WORDS Steve Smith PORTRAIT Steven Piper PHOTOS Supplied

Usually it’s the smell of incense that gets your attention, not the vessel the stick is perched in. But that was not the case with Held Smoke. Entered into this year’s Cape Town Furniture Week’s CTFW x VISI Design Prize, this incense holder’s unusual shape and materiality was a curiosity that invited a closer look. It was architectural, sculptural, even a little sci-fi – and my fellow judges and I loved it. It ended up winning the Authenticity category.

The piece wholly represents its maker’s practice and personality. When you meet Ndivhuho Rasengani, you’re likely to be struck by the mix of his quiet, graceful persona and joyful, creative side that exudes positivity. He both observes and takes great delight in the world he encounters – and Held Smoke emerged from his recent residency in Shanghai, reflecting its ultra-modern cityscapes from the perspective of Ndivhuho’s quiet contemplation.

“I explore the conversations between materials,” says Ndivhuho. “Steel brings strength, weight and permanence; glass offers lightness, transparency and quiet uncertainty. In my work, these qualities are not in conflict – they exist together, held in a deliberate balance.”

He holds an MFA in sculpture from the Rhode Island School of Design, and his sculpture and glass works have been recognised in the US through fellowships, and with exhibitions at the WheatonArts cultural centre in New Jersey as well as the Socrates Sculpture Park in Queens. We spoke to this talented South African to explore the ideas, influences and philosophies that are shaping his work today.

“My journey into design has been a gradual refinement of a sensibility rather than a fixed decision. I began with a deep interest in how objects hold presence; how they carry atmosphere, memory and emotion within space. Over time, this has developed into a multidisciplinary practice that spans sculpture, installation and collectable design.

“Working in cities like New York and Chicago exposed me to a global design language, but returning to Johannesburg has been equally defining. It has allowed me to root the work in a slower, more intentional rhythm – one that values craft, material sensitivity and the experiential quality of space.”

“I’m drawn to the intangible, to moments that are fleeting yet deeply felt. Reflection, distortion, stillness and transition are recurring themes in my work, and material is central to this exploration. Glass, in particular, allows me to work with light, depth and perception in a way that feels both precise and poetic. I think of materials as carriers of atmosphere, shaping how a space is experienced, and not just how it’s seen. My references often extend beyond design into architecture, fashion and hospitality – disciplines that understand the power of detail, restraint and sensory experience.”

“My design approach is rooted in creating objects and environments that hold a quiet but intentional presence. I’m interested in work that reveals itself over time; pieces that reward proximity, light and movement. The process is conceptual yet deeply material. Each project begins with a spatial or emotional proposition, but it is by working closely with materials, testing, refining and allowing for nuance, that the final form emerges. There is a strong emphasis on craft and finish, with an understanding that luxury today is not just about exclusivity, but about depth of experience, material integrity and the ability of a piece to transform its environment.”

“Held Smoke began as an inquiry into how one might give form to something ephemeral. Smoke is inherently transient; it resists containment and exists in a constant state of movement. The piece explores the idea of suspension rather than capture. It seeks to create a moment where something fleeting appears held, a quiet tension between permanence and disappearance. Through the use of glass and reflective surfaces, the work plays with perception, allowing the viewer to encounter something that feels both present and elusive. The object shifts with light and movement, echoing the intangible quality it references.”

“Looking ahead, I’m interested in situating the work within more immersive and architectural contexts, particularly in collaboration with spaces that prioritise atmosphere and experience. I see the practice moving towards creating site-specific installations and collectable objects for environments such as hotels, retail spaces and cultural institutions, where design is used to shape how people feel in a space.

“There is a growing focus on developing pieces that operate at the intersection of art, design and luxury – works that can live in refi ned, detail-oriented environments while holding conceptual depth. I’m particularly interested in collaborations that value material innovation, spatial storytelling and a strong curatorial sensibility.” rasenganiatelier.com | @r.asengani

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The post Rising Star: Ndivhuho Rasengani appeared first on Visi.

PHOTOS Thea Cogil/Courtesy of Curación Collection

Sourcing clay from the land around him, South African clay artist Mick Haigh forms each vessel by hand before firing it in a long wood-fired kiln. Each piece carries the marks of flame, ash and chance, shaped as much by nature as by the maker.

His Kiln IV collection speaks to ritual and slowness, offering vessels made to be held, used and lived with.

Curación Collection shares this focus on process, material and intention: a commitment to the quiet beauty of everyday ritual. Here, Mick tells us about his practice and current body of work.

What do you hope people feel or carry with them after encountering your work in this space?

“Connection, that humans are not just visitors but part of this living planet. Finding your place at home here in this wild world changes a lot.”

Your work is shaped by earth, fire and time. How do these forces influence your approach to making?

“My approach is not cerebral; clay comes from the earth, not a plastic bag. Wood comes from trees and time from the sun. All these raw elements speak for themselves; I connect the conversation. My approach is counterintuitive: what can this clay around me do, what temperature will it vitrify at, how thick does the vessel wall have to be to stand up to fire, and how long will the fire heat take to vitrify the clay? So materials influence the making as much as my ideas about what to make.”

