Six years on from completing her award-winning Lynnwood Ridge home, architect Nadine Engelbrecht had some renovations planned when lockdown happened. She didn’t let the lack of contractors hold her back, however, turning the makeover into a family DIY project. 

“I believe a house should adapt with you to constantly meet your needs,” says Nadine. “My husband’s grandfather was also an architect. He used to say that you have to spend 5 % of your home’s worth every year on maintenance. Since moving in, we haven’t done much maintenance – a painted wall here or there, but it was time to invest in our home again. My family and how we live has changed, too.”

For the renovation, as with the original design – which won the PIA (Pretoria Institute of Architects) Award for Residential Architecture in 2015 – the site played a major role. A compact double storey house is artfully moulded around a large rock that dominates the small 400 m² site and rises 3m above street level. The goal with the design was to integrate the building into the landscape, with Faerie Glen Nature Reserve forming one of its borders, in addition to maximising the views over Pretoria and maintaining privacy.

Despite the constraints of the plot, the house has an easy, open flow. The ground floor features an open-plan living and kitchen with scullery and store room, and two bedrooms (one which was designed to be divided for future adaptation), two bathrooms and a walk-in closet upstairs on the first floor.

Plants and greenery envelope the structure, with large glass doors blurring the boundary between living inside and outside, and rocks found on the site were used for the façade. This reuse of found materials also tied in with Nadine’s approach to construction: Sustainable, low maintenance and cost effective in the form of rusted steel, reclaimed bricks (recovered from a dump site) and pine, textured concrete walls, exposed polished concrete floors and natural stone.

Rainwater harvesting, solar water heating, natural daylight and ventilation, passive heating and cooling and energy-efficient appliances and lights were also all considered in the original design. “From the beginning of the project, it was important to me to use materials honestly – to expose materials and show the construction and also to re-use where possible,” Nadine explains.

“The majority of the interior elements are custom designs by me and many have also been built by us. The large dining table, for example, was made of reclaimed floor beams which came from my husband’s family’s old farm house. His cousin made it up specifically for our house,” she adds.

With this industrious, salvaging spirit, Nadine’s hands-on approach to the renovation is no surprise. “When lockdown began, we were ready to go and all the materials were bought. Since we had some extra time at home and no way to get builders in, we did all the work ourselves. We tiled, painted and built shelves and cupboards. The renovation took a couple of weeks.”

She continues, “The renovation was made exciting by the lockdown and the lack of labour and materials. We got creative. We borrowed paint from neighbours, used leftover steel to build shelves and cupboards, tiled ourselves (and not 100 % straight)! I love everything about my house. It has also been exciting to experiment with materials (and to make a few mistakes and learn from them).”

For more projects visit Nadine’s website and stay up to date with news on Instagram (@engelbrechtnadine). Check out two other striking homes designed by Nadine here. 

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In interpreting the brief to update this two-bedroom 100 m² apartment to appeal to a range of discerning guests looking for a designer rental in Cape Town, Bone Interior Design Studio took a cue from its classic lines and elegant moulding. 

“The owners wanted to set the rental apart from others in the building – to stand out, but also to be neutral enough to have broad appeal,” explains interior designer Gill Deneys. “In terms of materiality as well as layout, it needed to appeal and cater to short-term business guests all the way through to families on extended vacations.”

The response was to prioritise functional, intuitive design solutions and fluid, uninterrupted spaces. Classic herringbone flooring, for example, has been used throughout to reinforce this sense of cohesion, and the same soft, muted paint colour has been used on the skirtings, doors and architraves, too. This modern all-over paint application also makes the apartment feel more spacious.

Gill chose to retain the existing wall, ceiling and door mouldings, employing the sophisticated heritage feeling they bring as a backdrop to layer contemporary finishes and furnishings. The restrained monochrome palette further unifies the overall aesthetic and merges eras and styles. “Neutral but strong accents in various timber finishes lead your eye through the space, creating texture and interest alongside linens and smooth leather for contrast,” she adds.

