WORDS Gina Dionisio PHOTOS Del Rio Bani

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

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

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

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

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

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

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WORDS Annette Klinger PHOTOS Paris Brummer

It’s safe to say that most of us want our own slice of paradise. What that slice looks like, however, is up to the individual. For one single-minded woman, the ideal spot was beside the ocean – on the rocks, next to the high-water-level mark, above a 20-metre drop into its swells, to be specific. “The site is on a smallholding in the Kogelberg Biosphere between Pringle Bay and Rooi-Els, and required extensive environmental impact assessment,” says the owner. “We finally got permission to build on two sites, so I took my folks and brother on a walk to decide on one of them. It was spring tide, and the waves were crashing spectacularly against this specific rock in the ocean, and we said, ‘Clearly, this is it!’”

A design graduate, the owner had a clear vision of what she did and didn’t want from a residence. “I wanted something that felt like a cabin, not something fancy with glass and marble,” she says. “The house needed to accommodate me, and my brother and his family, and we wanted to be able to close it off into private areas with their own entrances.”

Taking the specifications on board, architects Matthew Beatty and Saskia Vermeiren of Beatty Vermeiren drew up plans that were practical but sensitive to the pristine surrounds. “The key was to design something robust enough to withstand being that close to the ocean, yet lightweight, because casting concrete wasn’t permitted for environmental reasons,” says Matthew. “We decided on timber, which would weather and let the house blend into the environment, and a rectilinear design that was close to the landscape,” adds Saskia. As no foundations could be poured, the house is anchored with elevated point loads, which also allows wildlife to go about their business undisturbed under the building. “The whole idea was to touch the earth lightly.”

In terms of flow, the floor plan is oriented around a large boulder, with two private wings on either side of it and a large open-plan living area beyond, which opens up to that ocean view. “We essentially created two spaces: the sort-of Zen, rocky courtyard that’s sheltered from the wind; and the front of the house, which is more ocean-dramatic,” says Saskia. With 360 degrees of gorgeous views, the obvious temptation would be loads of floor-to-ceiling windows, but the architects instead carefully curated window placement to create a space geared towards calm contemplation. “That way, the view becomes an artwork,” says Matthew. “When you frame something, you emphasise it more than if you were to walk into a sheer glass space.”

Beyond its site, one of the most remarkable aspects of the house is that the owner oversaw the building process herself. “I like to have a certain level of control – and I also have a budget that’s never quite as big as the architects would hope!” she says. When it came to the wood cladding, for example, the owner’s ingenuity led her to a local contractor tasked with removing invasive cypress wood, which she then had cut to size at a local sawmill. She also did the interior design herself. “I wanted an interior that wasn’t too cluttered, and that used a lot of wood,” she says. “My father used to have a furniture manufacturing business; I designed most things, and he made them. Often, what I wanted didn’t exist – which is how I ended up designing all the basins…”

So what does it actually feel like to live in an oceanside wood cabin, at the mercy of the elements? “I love the quiet isolation – far removed from the maddening crowd,” says the owner. “Because it’s built on stilts, when the waves crash on the rocks, the whole structure shakes. It was initially rather scary, until I realised that the house is not going anywhere. In 2020, there was an incredible storm, and Clarence Drive was shut for a long time. After the house survived that, I thought, we’re definitely going to be okay!” | beattyvermeiren.com

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WORDS Gina Dionisio PHOTOS Supplied

Defined by a philosophy of slow, conscious living, Olijvenkraal Winelands Lodge offers guests the rare luxury of a true escape. Created to be experienced with intention, the lodge brings together thoughtful interiors and the calm of the countryside to form a restorative and deeply personal Winelands retreat.

“The aesthetic reflects the rugged beauty of the Paarl and Franschhoek mountains,” says interior designer Lisa Bellamy, who carefully curated the retreat’s look and feel. “Every finish is a deliberate nod to the local environment. It is a study in ‘quiet luxury,’ where functionality meets an understated, festive spirit that celebrates the art of living well.”

The lodge features a communal entertainment area – The Clubhouse – with a bar, lounge and pool, and six private luxe suites, each spanning an ample 60 sqm and designed to cater for every comfort. Balancing intimacy with space, the suites include luxurious amenities, generous minibars, private patios with outdoor showers, and indoor lounge areas complete with attention-grabbing fireplaces. “The double-sided fireplace serves as a sophisticated focal point within each suite, providing a visual link between the bedroom and the lounge. The placement allows the warmth and glow of the fire to be enjoyed from both sides while maintaining an essential sense of privacy,” says Lisa.