Can you speak to the role of slowness and process in your practice?

“Slowness and process intertwine through materials. Clay air dries at its own rate based on airflow and humidity, and wood burns at the rate of oxygen supply. My practice is governed by how my materials behave, and how much I can modify them.

“The sun and moon cycles happen independent of how busy we are. Our minds bend time. Natural materials like clay and wood behave outside of time. My practice captures this time, recording the slow process of turning malleable clay born of eroded rock over millions of years into hard, enduring rock again. Bending time through material provenance.”

What inspired you to create this body of work?

“My inspiration comes from knowing that living with meaningful objects can create meaning in our lives. How objects make you feel enhances your quality of life. Do we need more objects in this world? I think we need more feeling in this world.”

How does your current body of work explore a sense of place?

“Provenance is very powerful, connecting humans to source. Being rooted in the familiar warmth of earth, the non-challenging warmth of things made by hand for human comfort gives a sense of I am part of this place, not a superior observer but part of this living world which I affect and which affects me. Connection.”

What values do you feel you share with the Curación Collection, and the body of work you’re creating?

“Human living/leisure environment can only be as good as the evolved thought put into its creation. I create pieces which I feel are not available. I have thought about how I can supply vessels, artworks, pieces to enhance living spaces and quality of life. I feel much goes into the building and designing of structures, and not enough attention goes into how they feel because of what we put in them and how we use them. What we choose to live with. After decades of designing and making tabletop ceramics, I am now using my clay knowledge and skill to explore vessels as art pieces as feelings of expression. I strongly feel the living/workspace edit is long overdue. The values we have in common lie in the quality of feeling and expression, no more average to get the job done.” curacion-collection.co.za | mickhaigh.com

Mick Haigh’s work will be on display at Curación – 9 Orphan Street, Cape Town – from 6th August until the 30th August.

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The post Celebrating Connection Through Earth, Fire and Craft appeared first on Visi.

WORDS Martin Jacobs PHOTOS Mathij S Labadie, Marcin Rusak Studio, Kasia Bielska, Pion Studi

When last did you stop to consider a cut-flower bouquet – impulse-bought from a market, gift ed on an occasion, arranged at a wedding? We admire the easy hit of nature at home, the colour, occasionally the fragrance. But the engineering behind cut flowers – the genetic tweaks for scale and speed of transport, the straightened stems for easier shipping and arrangement in vases, the bolder blooms bred at the expense of scent – rarely crosses the mind. Like most things we live with, flowers have become just another consumable. Except in the hands of Marcin Rusak.

Given the Polish multidisciplinary designer’s lineage, you could argue this was inevitable: that cut flowers, in his hands, would come to carry the weight of consumption, commodification, time, preservation and decay. “When the family history of over a century of flower growers and botanists ended with my birth, I felt there was nothing of a grower in myself,” he says. “What I remember from growing up surrounded by abandoned glass houses is mostly their textured industrial materiality, and the presence of disappearance and decay at every step I took exploring.”

Those glass houses loom large for Marcin. Across interviews and features – from Cabana and Vogue Poland magazines to Financial Times and Dezeen – he returns to them obsessively: their shattered panes, broken glass and scrap metal; their scents of rust and rot. Former sites of cultivation and beauty turned feral, they became his playground – spaces where collecting, assembling and an early fascination with decay laid the formative groundwork for a practice centred on transformation.

Born in Warsaw, where he lives and works today, and now in his late 30s, Marcin studied conceptual design at Design Academy Eindhoven before continuing his studies at London’s Royal College of Art. It was in London that a second pivotal encounter with flowers would reshape the trajectory of his practice. “I clearly remember the first time I thought of plants as a substance, a raw material,” he says. “It was at one of London’s flower markets that I realised the economics behind it, and the amount of waste it produces. There’s a common rule that what hasn’t sold in the first two days at the market has to be tossed. I’d collect the binned waste – wilted, fragrant, already in decline – and drag heavy garbage bags across the Underground to the eighth floor of the RCA in Kensington. The smell was unforgiving.”

Having explored the possibilities of resin as a material while at Design Academy Eindhoven, many years of experimentation followed – first in London and subsequently in his Polish studio (which he describes as a laboratory), working with discarded floral matter. In bringing these threads together, something akin to alchemy emerged: Flora, a material Marcin regards less as a product than as an ongoing process of transformation. “Flora is the result of years of research driven by my desire to capture and preserve the perishable beauty of flowers, which here float under the shiny surface of resin,” he explains.

“The process of creating each piece is very labour-intensive, as everything from collecting and processing the flowers to finishing the resin is done by hand. Each piece is composed like a painting – I choose flowers for their sculptural qualities, colour and symbolic significance. I make several compositions, and only when the effect is satisfactory do I translate them into the material.”

Much like Flora – available in a spectrum of coloured resins and floral compositions spanning themes such as baroque, tropical, classic and field, arranged either densely or with a more open spatial logic – subsequent materials extend the same inquiry under different conditions. Perma is machine-cut, revealing cross-sections of preserved fl owers, where petal forms and leaf flowers, where petal forms and leaf structures emerge within a more stone- like resin body. Glaes, by contrast, lends itself to solid, monolithic forms, its process deliberately producing light-catching fractures throughout the material, giving it an amber-like depth.