To avoid creating a visual barrier between the lounge and dining areas, Gill chose low, “lightweight” steal-and-leather armchairs to form a flexible boundary. Weightier pieces have been positioned around the perimeter of the room. Taking into consideration professional and leisure guests, the server in the dining area can double up as a work station, complete with all the necessary charging facilities. The large dining table, which anchors the space and directs the flow, is big enough to host a meeting or to entertain guests around.

Mirrors, lighting, ceramics, artwork and the nesting coffee tables present organic curves that offset the sharper lines of the moulding, joinery and larger furniture pieces. Down lights, architectural pendants and contemporary task lighting create layered ambience, and more opportunity to introduce a modern mood.

Read more about the project on Bone Interior Design Studio’s site and stay up to date with the studio on Instagram (@bonedesignstudio).

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Cape Town-based writer, editor and photographer Celeste Jacobs has long used Instagram as a place to catalogue and share her photographic eye, and connect with like-minded creatives. Now she’s bringing that digital portfolio to life in a series of prints. VISI chatted to Celeste about her journey from filters to to film… 

Where did your love for documenting begin?

I’m a sentimental person, so holding onto memories and valuing them is pretty high on my list of things that matter to me. Documenting in terms of photography is one extension of this, but other times it might be through another sense… There are some meals that taste like reliving a moment. The same is true for smells, textures and sounds. Sensory stimulation makes time travel seem possible.

Hawa Mahal in Jaipur

What is your major focus or subject matter?

It all kind of kicked off when I started spotting vintage cars. It was a fun and almost meditative process. The more you look for something, the more you see it. I generally like still life captures – anything that feels calm. In real-time seeing something before I press the shutter usually gets my attention and makes me pause for a moment (or a while) – capturing it is, to some extent, a way to make that moment last a little longer.

River deep and mountain high

How has Instagram shaped and influenced your artistic expression?

The main perk is that, depending on how you use it, it’s like having an easy pre-formatted website. I like having a place to share and see what other people who use the platform as a form of expression do. Right now I’m shooting mainly film and there is such an awesome community of people who share their analogue experiences. It’s exciting to see what’s possible in that format and to enjoy the process of making-creating-doing in that way – there’s such a beautiful pace and rhythm to it.

Did you always plan on making some of your prints available to purchase?

Before COVID-19 was a factor, my intention was to co-exhibit a curated selection of the vintage car series with Gabriella Achadinha. I’ve been shooting the series for over three (going on four) years, wherever I’ve been and I felt ready to share that.

At some point, I realised that would most likely not be possible this year, but I still felt some kind of persistent need to push myself and put myself out there. That’s pretty much when I decided to make prints – they’re tactile captures and seeing them on paper really brings them to life.

I think, if anything, the lockdown lesson I’ve rolled with is this: The only thing we have to lose is time and whatever time takes with it. Worrying about putting yourself out there is not a worthwhile concern. It’s more of a worry to sit on the bench when you know you’d rather be out on the field. Basically, I’m here for brave vulnerability – in whatever form it takes.

Stay up to date with Celeste on Instagram (_celestejacobs). Her photographic prints are available from A4 to A2 and can be ordered by sending her a direct message. Read some of the stories Celeste has written for VISI here.

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Located in L’Agulhas, the southernmost tip of South Africa, on a picturesque plot right next to the Agulhas National Park, the brief to Mount Moriah Architecture studio was for a minimalist beach house that afforded its owners privacy, contended with the elements, and maximised the setting. 

With a south facing site that offers 180º views of the Atlantic and Indian oceans, designer Louis Delgado had to take into account the prevailing Southeaster while making the most of the outlook. He opted for two wings, which not only provide the simplicity the owners were after, but created a sheltered courtyard between them and divided up the home’s functions – one “living” wing for public/entertaining that contains a kitchen and scullery and open-plan kitchen-dining-lounge area, and the other private/sleeping wing.

“We were able to use every bit of glazed area to introduce an indoor/outdoor living experience,” he explains. The living wing is slightly set back with double-volume steel and glass doors opening up onto a patio partially covered by a staggered portico; a modern facade that emphasises the simplistic A-frame barn shape.

