The building, which was a working funeral home beforehand, was bought and transformed by Greg Dale in May last year. After completely stripping the building of everything but its original features and scraping away nearly 200 years of paint, the gallery opened its doors in September to reveal a space dedicated to sculpture and installation artworks.

Through the door on the street, a narrow, dimly lit passageway opens onto an open aired courtyard. Beyond a set of double doors, the largest of the exhibition spaces reveals itself. The original features like the wooden floors and staircase, which Greg left intact, provide warmth, allowing the viewer to interact with the artworks in a more authentic way.

Roelof van Wyk’s Jong Afrikaner: A Self-Portrait currently hangs in the gallery, and viewers are able to absorb the larger than life photographs from many different vantage points. The enormity of the double volume space allows the art to breathe, which in turn allows viewers to take in everything it has to offer. As the viewer follows the flow of the gallery new spaces – and consequently new artworks – are revealed, making the move through the space an experiential one filled with surprises.

Greg, who has been an art collector for years, opened Commune.1 as an arena for artists working in installation and sculpture to exhibit in “a space that is relatively adaptable to their needs,” he says. 

“The intention is to provide a dedicated space showcasing this kind of work, that will hopefully eventually lead to a shift in thinking and understanding of installation art, and slowly build a culture of appreciation for this kind of experience.”  

We spoke to Greg to find out more about his gallery.

VISI: How long have you been in business?

Greg: Commune.1 opened its doors on the 1st of September, 2011, spring day, and there were many clever headlines along the lines of ‘from death to life’, referring obviously to the building’s checkered past and its new function.

Did you design the space yourself?

I designed everything, from the lighting to the bathroom fittings. The gallery is something that I had very clear ideas about and I felt I was the person closest to understanding what was required. 

Was the gallery’s interior inspired by anything in particular?

There are a few different areas within the gallery building, and each was inspired by something different and motivated by functionality and aesthetics, and obviously by how the space would suit the work that would be exhibited in the best way. Interestingly, I had carried around a reference of my ideal space layout, which was a Spanish museum, and the layout of this building was nearly identical, so with very few additions I was able to recreate almost exactly what I had in mind from the outset. A few surprises during the stripping process led me to new choices, but on the whole it created itself and slowly became what I had set as the ideal. 

In your opinion, what are the key design considerations for an exhibition space?

Being an installation space, the design considerations are very different from say a commercial gallery that may need more wall space, or a different flow. For the kind of experiential work I exhibit, the flow of people through the experience was my most important consideration. How they view the work, from which vantage points. And volume. The need for big volume in height and floor space was constantly considered. The mezzanine level allows a great viewpoint to view the exhibits from a new angle, and also creates a pattern of experiential momentum where the spectator can experience ideas from entirely new perspectives. 

And for a home space?

I tend to approach living spaces the same way. Volume, height, space. A simple starting point where you can highlight things that you feel are integral. Room to breathe.  

Where did you source the raw materials, decor and furniture items in Commune 1?

Most of Commune.1 is original, very little was added. But the brilliant Lutge Gallery on Loop Street provided most of the architectural extras that I needed, and most fit so seamlessly into the space that they appear to be original.  

How does this environment encapsulate or enhance the art on exhibit?

The environment, in the way that it is laid out to constantly reveal new spaces, new areas, mimics the concept of the work that is being shown. A space that holds as much mystery and freedom to perceive things in your own way, it melds perfectly with the work on show. The building also very quietly provides a background to the works on exhibition, without ever forcing itself onto the spectator. 

And lastly, what do you think Cape Town’s title of World Design Capital 2014 will bring to the city?

I hope it will bring an awareness of the need for more public sculpture, works that will become part of the Cape Town scenery, and inspire art tourism on the level that this city deserves. Beautiful outdoor art enhances a city in so many ways, and speaks volumes about the country’s dedication to the arts, as well as being aesthetically and conceptually integral to the continuation of the growth of the arts. 

Roelof van Wyk’s Jong Afrikaner: A Self-Portrait is on show at Commune.1 until 26 July.

More information: www.commune1.com

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Please tell us about your business and the work you do.

Room 13 is a boutique graphic design studio based in Cape Town, and founded by sisters Michelle & Nina van Reenen. We create beautifully crafted, functional designs, tailored to each client’s unique needs. Our primary focus is on graphic design and art direction with applications ranging from logo’s, corporate identities, web design, BLT print collateral, and illustration. 

How long have you been in business / and in your current studio?

We’ve been in business for almost 10 years. We started as a two-man operation in our mother’s guest house in 2003 – in the 13th room.  As our company grew, we realised we needed a bigger space and bought our current studio in Victoria Junction in 2006.

Did you design the space yourself? 