These materials extend the lifespan of what would otherwise be fleeting, and – due in part to their synthetic composition – are intended to endure for thousands of years. They take shape as credenzas and cabinets, tables, screens, lighting and sculptural objects that, while preserving floral waste, also prompt a reassessment of what we consider valuable, and how beauty is consumed and retained. Most are made to commission – an approach that itself resists excess production. Larger works are conceived as future heirlooms, developed in dialogue with each client, often incorporating floral matter that holds personal or emotional significance.

In parallel with his ongoing resin explorations, Marcin has, in recent years, turned to metal. His Tephra series takes its name from the geological term for fragments ejected during a volcanic eruption – a reference that nods to the works’ Pompeiian silhouettes. “These objects are built using specially treated flowers mounted on sculptural forms made of hand-welded steel wire and jute,” he says of the complex process, which allows plant growth to gradually envelop the structures. “They’re then metallised using a thermo-coating technique that covers the dense textures in a layer of molten metal.” Floral matter becomes ornamental within a restrained, monochrome palette. By contrast, in his Protoplasting Nature series, a similar thermo-coating process is applied to foliage rather than flowers, allowing organic growth to assume a more structural role in cabinets that reference 17th-century furniture typologies.

As much as Marcin’s materials and objects engage with preservation, they are equally concerned with decay. In his Nature of Things installations, vessels and domestic forms are composed from biodegradable materials, which include waste flowers, beeswax, sugar, sand and shellac, and are designed to decompose over time. These works embrace impermanence as both a process and an outcome. As Marcin says, “They provide a field for experimentation that takes as its starting point a critical commentary on the ideas of consumerism and planned obsolescence that contribute to the culture of waste.”

Marcin’s philosophical approach ultimately unsettles a broader cultural fixation on permanence. From his Warsaw studio – where, depending on the project, he collaborates with a team of up to 12 specialists with expertise in everything from artisanal production to digital modelling – he interrogates how beauty is consumed and how value is assigned. “Our desire to create, to make, to invent, is not something that we can – or should – suppress. It is fundamental,” he says. “But we can begin to question what needs to be preserved and what can be released. Loss, in this context, isn’t failure – it’s a recalibration. It reveals what matters. It invites reflection. It slows us down. It asks us to listen. What if loss was not an absence, but an alert system? A way of navigating? A reminder that our time with things – objects, people, places – is limited, and therefore precious?” | marcinrusak.com

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WORDS Neyani Mphephu PHOTOS Supplied

For Nwabisa Ntlokwana, sculpture has always been about what cannot be photographed. Growing up with a mother who captured memory through a lens, she gravitated towards something slower and more physical – materials that hold weight, carry history and demand presence. That instinct has since evolved into Motherwood, her most significant body of work to date, which uses leather, wood and found materials to explore the relationship between motherhood, memory and legacy. The recipient of the inaugural DLO Energy Resources Group Artist Prize at RMB Latitudes, Ntlokwana is among South Africa’s most compelling emerging sculptors. Here, she reflects on her process, her materials and the stories she still feels compelled to tell.

Your practice is deeply rooted in personal experience, particularly your journey through motherhood and the legacy of your late mother. How did these dual influences first shape your decision to work with sculptural materials, and how do they continue to guide the stories you tell through your work?

“I grew up watching my mother capture memory in an instant, a single frame and fixed forever. That shaped me more than I realised at the time, but when I started working with sculpture I realised I was reaching for the opposite of what my mother did. Sculpture for me is about holding weight and presence, it’s not something that you can glance at and move past. I think I wanted to give her a way of seeing the body.

“Then motherhood came and closed a loop. I became a daughter who continues to carry a memory of her mother as well as a mother who is now creating memories of her own and the legacy I’d want to leave for my child.”

Your current body of work, Motherwood, explores the relationship between wood and leather as materials that mirror the life cycles of motherhood. Could you walk us through how you chose these specific materials and what they represent for you?

“I wouldn’t say I choose the materials that show up in my work – it’s really the other way around. My approach to materials is very childlike: with an open mind, curious, unafraid to ask questions I don’t know the answers to yet. That’s what gives me the freedom to experiment without worrying about getting it right. In that process of poking and playing and figuring things out, I end up learning something about myself and the materials become a kind of mirror for how I see who I am.”

You work primarily with leather, wood and found materials, many of which are unconventional or discarded. What draws you to materials that have had a previous life, and how does the idea of transformation play into your creative process?

“This is honestly the best part of my process. It’s quite a journey. Growing up, I had always been drawn to old things. They carry so much memory and endurance, and that’s something I relate to deeply, both as a mother and as an individual. I don’t think I would be the person I am today without my personal experiences. They have shaped how I see and touch everything I create. And nothing beats the joy of watching these objects come back to life, taking on a new form while still holding onto all the memory they carry within them.”

Receiving the inaugural DLO Energy Resources Group Artist Prize at RMB Latitudes is a significant milestone. How do you think this recognition will shape the trajectory of your career, and what does it mean for you as an emerging artist in South Africa?

