A pert little holiday home is the newest addition to Rosendal’s mostly 50s architectural landscape, and it’s special. Not only because it won a regional architecture award, but also because it revives happy childhood memories for its owner.

Among flailing fields of grasslands, grazing sheep and the blue koppies of Rosendal, perches Ian Westmore’s new holiday home. Designed by a longtime friend of the family, architect Carmen Dickens, whose original and unconventional design approach he’d always admired,  the house recently won a regional award from the Free State Institute of Architecture.

There could be many reasons for the achievement, including Carmen’s eco-friendly design approach and her way of unifying the separate outside sections using decks, but it could also be because she likes to keep city-slick design far away from what she defines as truly South African country style – like thinking the main bedroom should be en-suite bathroom-free, because a bathroom out of the bedroom is just a little too suburban for her.

But let’s go back to the beginning, back to 2007, when Ian bought the property, and there was only a small and derelict landmark building to talk of, and lots of reminiscing. “I had pleasant memories of my childhood spent in these surrounds,” he says. “The association of a ‘happy place’ was natural, and the decision to build a weekend holiday home was almost immediate.”

It took five years of dreaming and frequent visits to Rosendal to get the project on the road, and when it got going, it was rural style − things took their good old time. That wasn’t all bad, because by then Ian knew what he wanted in a holiday home: simplicity, easy maintenance, and that worse-for-wear little building preserved and incorporated into the design – never mind views from the north to the south, without the house getting in the way of the lovely landscape. Oh, and budget – that was another little niggle.

Carmen got Philip Nel from Inizio Homes on board, who is known for his lightweight constructions and prototype home developments, and soon the show was on the road. The original little brick building got its roof lifted and became the main bedroom, but without the en-suite bathroom. Carmen explains: “I wanted the bedroom to be a quiet sanctuary, disassociated from most activities, and I made the entrance into the luxurious bath and dressing room from the glass passage. This also connects the bedroom with the large open-plan living space.”

In contrast to the original building, the bulk of the house consists of a steel structure and fibre cement and is partly covered with metal cladding. The glass doors let in the green outside and provide warmth and character, echoed by the mix of heirloom furniture and custom-made fittings in the living space.

The second bedroom (this one did get an en-suite bathroom!) sits separately from the house, complete with its own entrance, but cleverly integrated into the main house facade by a large slatted screen.

There could be many reasons this little house won that award, but maybe Ian will agree, the most important thing is that it’s the perfect place to make more memories. Isn’t that what life’s all about?

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It’s true: it doesn’t take much to imagine the home you want. Just a few basics. A bath. A bed. A fire. And a view. Purpose is key. And herein lies beauty. It’s that simple. 

1. A bed

Rest is not negotiable in this pared-back bedroom. Keep unwanted guests at bay with sheer netting, custom-made according to your preference by Kiwinet.

2. A bath

Step out of your bath in style onto a deliciously heated cement floor. It takes the edge off the cold and makes going about your bathroom business a breeze. 

3. A fire

An authentic fireplace is the essence of this country space, with its eucalyptus-beamed ceiling. Add a wooden table and four chairs and you’re good to go. Get the cool cement-floor look with grey stoep paint available from Plascon’s range of floor colours.

4. A view

Drink in the majesty of the mountains, the flavours of the veld. Walk barefoot across the wooden deck, sit down, rest your back against the timber table. Listen. Rustic wooden tables are available from Eco Furniture Design.

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White needn’t be cold or boring. Here are 7 spaces that use white with dark wood, black or neutrals to create inviting spaces.

1. All White Now

The McGowan’s farmhouse just outside Calitzdorp in the Western Cape got the white treatment. Walls, old furniture, the bath, an old coal stove… nothing was spared. It was an ugly-ish house, and white is very forgiving, hence the colour overload, explains owner, Trevyn.

trevyn@source-sa.com

2. Blank Canvas

The Nirox residency, 40km outside Johannesburg, offers local and international artists a space to create, connect and exchange ideas and experiences. It’s a space for artists to relax, unwind, muse. The only distraction: a crackling fire and views over landscaped gardens, lawns and wetlands.

niroxarts.com

3. Bird’s Nest

Ostrich-egg lights take centre stage in the McGowan’s mostly white bedroom in their mostly white farmhouse, Pear Tree Farm, outside Calitzdorp. White sheepskin rugs on the off-white tiled floor provide subtle warmth underfoot.