Thoughtful design maximises indoor-outdoor flow, with large openings that frame views of the olive groves and wildlife – including free-roaming springbok, ducks and geese – just beyond. “We focused on verticality and versatility, using high-end materials to blur the lines between the interior and the natural deck environment,” explains Lisa. “Increasing the ceiling and glazing height was a critical move to maximise natural light and volume. By utilising bi-parting glazing systems, we achieved a space where the sash sections move independently. This allows for precise control over ventilation and gives the guest the option to have the space fully open to the deck or partially closed, depending on the weather.”

Every element of Olijvenkraal’s interior and exterior, from the material finishes to its colour palette, has been thoughtfully crafted to reflect the lodge’s immediate setting. To achieve visual harmony and ensure the lodge blends into the groves, Lisa selected a green exterior palette that allows it to sit harmoniously within its natural surroundings. “Throughout the lodge, we utilised the quiet hues of olive leaves to create a seamless connection with the environment,” she explains. “The use of timber furniture on the deck reinforces an earthy aesthetic and strengthens the connection to the surrounding landscape,” she adds.

The Clubhouse was designed with relaxation in mind. “The entertainment area needed to be a multi-functional, inviting space – accommodating summer parties with sliding glass doors, while remaining a cosy retreat for long winter days,” says Lisa. Its bar and lounge open onto generous outdoor spaces, with views that stretch across the estate. “To maintain the views, the bar was designed as a focal point that doesn’t obstruct the vista. For added flexibility, the curved sofa is on castors, allowing it to be easily moved for large gatherings. Additionally, shutters provide privacy for the outdoor braai and dining area without obscuring the view of the groves or the visiting wildlife.”

Wining and dining also form an integral part of the Olijvenkraal experience, where guests are invited to slow down and savour the flavours of the farm. At FYRE Restaurant, open-fire cooking takes centre stage, with seasonal menus complemented by curated on-site wine tastings. Rooted in a deep connection to the land, each culinary offering reflects the character of the Winelands, allowing guests to indulge in an immersive farm-to-table experience without ever needing to leave the estate.

“At Olijvenkraal Winelands Lodge, we created a space where the materials don’t simply decorate; they tell the story of the olives and the wine itself,” says Lisa. Between sweeping views, thoughtfully crafted interiors, and the slow rhythm of farm life, the lodge offers a retreat where guests can reconnect with the land and with themselves. | olijvenkraal.co.za

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WORDS Gina Dionisio PHOTOS Alexander Dobrovodský

Nestled in the trendy Holešovice district of Prague, this small 1950s apartment was completely gutted by B² Architecture to create a new open-plan layout for a young family.

Taking advantage of the apartment’s generous floor plan, the architects reconfigured the layout, removing partitions to open the space and allowing the exposed system of columns and beams to become an integral part of the interior. However, the use of colour, which defines distinct ‘zones’ within the apartment, emerges as the interior’s defining feature.

At the heart of the space lies the pastel-green ‘core’, housing the kitchen on one side, with a walk-in closet and a bathroom tucked within. Around it, the main living area unfolds towards the square, opening to views of the city, while the bedroom and children’s room face the quieter courtyard. Blue built-ins in the study and library further delineate the open-plan living area, while transparent partitions define a workspace. White built-in cabinetry provides generous storage while discreetly concealing an additional closet.

An additional layer of character emerges through B² Architecture’s material palette, which works in harmony with the colour scheme to create a lively atmosphere. Copper details recur throughout the apartment – in fittings, door handles, and bespoke lighting fixtures – complementing the green, blue, and pink tones of the interior.

Although the original concrete beams were not part of the client’s initial vision, they were unified with a cement screed. This intervention visually lifts the low ceilings, imbuing the space with a greater sense of openness. | b2architecture.eu

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WORDS Steve Smith PHOTOS The Aficionados

There is no better study in restrained drama than the traditional architecture on the Greek island of Santorini. Half of it comes courtesy of the geography – living on the lip of what’s still an active volcano tends to add some spice; the other half is the whitewashed cubic volumes, soft barrel vaults and terraced retaining walls that seem sculpted from the volcanic escarpment itself. Perch that on the edge of a blackened cliff with the deep-blue Aegean stretched out before you, and it’s all pretty dramatic.

Yet there’s an oasis of serenity among this that goes by the name of Aenaon Villas.