“This achievement is an investment in what comes next, giving me space to breathe with the opportunities it’s created. The exposure fuelled by the DLO Energy Resources Group Artist Prize has already given me a freedom to create without fear rather than chasing opportunities simply to stay afloat. It’s also a reminder that our stories and our labour hold value – not just aesthetically but also economically. As creatives, we are often told to separate art from the business but this prize does the opposite. It’s empowering me as an artist and as a business which is something that you need to have a sustainable practice.”

What does the reality of being an emerging artist in South Africa look like day to day, and what are the biggest challenges you face in building a sustainable career?

“It’s a day to day balancing act. The romanticised idea of a full time studio practice is not a reality for many emerging artists. You are building a practice around everything that keeps you afloat. The biggest challenge is the cost of existing as an artist before you have made a cent, then there’s materials, studio space, transportation of the work to galleries. None of this is cheap, you are spending money before making any and nothing is guaranteed.

“Visibility is also a factor. In South Africa, there is a pool of artists who make exceptionally great art but there is a small collector base relative to the number of artists. This means we are all competing for the same opportunities, fairs, open calls, residences and gallery space. Getting in front of the right people often matters as much as the quality of the work.”

Your work speaks to how women carry memory across generations and continually reinvent themselves. How do you see your role as both an artist and a mother influencing the way you think about legacy and what you pass on, both creatively and personally?

“Becoming a ‘mother’ has completely changed how I view legacy. How I create is truly how I raise my child. Both are about what gets carried forward and what gets left behind. I think about the woman who came before us, like my mother. What they carried that was never written down or documented – but it lived on through the stories they shared with us, how they cooked, cared and held themselves through hard seasons. My work is partly an attempt to hold on to those memories and pass them on to the next generation. As a mother, I also feel a huge responsibility about what gets passed on – so I have to tread carefully.”

You’ve mentioned your ambition to create monumental sculptural works. Where do you see your practice heading next, and what stories do you still feel compelled to tell?

“Scale is the next step – these stories deserve to take up space. So it will bring on new challenges to my practice and my journey. As for stories, motherhood is a fraction of my identity and I don’t have a solid blueprint of life yet, so I will let the journey continue and let the work speak when it’s ready.” | @nwabisantl0kwana

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The post Making Space for Memory appeared first on Visi.

WORDS Jo Buitendach PHOTOS Ana Hop (Portrait), Ana Hop, Francisco Nogueira, Kingston Levern

Layered, eclectic and bold, interiors by Stephanie Barba Mendoza balance rich colour with a striking interplay of contemporary and antique pieces. Born in Mexico, she began her career in London, initially working in residential interiors before joining the acclaimed Martin Brudnizki Design Studio. There, she contributed to an international portfolio that included hospitality, retail and private projects, gaining experience on a global scale while refining an instinct for spaces that feel both immersive and personal.

Nearly two decades later, her independent practice is defined by a fearless approach to colour, materiality and cultural reference. Collaborations with artisans and makers bring depth and texture to each project, resulting in interiors that feel expressive yet assured. She’s guided by what she describes as a desire for spaces that are “layered and bold, with some theatre – something unexpected.”

Stephanie heads up her eponymous studio alongside longtime collaborator and business partner Garrow Seal-Sinclair. Since its launch in 2020, the practice has grown to include a team of 10 designers, working on residential and commercial projects that are driven by Stephanie’s sense of vibrancy and opulence. The studio’s international portfolio spans private homes in London, Antwerp and Miami; boutique hotels in Lisbon, Vienna and Amsterdam; and a members’ club in the heart of Mexico City.

Inside the portfolio

One of Stephanie’s more recent projects, Wilde Lisbon, reinterprets the Portuguese capital’s maritime heritage through a contemporary, playful lens. With interiors conceived around a sense of immersion and movement, the boutique aparthotel draws on Lisbon’s relationship with the sea. References to water appear throughout, from softly curved architectural lines and wave-patterned glass mosaic flooring to a palette of deep blue and green that anchors the space. A bespoke ombré wallpaper echoes shift ing ocean tones, while materials such as marble, ceramics, timber and mosaic are balanced by tactile textiles to create warmth.

Conceived as a social living room for the city, the hotel blends wit with craft, subtly reworking traditional Portuguese motifs and tile references. Rattan details, greenery and sculptural lighting animate shared spaces, while a curved staircase leads to a mezzanine co-working area inspired by Portugal’s landscapes and expressed through organic forms, sun-washed hues and walnut finishes. Stephanie also curated a layered collection of local ceramics and international art, from mid-century pieces to contemporary works and site-specific installations, reinforcing the dialogue between Portuguese heritage and global perspective. @wildeaparthotels

In February 2026, returning to her home country for the first project since founding her London studio, Stephanie unveiled El Desconocido – a cultural club in Mexico City’s Roma Norte neighbourhood that fuses music, gastronomy and art. This homecoming is also her first professional collaboration with her brother, Alejandro Barba Mendoza, who conceived the club’s esoteric concept and curated its music, food offering and art.