trevyn@source-sa.com

4. White on White

A variety of textures in this all-white playroom provides subtle nuances and breaks the one-dimensional look. A bookcase and a collection of old chairs provide an eclectic mix of shapes and forms jotted around the table.

trevyn@source-sa.com

5. Simply Sorted

While enjoying views across the majestic Maluti mountains from their Ladybrand home in the Eastern Fee State, Werner and Philippa du Toit run their handmade ceramics business, Mud Studio. Stacked here in a wooden rack is a collection of their work and, in front, on the old sandstone fireplace, perch bowls and jugs of distinction.

mudstudio.net

6. White Wash

Inspired by an American barn, a corrugated Free State home in Clarens has a midwestern antique theme running through all its spaces, even the bathroom. The chrome was stripped off the taps and spout for an authentic-looking, old-world appearance. The custom-built basin completes the look.

Carlo di Mezza 082 373 1428

7. Daydreaming

The uncomplicated hand of Californian architect Jim Jennings is evident in this space, where air and light take precedence over clutter. For this simple, corrugated home in the Napa Valley between the towns Calistoga and Santa Rosa, Jim drew from the surrounding landscape for design and materials inspiration.

jimjenningsarchitecture.com

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Downsizing doesn’t have to mean shedding the lifestyle you love. Francois Swart and Albie Niemandt let their passion for art and entertainment shape their space.

When deciding to downsize from their spacious Northcliff home to the lock-up-and-go convenience of an apartment, architect and design consultancy owner, Francois Swart, and finance and fine-art specialist, Albie Niemandt, had two main considerations. 

The space they chose needed to provide a comfortable entertainment area and enough wall space to showcase their impressive art collection. 

To the untrained eye, their choice – a double-storey apartment in Craighall Park – might not have appeared to meet those criteria, but they knew better. “I believe any house with good bones can successfully be transformed into a personal space with a few cosmetic changes,” says Francois. 

The Rothesay Avenue apartment may still have been decked in dowdy tiles, dated sliding doors and embellishments, but she had beautiful bones. Designed by Michael Sutton – key in the development of domestic architecture in South Africa during the building boom of the 1960s – the apartment already had a sense of grace, balance and material integrity, with a consideration for South Africa’s warm climate. 

“We were still faced with the challenge that we needed space for entertainment,” says Francois. “To create space in a small area, you generally knock down walls, but we needed the walls for our art, so what to do?”

Knocking out the walls enclosing the kitchen and turning the downstairs into a large open-plan area also proved to be a problem in terms of storage. The solution, however, was surprisingly simple. By creating an enclosed utility space for the “noisy” washing machine, and allowing the mostly floor-to-ceiling kitchen units to flow into the dining area, they successfully merged the two, while providing ergonomic work surfaces for cooking and serving.

“There’s a trick to downscaling,” says Francois. “It forces you to organise and sort out your life. Once you pare it down, life becomes simpler and easier.”

Reflection is used to create space, both in the floor tiles (to add depth), and the less fussy furnishings (to add dimension). “Another architectural element I like to use is light as a mood enhancer – sun during the day and candles or dimmers at night,” says Francois. 

“[When working with a space] I like to start with a blank canvas. In this case we wanted our paintings to feature more than a wall colour.”The dominant light-grey palette for the sweeping “canvas” came from the Angus Taylor sculpture gracing the centre of the room. The idea was that they wanted the sculpture “to melt into the space”. The bronze work – comprising what appears to be two rock-and-concrete cast figures reaching out to one another – divides the dining and sitting areas without disturbing the flow from the entrance to the folding doors opening on to the garden. 

Francois says the interplay of the characters in this piece, entitled Ek Het Wat Jy Nie Het Nie, Jy Het Wat Ek Nie Het Nie, tells a story that speaks to him directly. It is this emotional and intellectual resonance that
has proved key to the curation of Albie and Francois’ impressive collection of fine South African art, which started in the late 1990s and got serious when they bought their first Judith Mason painting Man Under A Bridge. The piece takes pride of place beneath the sweeping curve of the staircase. On the other side of the room Diane Victor’s large-scale etching and digital print, Baited, takes up a broad sweep of the wall. Both pieces are powerful and add drama, but they do, admits Francois, strike fear in the hearts of some of their guests. “I believe art should push you, broaden your horizons. You can only grow if you are uncomfortable.”