“The architecture was determined in a large part by the materials, which had to be practical for easy maintenance. Instead we let the façades make the statement.” In the front, a patterned screen adds detail and interest to the entrance.

READ MORE: The Boat House

The simplicity and sense of order is continued inside. The owner hand-picked the interior finishes, ensuring every element had a functional and aesthetic purpose. Timber joinery, tan leather and woven elements add warmth to the mostly monochrome palette.

For more projects by Mount Moriah Architects, visit mountmoriah.online and find the studio on Instagram.

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

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The interior of a guitar formed part of the inspiration for the design of Sony Music Entertainment Africa’s HQ at Oxford Parks in Rosebank.

The brief to design-and-build specialists Tétris South Africa was to develop a creative environment that represents the African continent in its look and feel; a space where employees and artists can come together to collaborate in a place where they want to spend time.

Using the guitar as inspiration, organic curves and timber inform the design and layout: Wooden struts and structural elements divide up the space and break up the industrial exposed ceiling. Desks are either organically shaped or feature curved edges. To establish a mix of non-traditional workstations, circular desks with privacy screens were added to the mix. David Krynauw was commissioned to create a solid oak acoustic phone booth that offers privacy in an open-plan space.

The reception desk and timber-clad bar appear to be suspended, their asymmetrical shapes resembling the signals on a music producer’s mixing console. Circular tables and an undulating timber banquette inform the open-plan staff pause area, which has been enclosed to reduce the noise levels. Lighting, too, is a mix of organically shaped, directional and statement fittings.

There are plenty of plush sofas and modular seating options, which further emphasise the soft corners and introduce pops of colour. More vibrant hues are injected with a custom mural by graffiti artist Mars in the reception area. Animal print has been used sparingly through upholstery and subtle zebra print decals on the glazed partitions.

Meeting rooms have been named for Sony clients and themed accordingly. The main boardroom, for example, is titled “Sekunjalo” and presents a more mature, retrained aesthetic and mood. It has been anchored with a large tree-trunk table and timber audiovisual wall feature, and leads through to a client entertainment area for launches and events.

“The Funhouse” is inspired by Pink’s album with appropriately bright, bold colours and a playful writable desk. “Krone” represents an underground club ambiance with industrial elements, a metal perforated table, exposed brick wall and neon light wall; while a yellow boardroom table, lush wallpaper, a glittering pendant and hints of gold signify Beyoncé’s “Lemonade”.

For more info and to view other projects, follow Tétris South Africa on Instagram. 

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“Back to the start” was the conceptual phrase used by award-winning architectural studio W design to approach the renovation of this mid-’70s home designed by architect and author Allan Konya.

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 MORE: Dullstroom Holiday Home

“‘Back to the start’ refers to the idea that we were not changing anything, but rather taking everything back to the core ideas and spaces created in the original home,” explains architect Johan Wentzel. “Many aspects required maintenance, but more specifically the project as a whole needed a ‘system update’ that would allow the home to be liveable in the current 2020 context – respecting the existing but updating the design detailing and refinement in line with a contemporary lifestyle.”

Johan and fellow architect Grete van As looked to Allan himself for answers. In 1969, he wrote, “Good design means going back to fundamentals: Keep buildings ‘honest’ in all respects – I have never been interested in gimmickry and don’t believe in trying to create new forms for the sake of being different. A form is honest when it is developed as a result of the principles one follows and as a solution to a particular problem. Understand and use the various building materials at our disposal correctly – both natural and man made. I have used natural materials as much as possible – wood, stone and brick. Technology may develop hundreds of new products but these age-old materials will always have a place in architecture. As long as human beings remain sentient creatures, responding to nature, just so long will natural materials arouse in them a special response.”

READ MORE: Plettenberg Bay Home

Grete explains, “The home illustrates a good example of honest, single-trade and unfinished materials – the extensive use of clay face brick in combination with natural unfinished concrete and secondary detailing in wood and copper ‘simply’ required a measure of refinement in order to update the structure to a contemporary lifestyle; a home with its roots in the modernist era of the previous century, but firmly placed in the here and now.”