Built between the villages of Imerovigli and Oia on the caldera’s northern horn, the villas are situated on an ancient connecting path overlooking the beaches that span the east coast of the island. Conceived by engineer-owner Giorgos Alexiou and his wife Alexandra, together with architect Giorgos Zacharopoulos, the buildings are carved into the island’s rugged contours. Walls of volcanic stone, olive trees, and traditional Cycladic lines frame terraces, while interiors embrace the minimalist grace of Santorini’s white-on-white vernacular.

Behind this purity of form lies a narrative of identity and locality. The buildings seem to emerge organically from the rocky slope, sculpted by the cliff rather than imposed upon it. Windows and terraces are carefully arranged so that each view is framed: sea, volcano, sky. Pergolas made of timber and reed provide shade, while the volcanic stone offers texture and earthy contrast. Each villa has its own veranda; many feature infinity pools at the edge of the caldera so that water becomes a visual extension of the sea itself.

Interiors are generous in scale, yet proportioned so that no space feels cold or cavernous, with small stairwells, terraced floor plates and gentle curves softening the geometry. The decor embraces a pared-back aesthetic with sweeping windows that invite the Aegean light inside. The interiors preserve the sense of serenity and simplicity with walls, floors and much of the built architecture in layers of brilliant white, letting natural light bounce deep into living spaces. The furniture reflects this, restrained and designed for ease with deeply cushioned sofas, wooden pieces, often local craftsmanship and modern fixtures. The palette is almost ascetic; where colour enters, it’s in natural tones – warm wood, muted stone, soft fabrics.

This thread of serenity as the true luxury is also evident in the villa’s service. Instead of a restaurant, the owners designed a thoughtful room-pool-service concept: simple tastes of the island, served wherever the mood takes you. From breakfast on a private terrace overlooking the caldera to Greek salads by the pool and pre-sunset bites, dining here flows in step with the natural rhythm of the island. Some villas include kitchenettes for self-catering; there’s also a list of Giorgos and Alexandra’s favourite nearby tavernas and restaurants, ensuring guests will be welcomed like locals.

As a member of The Aficionados – a travel resource of more than 90 hotels, guesthouses and designer homes for those seeking lodgings that meld luxury, design and authenticity – it’s the villas’ name that captures the spirit of this retreat. “Aenaon” means “flowing continuously, unstoppably, eternally”. It’s a circular rhythm of timeless architecture, elemental design and quiet luxury. It’s design that respects silence, scale and tradition, but doesn’t shy away from modern comfort. For lovers of understated elegance and natural drama, Aenaon is both a sanctuary and a stage. theaficionados.com | @theaficionados

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WORDS Gina Dionisio PHOTOS Montse Capdevila

Casa Al Pradet is anchored in the history of its site and shaped by the cycles of the seasons. Conceived as a self-build by architect Clara Crous and her partner, Carles, the house rises on a triangular plot framed by the agricultural plains that define the Alt Empordà and echo Carles’s own farming heritage.

The build was intentionally aligned with the rhythm of the land, beginning at the end of the corn harvest, when local labour was available to join the project. What might have seemed a practical coincidence quickly became a guiding principle, tying the cycles of agriculture to the pace of construction.

The house is structured around a light timber frame, prefabricated in Carles’s own workshop to optimise time and effort. From this framework, Casa Al Pradet unfolds as a series of modules of varying shapes and heights – its staggered volumes responding to the triangular geometry of the plot and the fragmented layout of traditional country houses in the area, blending naturally into the rural landscape.

Because of its location, the house reflects Clara and Carles’s considered approach to blending traditional elements with modern solutions. Shutters have been motorised and are controlled by a smart system that responds to sun exposure and wind, while a perimeter of ceramic gravel manages drainage.

Local and natural materials shape every aspect of the project: cork, lime mortar, adobe, hydraulic tiles and handmade ceramics are used across floors, skirtings, exterior surfaces and delicate architectural details. Inside, wood defines both structure and furniture, weaving a sense of continuity and warmth. The result is a home built from within, one that captures the spirit and rhythms of Catalan life in every detail. | claracrous.com

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WORDS VISI PHOTOS Kent Andreasen

Cape Town-based architecture studio The MAAK is all about social impact architecture. Founded by Ashleigh Killa and Max Melvill, its mission is to use design as a tool for dignity, connection and positive transformation. The practice specialises in public, cultural and community-oriented projects, which have included early childhood development centres, performing arts spaces, libraries and testing clinics.