Says Albie: “Art is wonderfully addictive! It’s living with a glimpse into the world of a creative human being on your wall. It not only provides a focal point in a room, but stirs emotions on a personal level and stimulates conversation – especially after a glass of good wine! Then there is the added satisfaction that it is money well spent… or at least should be. Try it… Soon you will be hungry for more!”

That said, the collection – which includes works by Gerhard Marx, Rossouw van der Walt, Norman Catherine, Robert Hodgins, Jacobus Kloppers, Frikkie Eksteen, John Meyer and Willem Boshoff, among others – does include some “easier” pieces. 

Proof of humour in art and life can be found when climbing the stairs and rounding the corner to the upper level. Albie and Francois had the perfect spot at the top of the stairs to complement their recent purchase of Francois van Reenen’s Very Bored Girl. But when it arrived they “couldn’t believe its size”. Instead of popping neatly into the curve of the balustrade, the sculpture had to be placed where she wanted to stand – demanding a strong presence on the landing. An indication, perhaps, that art imitates life, and nothing should be taken too seriously.  

francois@padia.co.za, 082 784 7630 
albie@padia.co.za, 082 562 7625 

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Joburg-based gallerist Gavin Rooke designed and built a compact weekend house in Deneysville for a mere R200 000. It was then given a colourful update. VISI spoke to Gavin about the renovation.

The house was built using a steel structure sourced from a Farmer’s Weekly, with brick infill.  How has this construction stood the test of time?

The home has weathered well in terms of its steel construction. The roof and columns are all in good condition and the steel work was well protected by rust-proofing from the initial build. If I was to build the house again I would use the same method.

Then what prompted the renovation?

This home was always designed to be clad. The initial plan was to build it using a steel structure and clad it in corrugated steel with the aim of using as little masonry as possible. But local building legislation compelled us to use the standard brick construction, so we felt the cost and benefit of additional cladding was not justified. But, after eight years, we decided the thermal qualities of the home could be improved, so reverted to the original plan.

From the outside the most obvious change is the cladding. Why did you do this and what material did you use? 

The house is clad in Nutec fibre-cement planks (often referred to as “Vermont cladding” but without the faux wood grain). The manufacturer (Everite) is located in the Vaal relatively close to our home. The product is extremely stable in terms of its resistance to water and temperature, and serves as a great thermal screen for the home. 

The primary function of the cladding is to keep the house cool because the western gable-end and northern façade absorb a significant amount of heat on summer afternoons. The movement caused by these heat fluctuations creates hairline cracks between the foundation slab and walls, which in turn require maintenance. Fortunately the addition of the cladding has now resolved the temperature fluctuations, cutting back on maintenance needs. The unusual vertical orientation of the cladding was simply to gain some aesthetic distinction for the home. 

What other alterations did you make? 

We improved the dual inside/outside fireplace by fitting two sealed flues to better manage heat and smoke. We also fitted a built-in braai to what was an open outside fireplace. Dust is no longer a problem and although I have never been a fan of the built-in braai brigade, I must admit there is something satisfying about its functionality. It also passes the children’s marshmallow test with flying colours! 

Other small changes include rebuilding the window sills to avoid water build-up, better sealing between the external walls and the roof, and fitting a cowl on the chimney. The net result is a home that is better sealed from rain and dust, and has more efficient thermal properties.  

You are generally very hands-on in the design and construction of your houses. How involved were you with this renovation?

I find it quite important to be physically constructive. We live in a world where most people display their interests with “Likes”, “Tweets” and “Pins” – presumably in pursuit of the social recognition such purported discernment brings. I think it does little more than make people feel inadequate. I prefer to make things, as I find this provides a tangible sense of achievement. Stop pinning. Turn off your cell phone, shut down your laptop and go make something. 

What lessons have you learnt from working on this house?

This was the first house I designed and built. People are surprised that such a daunting task was taken on without any formal training or experience. I simply assumed that I could design a home by focusing on the function it needed to perform. While it took some hard work, I wasn’t deterred by what I did not know. There is immense value in naivety and this home continues to teach me that lesson.  

Rooke Gallery The Newtown, 37 Quinn Street, Newtown, Johannesburg, 083 680 4461, rookegallery.com

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Take those seven years of bad luck and stick it to a lampshade.