The design embraces contrasts and immersive sequences, using sculptural lighting, high-gloss surfaces, brass accents and considered acoustics to transform the space. Velvet drapes, honey-toned floors, stained timber and antique mirrors amplify a surreal, tactile atmosphere, while intimate lounges, gilded furniture and dimmed lights create pockets for conversation. At the bar, eucalyptus-veneer joinery meets jaguar-print wallpaper, antique brass shelving and a copper island, marrying sound, mixology and theatre in homage to Aztec and Mayan symbolism.

Art and ritual thread through every corner of the space, from malachite-clad private rooms with velvet banquettes and lacquered tables to curated works by artists such as Leonora Carrington, Remedios Varo, Francisco Toledo and William Blake, as well as photographs of Coil, Diamanda Galás, Aleister Crowley and Gurdjieff.

“El Desconocido creates a space where the spiritual and the sensual can coexist,” says Stephanie. “It’s not about spectacle, but about sound, discovery and celebration of rituals. I’m so thrilled to collaborate with my brother in bringing this vision to life.” @clubeldesconocido | barbamendoza.com | @stephaniebarbamendoza

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WORDS Bonolo Chepape PHOTOS Jan Ras

I chose these objects because they speak to a common thread. Each one carries a part of my life’s story, history and identity. From books that hold cultural memory to fabrics and garments that shaped my creative blueprint, these pieces reflect how history is preserved, inherited and lived. They represent rituals that deepen my understanding, objects that anchor my cultural connection, and design forms that hold the collective memory of a people. They’re objects and pieces I’ve collected and kept to remind me of the vastness of the world, the richness of culture, and a celebration of art and design.

The violin

More than 36 years old, it is a family heirloom passed down from father to daughter. It carries a quiet humour, and is a reminder of talents hoped for but not pursued. It speaks to play, possibility and the idea that not every discipline must become a profession – some exist purely for joy. More than anything, it remains a sentimental connection to a father who left it behind as an invitation for future dreams.

Ceramic piece by Anthony Shapiro

Gifted by a dear friend, this piece carries both artistic and personal meaning. I have long admired Anthony’s craftsmanship and his commitment to teaching others. When I see it, I think of our shared trade shows and the laughter between us; in these moments, I am left in stitches. It represents what creative practice should strive towards: generosity and the passing on of knowledge, friendship and joy.

Rothko by Jacob Baal-Teshuva

Acquired at an Anthropologie store in New York, this book is a masterclass in colour. Rothko’s work reminds me of the power of restraint and devotion to language; it reinforces my belief that everything is art, even the quiet discipline of balancing colour.

Traditional Pedi blanket

Passed down from my grandmother, this is one of my most sentimental pieces. It holds memories of womanhood within my cultural context; of her resting under a mango tree; of being wrapped around the waist by elders. I often sit on it when I design – a reminder of my grandmother’s presence in both spirit and object.

Patterned doek

An heirloom from my mother, this doek brings me joy through its patterned motifs, which reflect subtle Western influence alongside cultural significance across South African communities. It represents the intersection of the worlds I navigate: tradition and contemporary identity.

Calabash water vessel

An important object in my daily life, the calabash is part of a ritual passed down through my Pedi culture. Beyond its beauty, it is a tool for ancestral connection. It reminds me of the importance of knowing my background and honouring those who came before me, safeguarding the spiritual knowledge passed down through my lineage.

Henri Mattise print

Collected during my first visit to MoMA in New York; Matisse is one of my favourite artists. This print reminds me of the spirit of community and togetherness, and of the importance of collaboration and building supportive creative ecosystems. Its colour language and sense of play continue to influence my work.

Reflecting B(l)ack by The Manor

This book reveals the importance of documenting and archiving African history and culture. Through stories, imagery and representation, I find a point of connection as I shape my own understanding of how I would like to represent African culture in the future. It serves as a daily reminder of the responsibility of archiving.

Pink woven Cambodian throw

Discovered at Maison&Objet Paris, from a vintage Cambodian merchant, this textile embodies layered knowledge and craft . Made from offcut fabrics woven together, it champions silk thread, colour variation and the beauty of imperfection. It reminds me of resourcefulness, and the power of transforming remnants into something new, meaningful and environmentally conscious.

Boubou dress

A traditional Senegalese garment collected during a trip to Dakar, this piece reflects the cultural knowledge embedded in African textiles and print-making. I look to it not only to admire the natural dyeing techniques and inherited craftsmanship, but also as inspiration for my own practice, and where I hope it will evolve. | lulasclan.com

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WORDS Jo Buitendach PHOTOS Supplied

Khwebula Arts is a design studio where furniture meets art, and African where furniture meets art, and African culture takes centre stage. Founded by Sipho Khwebula Twala in 2019, the studio quickly gained recognition, with Sipho named Design Indaba’s Emerging Creative in 2020, and a top 10 finalist in the Nando’s Hot Young Designer competition. An Ekurhuleni native, Sipho learnt his craft through a combination of formal training and self-taught experimentation. From his first foray into product design to becoming a skilled furniture maker, he’s continuously pushed the boundaries of his work while valuing the guidance of mentors who shaped his journey. We spoke to Sipho to find out more.