With a mission to bring “world-class architecture to those who need it most”, The MAAK’s work is rooted in materials, process and participatory practice, integrating research, community consultation and innovative construction methods. And the latest example is the Rahmah Library at Rahmaniyeh Primary School in Cape Town’s District Six – a vibrant new facility that celebrates how architects and learners can work together to build user-oriented educational spaces.

The approach

True to their methodology of user engagement and co-creation, The MAAK worked with child-centred designer Xanelé Mennen from the Otto Foundation (the operational partner of the scheme), hosting a series of workshops during which the learners essentially became co-authors of their future library. Inviting them to be part of the architecture team provided the team with valuable user insights and informed unique project details. “The workshops helped to gain trust, foster a sense of agency and build excitement for what was coming,” says Xanelé. “Subsequently, the children are deeply invested and well bonded to the library.” The “Rahmah-Rama” bookshelves, for example, were imagined by students and brought to life by local furniture designers Pedersen + Lennard.

To honour the sensitive geo-political history of District Six – an area reshaped by apartheid-era forced removals – The MAAK worked with artist and land researcher Zayaan Khan to transform clay from the neighbourhood (sometimes embedded within the rubble of homes demolished in District Six) into a series of door push plates and decorative tiles. The same clay was used to create custom “District Six bricks”, which were laid into the floor of the entrance lobby and in front of an external drinking fountain.

The structure

The building is defined by a simple mono-pitched roof that rises towards dramatic mountain views to the south and provides shading from the hot sun to the north. A curving glass-block wall leans out beneath the triangle-shaped eastern elevation, creating a welcoming entrance and covered play zone. The exterior is articulated through variations in brick bonds, colour and texture, echoing the material language of the original school building – the oldest remaining school in District Six.

Inside, the library opens as a single, generous volume, with service areas tucked away from view. Echoing the slope of the site, gentle changes in levels subtly organise the interior into its key library zones: a reception area, sunken reading pit, central library core, classroom area, and conversation lounge. Playful details define these spaces and create opportunities to embrace different “postures of reading” throughout the facility – sitting, lounging, alone, in groups.

The result

Rahmah Library is a sanctuary for reading and imagination that symbolises what’s possible when different generations and disciplines design together. It marks a significant milestone for the school, which until recently had no dedicated library facility for its 500+ learners. The completed build stands as a beacon of learning and joy – a space to fall in love with reading and stimulate young minds for many years to come. As school principal Shireen Jaff er says, “It is a home away from home.” themaak.co.za | @the.maak

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ELEVENONB will introduce a new way of living in Cape Town’s city centre. Designed to foster connection and to encourage a walkable, 15-minute city lifestyle. ELEVENONB is located within walking distance of Kloof Street, Bree Street and Long Street, offering sought-after eateries, bars, art galleries, museums and historical monuments.

The development’s ground floor spaces will further enhance connectivity within the neighbourhood, allowing for a lived-experience that extends beyond your front door. A beautiful historic lane – Orphan Lane – and a heritage building – previously home to the iconic Madam Zingara – will both be restored to their former glory.

Two-bed to be true

Invest in Two-bedroom apartment at ELEVENONB, in the West City of Cape Town’s Central Business District (CBD), and save up to R960 000with a 35% down payment.

ELEVENONB’s Two-bedroom apartments offer breathtaking mountain and city views, air conditioning and high-spec space-saving joinery.

Two-bedroom apartments starting from R5 595 000.

Open to the city

ELEVENONB is located in a neighbourhood open to opportunities, open to possibilities, open to the city, open to you.

ELEVENONB comprises 151 thoughtfully designed apartments, from Compact Studios to luxurious Penthouses.

• 23 Compact Studios
• 50 Studios
• 17 Compact One-bedroom Apartments
• 24 One-bedroom Apartments
• 32 Two-bedroom Apartments
• 2 Three-bedroom Apartments
• 3 Penthouses

Available apartments starting from R2 495 000.

Features include:

• Breathtaking views of Table Mountain, Lion’s Head, Signal Hill and the city lights
• Apartments feature high-specification, space-saving joinery and air conditioning
• Concierge and building manager services (provided by Fluent, Blok’s STL management partner)
• Co-working spaces operated by Fluent
• Back-up power for all shared spaces
• 24-hour on-site security
• Pet-friendly apartments
• A ground-floor café and shopping arcade
• Parking available as an optional extra
• Privately run gym
• Laundry facilities

Get in touch

If you would like to invest in an apartment at ELEVENONB, enquire now and one of Blok’s Sales Consultants will give you a call to chat through more information with you.