While respecting and retaining the home’s original core structure, the renovation aimed to open up the living spaces both in terms of internal circulation and natural light. Where spaces were dark or deep, certain internal clinker face brick walls were plastered. Shadow lines were used on the skirting and cornice joins to ensure the new rendered walls read as independent panels complementing the existing character.

Floating unfinished concrete lean-to roofs and re-interpreted support columns replaced the old wooden pergola structures to frame the home. “From our perspective, a triumph is that the completed project ‘feels’ like it has always been this way,” says Johan. “The complete structure reminds of the fantastic philosophical idea of ‘the familiarity of the new’ – we propose that our work merely exposed the original ideas and refined the assembly into a contemporary 21^st century context,” adds Grete.

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

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Set on a picturesque family-owned apple farm in the north east of Italy, the Apfelhotel has undergone an expansion under the direction of Italian architecture and design studio noa* that includes a restaurant, wellness centre and apple-shaped sauna, and 18 new garden suites. 

The three buildings that house the suites have been designed with saddle roofs to “absorb the architectural language of their surroundings”, according to noa*, with geometric façades that aim to blend traditional and modern aesthetics. “The buildings’ outer [shells have] been deliberately kept dark in an ode to the traditional character of a barn house.”

The wellness facility – the Brunnenhaus or “Water Well House” – is the hotel’s centrepiece: a curved semi-exposed concrete shell that’s tucked into the landscape and covered in grass. Its south side opens up with a glass and steel facade to the indoor-outdoor pool, lush greenery and views of the valley.

The upper level features a sauna lounge, relaxation room, Finnish sauna and steam bath with curved timber slats and views of the orchids, and an adjacent terrace where guests can refresh with an outdoor shower. The Apfelsauna or “Apple sauna” is located in the garden and is reached via a curved open staircase.

The rural farm context and characteristics of the region were important influences for the interior design. Timber cladding, milling and coarse natural fibres are used throughout. The restaurant’s interior theme is inspired by a modern winter garden. Plants and lights hang from the unique ceiling structure. The space has been divided by cupboards and floor-to-ceiling shelves that work to create a cosy, living-room feel, but are also moveable so the space can change and adapt. Nature, quite literally, flows through the space: Guests are able to drink from a natural spring water fountain.

To find out more about the hotel, visit apfelhotel.com, and check out more projects by noa* network of architecture at noa.network and @networkofarchitecture on Instagram.

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Geometric steel juxtaposes organic desert rock in the striking upgrade of this luxury lodge in Sossusvlei.

It takes a singular vision to renovate an existing property significantly yet sensitively – to make an original statement while retaining as much of the existing structure as possible.

To expand – yet maintain – the footprint while prioritising sustainability is especially challenging when the property happens to be located not just in Namibia’s remoteness, but in the world’s oldest desert. And when the brief is a total overhaul, as was the case with &Beyond’s Sossusvlei Desert Lodge – architecture, interiors and guest experience – it takes a team versed in the rigours of a certain type of multilayered hospitality that goes beyond quality linen. It requires a team that appreciates the tangible and intangible aspects of luxury; that knows how to offer guests an immersive experience.

After two decades at the helm of their award-winning multidisciplinary design agency Fox Browne Creative, Debra Fox and Chris Browne are specialists in this subtle alchemy. They collaborated with architect Jack Alexander, and worked with the existing buildings, constructed in the mid-1990s, to create something contemporary yet timeless and appropriate to the context.

The landscape was the steadfast focus in terms of inspiration, as well as minimising impact and maximising the guest experience. The lodge sits on a 12 715-hectare sprawl of desert wilderness that encompasses a variety of habitats and awe-inspiring vistas, from rocky mountains and gravel plains to vegetative, petrified and sandy dunes.

The team began by researching the area’s topography on Google Earth and were struck by how, unlike many other places in the world, there are no obstructions, trees, rocks or buildings. The only shadows are cast by dunes.