“I usually introduce myself as a furniture designer, but I feel I’m gradually morphing into an artist. I want to make sure I leave no stone unturned during my time on this earth. Life is an adventure – and I am a fervent adventurer.”

“I grew up in the Ncala section of Katlehong, and as a child I never imagined I would one day become passionate about building things. My grandmother Zenzile, who raised me, was a tailor, and my uncle Alfred was a cabinet maker. They both shaped who I became – but my creative awakening happened elsewhere. I fell in love with design on the streets, and when I was first introduced to David Krynauw, the furniture designer and maker. I still remember walking through his factory doors for the first time, amazed that someone could bend wood with such elegance. At that point, I felt like an empty can, eager to be filled with knowledge; fortunately, he was just as eager for me to join his team.

“I worked with him for five years. We were like scientists, experimenting, developing new machining techniques, inventing bold joinery, and exploring unconventional shapes. We designed, built, and constantly pushed ourselves, transforming into confident creators in the process. When I eventually left, I was a completely different person – and truly a designer. I will always be grateful for the opportunity he gave me and for everything I learnt during that time.”

“The first object I ever designed and made was a shoe. Phillip Hollander, founder of Houtlander, helped me build it. I remember us wrestling to clamp the sole into place, although I’m not sure he remembers that moment. At the time, his studio was still finding its footing; it was part of the Furntech Incubation Programme while I was a student there.”

“My design training blends formal, informal and self-taught learning. I was first introduced to woodworking at Furntech, a formal institution offering wood machining levels 2, 3 and 4. I studied up to level 3 before catching the eye of David Krynauw, who brought me into his team – a mix of architects, interior designers, industrial designers and a welder. The only piece missing was a CNC (computer numerical control) operator and programmer, which became my role. CNC programmers bridge the gap between design and manufacturing – and this gave me an advantage, because I learnt from both carpenters and designers.

“David even left me with the keys to the workshop, which gave me access to the computer whenever I wanted. I spent countless nights teaching myself AutoCAD and Inventor for 3D modelling through YouTube tutorials. By the time I was done, I’d become a bit of a hybrid – a carpenter, CNC programmer and draughtsman capable of creating 3D models and photorealistic renderings.”

“My approach to furniture making has shifted over the past two years, thanks to mentorship from other designer-makers. Phillip Hollander has guided me on navigating the industry and building a profitable brand without gatekeeping. Rejoy Khumalo of Joy Boy Designs helped me move from treating design as just a hobby to treating it as a business, giving me focus and purpose when I needed it. Hamza and Ahmed Pandor of Pandors Designs reminded me to balance business sense with passion for craft, showing me that success requires both. These mentors have shaped not just my work, but also my growth as a designer and as a person.”

“I enjoy working with oak, ash and kiaat. They’re reliable materials, easy to cut, bend and sand, with beautiful grain and durability. I love exploring patterns and complex shapes; every piece I build sharpens my design and manufacturing skills. New pieces are the most satisfying because they always spark fresh ideas.”

“Khwebula was the name of my great-great-grandfather, an iconic figure whose name became part of our izithakazelo or clan praises. I named the business after him to honour my bloodline and culture. My work is an artistic representation of African culture, celebrating its patterns, traditions and fashion. Culture and heritage are the foundation of our identity – which is why I place African heritage at the heart of everything I create.”

“A typical day at our Khwebula Arts studio and factory involves designing, sanding, programming, running to the CNC when the suction fails, celebrating confirmed orders, and dealing with missed deals. There’s shouting, laughing, pacing, occasionally crying. Disappointed clients can tear you apart over late deliveries; happy clients applaud your efficiency. Every day is unpredictable – like watching Game of Thrones for the first time. You never know what’s coming next, and that chaos is exactly what makes it so much fun.” | @khwebula

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WORDS Steve Smith PHOTOS Jan Ras

Millennial beige is not something you could ever associate with Cape Town-based interior designer Roxanne Ferreira. Her Arrange Studio designs – and, as you can see, the clothes she wears – are all about colour. “We believe colour can make you happy,” she says on her website, reaffirming the brand’s mission “to transform surroundings into somewhere that exudes joy”.

We paid Roxanne a visit to get a sense of the personal objects that have informed her aesthetic. Many of her traditional keepsakes are in storage – “We’ve moved quite a lot during the past few years, including onto a sailboat!” – but these are the everyday keepsakes she holds dear.

My ring

“This ring belonged to my husband’s grandfather – he found it in the glove box of a second-hand car he had just bought. He tried his best to find the original owner, with no luck. It was then passed on to my husband’s mom, but it didn’t fit her. And then my husband (then boyfriend) gave it to me for my birthday 10 years ago. It fits perfectly; I’ve been wearing and cherishing it ever since.”

Set of chairs

“My parents were gift ed these for their wedding more than four decades ago. I love them – they’re light and foldable, so we’ve had many picnics in the garden on them. They’ve travelled to three different cities with us, and hopefully we can pass them down to our daughter one day too.”

Missibaba bag

“Chloe Townsend of Missibaba custom-made this hold-all baby bag for me just before our daughter was born, and I’ll cherish it forever. The colours make me so happy! There are compartments inside for bottles, and even a custom striped changing mat.”

