom to create glamour, but also a warm welcome.

While it may seem counterintuitive, dark spaces can be comforting, and often seem bigger than they are – Alape and Studio 19 both used dark walls to create a cocooning effect in their charismatic spaces.

A bachelor’s dream home by Atelier Interiors is a study in contrast, with clean contemporary lines and light organic pattern living side by side in this sophisticated bathroom.

Using a powerful combination of lighting, colour and layering, Clinton Savage Interiors created a space that draws guests in.

Mirror, Mirror

Creating a memorable space requires thinking about what might catch the eye, or make an impression. Striking objets d’art, unusually shaped mirrors, and unique pedestals and vanities can all make your guest bathroom stand out.

At The Arcadia, Roberto Forte has offset dramatic black walls with Frances Goodman’s sequinned work, using floor-to-ceiling mirrors for maximum impact.

A Japanese-inspired loft bathroom by OWIU shows that you don’t need formality in a space for it to have presence – here, it’s the casual styling and natural textures you notice.

Jewel-toned tiles in this Lisa Rorich Architects cloakroom are reflected in the mirror, exaggerating the effect of the striking material.

Jaime Hayon’s new Toto bathroom range focuses on smooth, sensual forms, and introduces colours and curves in a way that’s understated yet impressive.

Using one- of-a-kind, handcrafted pieces, Viya has fashioned a space that, once seen, is unlikely to be forgotten.

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

The post Small Space, Big Impact: How to Design a Guest Bathroom appeared first on Visi.

At Suidster near Montagu, Hendre Bloem’s sleek yet soulful take on the country cabin elevates this humble type of dwelling to its design-driven apotheosis.

When Suidster’s owners Cobus Van Wyk and Ruan Van De Venter moved back to South Africa after a 16-year stint in the UK, they chose a farm between Montagu and Barrydale for its likeness to the western Scottish isles. “It reminds us of Scotland – the mountains and plants,” says Cobus. “And it has the same rugged beauty,” Ruan adds.

Here they have built their own home, and recently added two remotely situated, solar-powered mountain escapes to which guests can come in search of fresh air and fynbos. When initially imagining the cabins, they knew they wanted something that referenced the cottages they had seen in the Scottish countryside. With this in mind, they asked interior designer Hendre Bloem to bring their vision to life.

Apart from a rectangular, corrugated-iron-clad starting point and a loose framework, Hendre had relatively free rein. “We wanted to keep the footprint small, and to make the cabins simple and sustainable but also luxurious inside,” says Cobus. The rest was up to Hendre. What he’s come up with in response is both simple and incredibly smart: simple in that these are rectangular, barn-style structures with no interior walls; and smart because, despite being one sizeable space (of approximately 80m2), each cabin is also resolved and sophisticated. This is down to just how good Hendre is at organising space.

By cleverly placing and positioning the furniture and fittings, he has achieved a sense of flow as well as pockets of privacy – via the use of details such as curtains around the freestanding bath that also screens the shower from view, a headboard that acts as a room divider, and klompie tiles in different tones that signal the different zones in the space.

“I’m a fan of creating a continuous flow from one area to the next,” says Hendre – but he’s also very much aware that when everything is open, attention to detail is crucial. “Everything here is integrated and unobtrusive. So, when you’re lying in bed, you can’t see the bath – and when the kitchen is not in use, the island looks like a nice table.” It’s a marriage of ease of use with aesthetic appeal.

“I really wanted to create a space that was unique in its experience – to strip it back to the essentials, but
to still include everything you’d need to be comfortable,” he adds. And he’s really delivered on this score – everything you need is here, yet the space feels calm, uncluttered and luxurious.

The environment was a key source of design stimulus: the cottages unobtrusively blend into the landscape, and their positioning ensures that their occupants appreciate the beautiful surroundings. Privacy and seclusion were factors when the sites were chosen, as were the views.

Hendre also drew on the name of the property, Suidster – southern star – as a source of inspiration. “I was inspired by the idea of coordinates and orientation… When we were deciding where to place doors and windows, we made sure that every area, whether you’re sitting by the fire or lying in bed, has a beautiful vantage point,” he says.

Likewise, he looked to the landscape for the palette. “The colours – ambers, plums, rusts – were inspired by the rock formations in the area. I wanted the interiors to complement and balance the fresh greens that come in from the outside.”

As with all design, some details evolved. Here it was the outdoor areas that developed from the original plans, with Kolkol wood-fired tubs added as a savvy way to adapt to the seasons (plunge pools in summer; hot tubs in winter). And, of course, there’s an outdoor shower.

“We want the cottages to age well and become part of the environment,” says Cobus. This sense of ease and flow is something Hendre excels at, and his designs create balance, too. Here he’s combined matt and smooth textures, sheer linen curtains and solid black eaves, lines and curves – all blended into an interior design that’s earthy yet elevated. In short, it’s a comfortable, contemporary and charming take on the country cabin. | suidster.co.za

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