The lodge’s most defining feature – and a counterpoint to its burrow-like rock-wall curves – are the striking steel shades. “We tried to imitate nature in the architecture, and mirror the way in which the enormous dunes rise from the flat desert landscape,” Jack explains. The similarity is best illustrated at dawn and dusk, when the angular steel sails are in silhouette. “Much like life in the desert, I wanted the buildings to have different day- and night-time personalities,” he adds. At night, they’re illuminated from below by red light, chosen not for dramatic effect, but rather to avoid light pollution – the property borders the NamibRand Nature Reserve, Africa’s only International Dark Sky Reserve.

The night sky, so densely packed with stars here, was the reference for the laser-cut pattern in the shades. Working with an astronomer and studying astrological charts from the area resulted in a two-dimensional celestial design. The shades made it possible to use floor-to-ceiling glass on three of the walls to maximise the magnificent views. They work throughout the day, providing a shield from the harsh sun and filtering light into the main area. In the evening, they prevent light from the lodge disrupting stargazing from the observatory.

When guests are not out exploring the magnificent surroundings, there is much to be seen at the lodge. You’d be forgiven for not leaving your room, with a pool positioned to reflect the sunrise and sunset, an ample, stylishly appointed lounge area, a butler hatch to deliver an early-morning cappuccino, and a retractable skylight for in-bed stargazing.

“Solitude, silence and space are a rare commodity. This destination offers those qualities in abundance,” says Debra. “We hope guests feel instantly at peace as they arrive, that time slows down for them, and that our design allows them to connect with the landscape and reconnect with themselves.”

Looking for more architectural inspiration? Sign up to our weekly newsletter, here, or take a look at this Timbavati Lodge.

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Cape Town-based creative Chelsey Wilson – the designer and co-founder of local sock brand FEAT. Sock Co., known for its bright, bold, happy wearable artworks – talks inspiration, collabs and the story behind name. 

Why socks?!

I had an obsession with socks from a young age. My mom would buy me cute, new socks while I was at school and I couldn’t help putting them on as soon as I got home. Designing socks allows me to marry my sock obsession with my love for colour, pattern and storytelling. I love to use these mini, knitted, moving canvases to tell fun stories.

Where did the name come from?

FEAT. is short for ‘feature’ because the aim of the business has always been to design socks that stand out and become the feature of an outfit.

What is one of your all-time bestselling designs?

The best-seller by far has probably been our ‘Night Camping‘ design. I’ve had to reproduce it a number of times because the demand for it has been great ever since it first came out in 2016.

Tell us about some of your collabs?

Collabs are really fun! I’ve collaborated with illustrators and artists in South Africa and other parts of the world and it’s always interesting to see how other creatives choose to fill the sock “canvas”.

I loved collaborating with local artist Olivié Keck (@oliviekeck) on socks in 2018 so much that we’ve recently done a collab on two prints for fabric face masks by FEAT. Olivié really knows how to create eye-catching works and her colour pairings are always fun and interesting.

Some other collaborations I’ve done so far: bold patterned socks designed by Cape Town-based creative illustration and design studio Hello Mister Frank (@hellomisterfrank); wildlife socks by Belgian illustrator Perle Mécontice (@mecontice); and abstract patterns by British illustrator Jake Hollings (@jake.hollings), to name a few.

FEAT. X Olivié Keck

Your range now includes masks and tights. Are you going to expand the product offering?

I always have new ideas bubbling around in my head, but, from a business perspective, I need to be smart about striking a balance between what people need (and want) and my never-ending desire to create new things.

Socks have worked so well because everybody wears socks at some point, so why not make them fun?! I think this is also why the face masks have worked so well, because in these strange times we’re in, they’ve become a necessity. And if there’s ever a time where we’ve needed our spirits lifted, it’s now. So making face masks that are colourful and cute has been a win! That said, I do have some more ideas up my sleeve – but I’ll keep them a secret for now.

Where do you get inspiration for your designs?