Hats

“These are just some of the hats my friend and milliner Albertus Swanepoel made for me. He passed away last year and I miss him every day.”

My mom’s jeans & dungarees

“I’m so lucky that my mom kept many of her clothes from the 1970s, ’80s and ’90s, and that my sisters and I get to wear them now. These jeans and dungarees are some of my all-time favourites – how great is the striped lining on the hem of the jeans?”

Sea shells

“I’ve been collecting shells since I was little. The rush of finding a whole sea urchin in a rock pool is unmatched! As I’ve grown older, the collection has grown to include shell-shaped bowls and plates too.”

Stickers

“My love for stickers started when I was young, and my sticker book was one of my prized possessions. My collection includes fancy stickers bought in Japan – but also some cute ones found at local stationery shops. I’m always adding to this collection because I love using stickers when making birthday cards for friends. My daughter recently discovered them too, so the stash will soon get depleted if I don’t store them somewhere safe!”

Small plates

“These are a few of the many small plates and painted ceramics I bought in Japan. I try to use them often, not just keep them for ‘one day’ – they bring back wonderful memories of that country with each use.”

Pins

“Some were gifts, some used to belong to my parents… They’re such a fun way of personalising your wardrobe.”

Prototype of an Arrange Studio light

“This is the original prototype for Arrange Studio’s Paradise light. I’ll always be thankful to this light and its design, and the joy and pride it’s brought me.”

Crocheted blanket

“My mom crocheted this for me years ago – it reminds me of a Missoni pattern. There’s something about a gift that took many hours and lots of love to create that makes you cherish it even more.”

Bracelets

“I inherited these from my mother-in-law after she passed. She loved dressing up and had the most incredible jewellery collection. I’ll keep these for my daughter.” | arrangestudio.co.za

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The post Keepsakes: Roxanne Ferreira appeared first on Visi.

WORDS Jo Buitendach PHOTOS Supplied, Wolfgang Stahr, Robert Rieger, Supplied

Berlin-based architect and designer Gisbert Pöppler has little patience for conventional solutions. His motto – “All or nothing at all” – drives an approach defined by bold colour, eclectic contrasts, and an effortless mix of high-and low-cost elements. This sensibility informs every discipline his studio spans, from architecture and interior design to custom furniture and fittings, lighting design and colour concepts. Gisbert is known for weaving these threads together seamlessly, pairing broad spatial vision with attention to detail.

Having trained at the California College of Arts and Craft s in San Francisco and at the Technische Universität Berlin, he earned his engineering diploma in 1996. Working in several Berlin studios during a period of renewed architectural activity, he gained a foundation that shaped the direction of his own practice. In 2004, he established a boutique full-service studio; today, his team is known for creating commercial and residential spaces that balance tradition with contemporary expression.

Whether it involves sourcing unique vintage pieces or collaborating with local artisans on custom furnishings, each of Gisbert’s projects is tailored to the client. The process begins with observation and conversation – understanding how clients live and work. The result is always a design solution in which function, atmosphere and artistry are tightly integrated, producing spaces that feel considered, personal and beautifully resolved.

“Good design is like a tailor-made suit,” says Gisbert. “It should fit perfectly without being the centre of attention.” And nowhere is this more evident than in The Village, a rooftop pavilion/ apartment that he and his team reimagined in the heart of Berlin. Set atop a 1930s building, the space centres on a large glass enclosure within which three intimate rooms are arranged like standalone structures, dividing the volume into subtly defined, semi-public zones (and inspiring the project’s name). The apartment feels open and generous while remaining warm and inviting. Gisbert achieved this by layering materials, surfaces and textures, with lacquered wood panelling meeting a matte milk-white linoleum sideboard, teak accents and limestone relief. Each element adds depth and character without overwhelming the space.

His own home, the Border Center, sits in an up-and-coming area of Berlin’s historic core. The apartment showcases Gisbert’s eye for underappreciated pieces, each with its own story and provenance, often reflecting the dramatic changes Berlin underwent at the end of the Cold War. Inside, he’s assembled a treasure trove of objects, including a heavily customised conductor’s chair rescued from a dumpster and a travertine marble display table salvaged from a former department store. Each item carries its own sense of history.

Not content with interiors alone, Gisbert has also turned to custom furnishings and product design. Since 2006, his studio has craft ed bespoke pieces for select clients, filling gaps where nothing on the market could complete the vision. With Gisbert’s love of delightfully irregular forms, skewed lines and oval shapes, the ideal object is often easier made than found. Every piece, from storage cabinets to dining tables and couches, is realised through collaboration with artisans across Europe. Many of the designs also showcase his signature colour flair, making each creation a statement.

In collaboration with porcelain producer KPM (Königliche Porzellan-Manufaktur), Gisbert reimagined classic porcelain in a contemporary way to create bowls in fashionable colours that he describes as “independent, exciting and great fun”. Presented in duos, each set features two colour combinations with reversed placement. Originally created in 1929 by Wilhelm Löber, whose simple, elegant forms have long inspired Gisbert, the bowls are brought to life through his signature colour-driven spatial thinking. Targeted accents highlight subtle details such as the rim and foot of each piece, giving the classic forms fresh, modern energy.