You can also visit elevenonb.co.za to view all the available apartments in detail, filter apartments based on your budget, preferred views or apartment type – alongside browsing the 2D and 3D floor plans, renders and walkthroughs of your new home. Visit elevenonb.co.za, email sales@blok.co.za or call +27 66 186 1658.

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WORDS Gina Dionisio PHOTOS Supplied

Drawing on its Victorian-era origins, ONEHUNDREDONM by Blok brings together Sea Point’s historic character and modern living through a carefully considered mix of residential and retail spaces. This human-centred reimagining of the historic for contemporary urban living fosters a sense of belonging that extends beyond residents and into the wider community.

Located at 100 Main Road, ONEHUNDREDONM features a ground-floor arcade with eateries, gift and beauty stores; a rooftop pool with incredible views – somewhere to relax and unwind; and 93 thoughtfully designed urban living apartments with space-saving joinery and modern finishes.

Considered Interiors

Inside, each apartment is defined by sleek, minimalist design. Thoughtfully planned layouts feature innovative, space-saving joinery and integrated appliances to enhance openness and keep rooms uncluttered. From compact micro-units to spacious three-bedroom apartments – and three penthouse suites – every home is designed to maximise usable space and offer flexible living. Modern, understated finishes complement neutral palettes and clean lines, creating interiors that feel bright, serene and effortlessly stylish.

Say hello to the neighbours

The ground-floor retail spaces have been specifically designed to inspire human connection and provide opportunities for people to meet, mingle and make memories. The community-forward retailers, fondly referred to as the ‘Neighbourhood Heroes’, include:

• Fabulous Flowers – a charming floral boutique offering bespoke bouquets, fresh seasonal blooms, and special gifts.
• The Laser Lab – top-rated hair removal and skin aesthetics clinic.
• MIA Africa – Made in Africa – is a proudly South African lifestyle and interior decor brand from the well-established and much-loved Mia Mélange.
• Moro Gelato – an authentic Italian gelateria – think rich flavours, high-quality ingredients, and creamy scoops that turn ordinary moments into sweet ones.
• Stellski Café – Inspired by an energetic staffy, Stella, Stellski is a Cape Town favourite, offering a fast, friendly neighbourhood café with heart and purpose.
• Breathe Barre – offers a specialised Barre, Pilates, and Reformer experience.

Community-centric services

Fluent – Blok’s short‑term rental‑management partner – is inspired by the vibrant rhythm and culture of Sea Point and the city beyond. For resident homeowners, Fluent’s on‑site management team provides peace of mind. Available exclusively to assist owners and their short‑term guests, the team delivers a serviced living experience within the building and the neighbourhood. | blok.co.za

Celebrating good design

Blok and VISI are proud partners of Cape Town Furniture Week. Join us at the CTFW26 Design Professionals Programme as we champion beautiful spaces and bold ideas. We’re celebrating good design – and giving you and a friend the chance to win:

• Two-night stay in a luxury apartment at ONEHUNDREDONM.
• Plus, a R2500 voucher to spend at the ground floor retail stores.
• One-year VISI magazine subscription.
• Limited-edition Cape Town Furniture Week tote bag.

To enter, follow @blokliving, @visi_mag and @furnitureweek.capetown, and tag a friend in the comments.

Head to Blok’s Instagram for the competition details and T&Cs.

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The post Connected by Design appeared first on Visi.

WORDS Jankel Nieuwoudt PHOTOS Supplied

Bellville to bourgeois and back again

It’s 2005 and I’m well into my first internship at the studio of a well-known South African architect. The office specialises in highly detailed luxury residential architecture, of the kind that populates the mountainside along the Atlantic Seaboard, all meticulously crafted manually on drawing boards. As a kid from Bellville, I’d never been exposed to this level of wealth before, and I never knew that people in South Africa built houses like these. Beyond the boerewors curtain, our spaces were shaped by various tones of face brick topped with Double Roman roof tiles.

As part of our coursework during the internship, we had to analyse one of the firm’s past projects, and I end up choosing a slick little house composed of mostly steel and glass, situated on the upper slopes of Camps Bay. As I turn off Camps Bay Drive into Woodford Avenue, a ripple floating above the Atlantic horizon catches my eye. Not sure what I just saw, I continue another 30 metres and take a left onto a small panhandle to the chosen house for the coursework. I park in front of a beautiful contemporary piece of architecture and, as I get out of the car and look back towards the mountain, I get a better view of what caught my eye moments ago.