People often ask me this question and I find it so tricky to answer – if I say I get my inspiration from “all over” it seems vague, but it’s honestly the truth. I stare at my dog and dream of a sock design. I go for a walk on the beach and some more ideas hop around in my head.

I really like capturing beautiful everyday things and I’ve always had a love for animals, so they feature on my socks a lot. Interesting colour combinations also really grab my attention, and I’ll often then find a way to interpret those colour combinations into a recognisable picture that people find warm and familiar, whether it’s a cute cat or a camping scene.

What does your production process entail? 

I have incredible suppliers who make my job really simple. I work with two knitting mills in Cape Town, and once I’ve sent them my designs, the rest is in their capable hands. They digitise my designs so beautifully and manage the computerised machines that knit up these mini artworks.

Tell us about your workshops.

For just over a year, I hosted (and often facilitated, too) creative workshops in my studio in Muizenberg. We did everything from painting and clay spoon-pulling, to knitting and embroidery. I started this mainly because I love crafting myself and wanted to share some of my favourites with others, and it was fun having all that creative energy in my studio.

I recently moved my whole operation back home though, so I no longer have my own space to host workshops in but I would love to do more pop-up workshops in the future, when it’s safe enough to do so. The lockdown has had me dabbling in many more crafts myself which I would love to share with others.

Is there anything on the horizon for FEAT.Sock Co. you can share with us?

Nothing specific just yet, but working with fabric printing for my fabric face masks over the lockdown has ignited some new ideas and things I’d love to explore in bold printed fabric, so watch this space!

Watch the charming video of FEAT.Sock Co.’s story, narrated by Chelsey and illustrated and animated by Greg Bakker.

Stay up to date with Chelsey’s crafting on Instagram (@chelwillmake) and FEAT.Sock Co. (@featsockco) and browse the full range at featsockco.com. 

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For the renovation of this three-bedroom cottage located in Cape Town’s Atlantic Seaboard into a modern lock-up-and-go home that maximises a compact footprint, the owners had to first tackle a poorly executed subdivision.

Some years before, a second storey had been added under the eaves with a separate access along the side of the house or via an internal spiral staircase. Consideration hadn’t been paid to the cottage’s structural integrity, and taking into account the property’s heritage (it is estimated to have been built in the ‘20s) and position on the coastline, it was dilapidated and in need of major restoration.

To realise their vision and the property’s potential, the owners worked in collaboration with contractor Ian Northing of Innovation Projects, interior designer Floris Marais of Suttie & Marais Designs, and Rini Harrington and Helene Siepman, a sister duo who have experience decorating rentals with all of the appeal and comforts of home.

While the historic façade remains unchanged, the interior has been dramatically modernised. The owners consulted with a structural engineer and steel beams and joists were employed to support the upper level and allow the downstairs entertaining and living areas to be open plan.

One of the goals of the renovation was to make the home as light as possible. The ceiling was removed above the kitchen to create a double volume ceiling downstairs. Not only does it open up and connect the two levels, but it echoes the double-volume enclosed courtyard, which the kitchen leads onto.

Two of the en-suite bedrooms, study space and roof deck are accessed via a gantry with a frameless glass balustrade that assists with the overall sense of space and openness. In the upstairs bathroom, light enters through a circular window, the only hint from the street of the updated interior.

From the shiny exposed beams and joists, restored spiral staircase, original fireplace, wooden floor and window and door frames, the cottage’s key components are black, and the fittings and furnishing has followed this monochrome cue. Graphic black-and-white floor tiles have been used not only on both levels, but internally and externally, too, creating continuity throughout.

The courtyard features a plunge pool, despite space constraints, and has been fully clad in Balau wood, which serves to emphasise the height, while concealing and softening the concrete boundary wall. It also connects the exterior entertaining areas, with the rooftop deck looking down onto the courtyard and offering picturesque views of Lions Head.

Fir House, named for its location on Fir Avenue in Bantry Bay, is on Instagram (@firhousebantrybay) and available to rent on AirBnB and Private Property.

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