On the textile front, Gisbert’s Dadi cashmere bed throw offers versatile styling possibilities by folding the contrasting colour combinations of its two sides. This luxuriously heavy blanket is handwoven in a small Nepalese manufactory just outside Kathmandu, on a traditional loom that was custom-built for Gisbert. | gisbertpoeppler.com

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The post The Vanguard: Gisbert Pöppler appeared first on Visi.

WORDS Steve Smith PHOTOS Jan Ras

It wouldn’t be inaccurate to say that Robert Silke has had a seismic impact on Cape Town’s urban landscape. His designs for a series of apartment blocks and hotels in Sea Point and the city centre have kicked off a move away from right-angled steel-and-glass cubes towards softer, retro-inspired and ultimately more approachable structures. Tuynhuys apartments in Gardens, ANEW hotel in Green Point, Tropicana hotel, The Flamingo apartments, and now The Cole/Dolce Vita in Sea Point – all have inspired a flowering of architectural copies around the city.

While undoubtedly an homage to Art Deco and Modernism, Robert’s designs take it a step further, adding another layer to the architectural lexicon, playing with those idioms, and showcasing a contemporary interpretation that not only makes for striking architecture, but that also amplifies the original Art Deco/Modernist buildings nearby. And giving some insights into his aesthetic and passions are Robert’s keepsakes…

Daimler Super 8

“Classic cars are a romantic pursuit, and this was the last-ever Daimler. Only 750 were made, and (in a fit of madness) I imported this 2006 unicorn. The interior is a gentlemen’s club in burled walnut, pleated ivory leather and lamb’s-wool rugs – with a funereal facade in ‘Garnet’, a pearlescent blackened ruby. This feudal stretch saloon was meant for those who get driven rather than those who drive (making me a chauffeur!), but the technology comes from the future. The body is pressed aluminium; the chassis is aluminium; the air suspension system is in cast aluminium too.

“When Danny DeVito enthused (in Other People’s Money) over the perfect suspension and technical prowess of the last-ever golden horse carriage to have rolled off the production line, this is basically it.”

Memphis Carlton Room Divider Miniature

“I lost out on the full-size version bidding against Lucie de Moyencourt at the Prop House auction – but my stepmother Rhonda Raad gifted me the consolation prize of an authorised miniature, apparently signed by Ettore Sottsass himself. Which is more than can be said for the one from the Prop House…”

Eris Silke Portrait

“If only all mothers could paint how they believe their sons look. Or looked.”

Bronze Wall Scones

“We discovered these at the antique lighting shop near Kalk Bay train station, and had them refurbished and rewired by Neville Henry at Classique Lighting in Wynberg, with glass tulip shades from The Lamp Workshop in Voortrekker Road When I asked Neville whether I should clean them up, he answered, ‘You can polish them in no time, but it will take you decades to get back to that patina.’”

Mickey Mouse Watch

“My late grandparents brought me a classic Mickey Mouse wristwatch from Disneyland, in about 1982. Although it was my grandfather’s last gift to me, four- year-old boys are neither sentimental nor careful, and I’m not sure if that watch even survived until Aubrey’s untimely death in 1983. I seem to recall it was too big for me then, and would certainly be too small for me now. But if happiness is to be defined as the adult fulfilment of childhood dreams, I finally got to turn back the proverbial clock in 2018, while travelling through Chicago. We took an Uber down South Side (yes, like the rap lyrics) to the “jewellery department” of Walmart where, for the princely sum of $12, we bought back my childhood. And I’ve been looking aft er it ever since.”

Wink Recliner

“We love Japanese art and design. One of our great finds at The Space Agency was this original 1981 Wink recliner by Toshiyuki Kita for Cassina, upholstered in what can only be called grey-school- pants material. We found a pale teal distressed leather at Woodheads that (along with branding marks) served to reinforce the recliner’s alien corpulence.”

Mr Allsorts Totem

“Lifelong friend Colin Braye (of Vorster & Braye) gift ed us a supersized version of his magnificent Mr Allsorts lamp as a housewarming present – a campy nod to Memphis Postmodernism.”

Walter Battiss Drawing

“Picked up at a fi re sale at Stefan Welz & Co, this original ink drawing gets more interesting the longer you study it. People are drawn in, only to recoil.”

Strelitzia Nicolai

“Any garden I was the owner of was going to have at least one giant strelitzia. I’ve been obsessed with strelitzias since boyhood, when one of my mom’s friends, Geraldine Aron, published the children’s tragedy Why Strelitzias Cannot Fly.”

Maralunga Sofa

“While browsing Cape City Modern’s [online Mid-century Modern furniture merchants] Instagram account, I scrolled past something in tubular steel (sold, of course) – only to scroll back, having seen something important in the periphery of the same image. Deceptively upholstered in staff-room-blue cloth was a rare-as-hen’s-teeth Maralunga sofa by Vico Magistretti for Cassina. Bendable and posable thanks to a sophisticated and elaborate system of concealed bicycle chains and gears, it cleaned up nicely in tan leather!” | robertsilke.com

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