Break a mirror. Using a glue gun, stick the shards to the inside of an old lampshade. You can be sure that things will turn out brilliantly. Keep the shards small, otherwise the shade will become very heavy. Scour the junk shops or charity shops for a shade in a black fabric – thanks to Philippe Starck, black lampshades are de riguer.

Did you like this Smart Idea? See others here.

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At Kong restaurant in Paris, deputy editor Annemarie Meintjes spied an inspired display of old picture frames and hurried home to doodle up her own.

“I have a storeroom full of beautiful old frames picked up at charity shops and church bazaars,” says Annemarie, “but I never find the right pictures to fit them or to justify the reframing costs. On my recent visit to Paris I had dinner at Kong restaurant where – on the walls of the new smoking room – Philippe Starck simply hung empty frames with random black and white images doodled onto the glass. I loved it!”

To get the look, use a black waterproof koki pen and Plascon’s white grouting pen to draw, write and scribble on the glass of old picture frames. Rope in family and friends and, if you don’t like the result, or are ready for a change, simply remove your doodles with benzine or turpentine. Decide on a composition for your frames and hang them as a fun display of home-grown creativity.

Did you like this Smart Idea? See others here.

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The annual Haute Lumière Light Award is the premier celebration of all things innovative and inventive when it comes to light design. Designers are pushed to explore the limits of their creativity.

Last year, the organisers pushed even further, as they encouraged the designers to move beyond objects like desk lamps and side lamps.

Instead, entrants were invited to imagine an empty room or box, in white or any colour of their choice. Then, using contrast, shadow, line, shape, texture, reflection and refraction, they had to define the imagined space with light.

Five finalists were selected and, after deliberation, Amy Phillips was chosen as the winner. Her prize includes having her light installation built with the help of the other four finalists and shown at SA Fashion Week in April. She will also get to attend the PLDA Lights workshop in Alingsås, Sweden, led by leading European lighting designers.

The award is presented in association with VISI magazine and is sponsored by Paul Pamboukian Lighting Design, ELDC, Regent Designs, LED Lighting SA and SA Fashion Week. Read judge Paul Pambou­kian’s opinions and insights on the five finalists’ work in the captions above.

Find out how to enter this year’s Haute Lumière Light Competition 2014 here.

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Oh dear, what to do with all those chopsticks now that the sushi craze is so last season…

1. Give a jam jar table-top status 
Stack and glue your chopsticks according to the size of your jar, alternating the thin and the thick ends.

2. Make designer place mats
Using the chain-stitch method, loop the sticks together with a piece of string.

3. Create a pot stand
Make this unique pot stand by tying together chopsticks with cable ties.

4. Build a storage unit
Stack and glue your chopsticks into a wide cube before adding more sticks to the centre to create compartments.

Did you like this Smart Idea? See others here.

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Here at VISI, we love it when individuals who are superbly talented in their field try their hand at something completely different, and succeed – like two of our favourite photographers, David Ross and David Pastoll, who are branching out into design.

Driven by their love of beautiful objects and clean design, VISI photographer David Ross has designed a series of striking mobiles. And the other photographer called David (surname: Pastoll), and his wife, creative director Joanina, have created a range of hanging chairs. A reminder that many of us possess more than one talent and, with a little initiative, imagination and courage, there’s no reason not to explore our creative talents simultaneously, as David and David have done.

David and Joanina Pastoll came upon the idea of the hanging chair while searching for similar ones for their home and B&B. Unable to find what they were looking for, Joanina decided to design one and have it made up. They received so much positive feedback from friends that they started producing them. Currently their range includes daybeds, recliners, basket seats and, of course, swings.

“A contemporary spin on the classic suspended sculpture”, David Ross’s three-armed handmade mobiles are made of nonferrous metals, powder coating and hand-burnished bolts, connected by the strongest braids available. They come in three designs: a round brass rod with jet-grey accents, a hexagonal rod with matt-black accents and a brushed-aluminium rod with white circles. David says the designs were inspired by his interest in “graphic forms hidden within modernist architecture”.

David Ross will be exhibiting his mobiles, along with a body of architectural photography examining SA monuments, at the Slee Gallery in Stellenbosch from 27 March to 10 April. Read more here.

davidrossdesign.co.za

studiostirling.co.za, studiostirling@gmail.com

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