The ripple is a thin, long, undulating parabolic roof, threatening to float away only to be anchored to the mountain by an oversized white chimney contrasted against the dark rocky slopes. I race back up to Woodford Avenue to take a closer look and see a house number – it reads “Die Es 32”. What? People speak Afrikaans in Camps Bay?

Finding the familiar

I soon found out this was my first Gawie Fagan experience, and it was of his own home, hand-built by him and his family. Fast-forward three years, and I’m working full time. I just purchased my first DSLR camera and have ambitions of being the next Julius Shulman. That year, the Open House tours were launched in Cape Town, and they were hosting a Gawie Fagan tour. Camera in hand, I finally get to fully immerse myself in that striking house I saw years ago.

Entering Die Es – it translates to hearth – you are channelled along a skinny dark corridor lined with white plastered walls and stone tiles. It leads to the main living space, bathed in light reflecting off the expansive views across the Atlantic – a volume of very specific scale, bookended by a library and a beautiful courtyard on the sides, a room- sized hearth on the rear, and the Atlantic Ocean framed by large openings with rounded corners at the front.

While I had never experienced anything like this before, it somehow felt familiar. The spaces and materiality contained something that reverberated with my South African sensibilities. It was hard to put my finger on it, but it soon became apparent. We spent a couple of hours there, snapping away, taking it all in. Being able to share the space with Gawie and his wife Gwen, there to answer all our questions, would leave a lasting impression on me.

On the same day, we travelled to the suburb of Fernwood Estate, where Gawie sculpted House Raynham. Gawie stood in the yard with a small crowd around him, explaining to us how the shape of the roof was informed by the mountain it faces. He originally came to the site with a theodolite, and mapped the silhouette of the mountain. A young architect raised her hand and asked, “What’s a theodolite?” Gawie turned to her and, in his quiet voice, said, “I thought you were an architect.”

The roof rising and falling over the simply organised spaces was an exercise in plasticising the rigid forms of traditional roofs. With familiar white walls and brick floors, it was another roof threatening to float away, but restrained by the hearth rooting it to the ground.

Die Es and House Raynham are two very different projects, but they contain the same qualities – a simple diagram for living with a strong connection to nature. But, equally as important, House Raynham continued a familiar built tradition.

The tree doesn’t grow very far from the apple

The South African built environment tradition was inherited from Europe. Our history textbooks were filled with illustrations of the old Cape Dutch buildings, and our primary-school fi eld trips were spent touring their sometimes-haunting spaces. It’s a language we were familiar with, an architecture that represented our origins in this place we call home. If you asked a young, white, middle-class kid of my generation to show you an example of South African architecture, they would most certainly have pointed to their nearest Cape Dutch building or plaashuis.

As young architects, our ambitions were very Euro-centric. We immersed ourselves in architectural books, and in magazines showcasing the latest international architecture trends. Our references for academic projects were very rarely local, and within ourselves grew a sense of dread about the state of our local built fabric and traditions. It’s the typical rebellious teen syndrome, refusing to see the value at home and yearning for the unfamiliar only to find out that our parents were right about many things all along.

The quiet radical

Gawie fully understood our inherited vernacular tradition and, together with his own modern architectural influences, reinterpreted it by reducing it to its purest qualities – context, technology and symbol. The simplicity of Gawie’s spatial arrangements, their connection to place, the honesty of the materials, and the craft in joining them resulted in an iconic body of work. Each project was different from the next, growing from the site instead of being imposed on it.

His work was not about novelty, but about authentic problem-solving – purpose over style; intention over image. As I pored over the photos I took that day, I came to realise that Gawie’s work was radical. Quiet, but radical – an oxymoron to me at the time. For the architect, tradition should not be a totem to be preserved, but a disciplined way of thinking – an instrument for invention grounded in inherited wisdom. Old lessons can be used to tell radical new stories.

Gawie Fagan’s influence on our work is not in replication, but in approach. We take lessons from the context before and above anything else. We listen before we speak. Our current work explores radical contextual reinterpretations, and we are proud to say that you cannot put two of our projects alongside one another and say, “That’s the same architect.” It shows that we are, in fact, listening. We have the radical part down – now we’re working on the quiet part… @_jankel | @_nieuw

Read the feature on Atlantic 91 designed by Jankel Nieuwoudt.

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