We designed and renovated it quite a bit. It was a jeweller’s workshop before. There was a strange pod-like showroom in the middle of the space – it looked a bit like a space ship! We removed the pod, broke away the ceiling boards to expose the industrial beams, built in a little kitchen and transformed the shower into storage space. We painted everything white, even the floor.

Was the interior design inspired by anything in particular? 

We really wanted to create a space that was quite neutral, like a blank canvas that we could fill with beautiful things as time went by. We custom designed the wallpaper on the back wall. The design includes our keyhole logo and elements of luck and superstition.

In your opinion, what are the key design considerations for a workspace, especially in your particular field? 

It needs to be a quiet, uncluttered space that inspires at the same time. Each designer needs their own space and it’s important to have a central meeting space – especially for production meetings and brainstorming sessions.

And for a home space?

Michelle: Our personal styles are quite eclectic. I like organised clutter and lots of colour and textures, a space that is homely and tells of my travels and a life lived.

Nina: I like to approach each room differently; giving each a different personality and color scheme. My study is Old Worldly with decorative memoirs and shrines dedicated to important people in my life. My kitchen is 60’s retro, my bedroom is modern meets mid-century.

Where did you source the decor and furniture items in your studio?

We had all the desks custom made. The couch and ottomans were upholstered by our mom, Lanie van Reenen, who is an interior decorator. She also donated the beautiful baroque standing mirror, which she had made and shipped from Cairo.

How does this environment encapsulate or enhance the business you do? 

It’s a very calming and neutral space, which helps a lot when you are busy or on a deadline. We also love the fact that it can evolve over time, like our work. We’ll probably redo the wallpaper in the near future and the couches have had a few make-overs.

And lastly, what do you think Cape Town’s title of World Design Capital 2014 will bring to the city?

Hopefully it will unify the creative community in Cape Town and create interesting collaborations between like-minded creatives. We also hope that design can become a vehicle to uplift the local communities in need.

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Babette Clothing on Church Street in Cape Town looks exactly like it should. The owner Barbara Lötter has extracted the essence of her reworked vintage clothing and artfully sprinkled it around the store.  While the shop front has a European air about it, with its deep red walls and quaint flower boxes, the set up inside exhibits the universal aesthetic of kitsch but cool charm.

This ain’t no thrift store, and although some of the wares Barbara is peddling may have once been found there, the cheeky checkerboard floors, Robin’s egg blue wall colour and patchwork wall of framed art pieces create a backdrop that is simultaneously cute and chic.

This model and Elizabeth Galloway Fashion Academy graduate has put as much delightful detail into her shop as she does into her reworked vintage dresses, shirts, slacks and accessories. The bric-a-brac pieces (which are also on sale) scattered about the store add a sense of idiosyncrasy, while the wardrobe style shelving helps fabricate the feeling that you’re walking into the covet-worthy closet of a super stylish friend.

We sat down with Barbara to find out more about her store.

VISI: How long have you been in business?

Barbara: I started off with the Babette label in September 2010, and opened the store in first week of December 2011.

Did you design the space yourself?

Yes.

Was the shop’s interior inspired by anything in particular?

It was inspired by my travels, mostly Australia where the vintage markets and boutiques are just to die for. I must say in Australia my love for vintage grew to another extent!  I also get a lot of inspiration from Frankie magazine (Australian) and from blogs.

In your opinion, what are the key design considerations for a retail space? 

A good first impression is important. The store must be inviting and have a definite character.   Obviously the use of space is important and I know there is some kind of formula to calculate the cost per item to square metres of floor space used, but to me it is more important to give the store that certain character where one can have a pleasant shopping experience.  The place should not be too cluttered, but still have lots of treasures for the eye.  Lots of packing and hanging space is important, but it should be laid out in such a way that everything is in sight.

And for a home space?

I don’t plan design and the use of space in my home. I have my own style.  I like retro furniture, vintage decor and all sorts of retro finds.  If I come across something I like, I will find a place for it in my home.  Also a true home is a place that welcomes you when you open the door.  It should carry your signature and should be an extension of your personality.

Where did you source the decor and furniture items in your shop/space?

I must admit I’m bit of a hoarder, so before I opened the store, I already had little treasures that I had found all over, in a way it felt like I have been preparing for this all my life.

Most of the paintings and furniture pieces I found in the Eastern Cape.  The vintage scene is not so big there and you can still find amazing stuff at very reasonable prices.

How does this environment encapsulate or enhance the wares you sell?

It complements my clothes so well. The wall filled with reindeer horns, flying ducks, framed embroidery and other portraits grab people’s attention.  It gives a timeless feel to the space and sets the scene for people to wander a little longer in the store.  The shop’s decor is an indication of what you are about to find on the rails.

A lot of people love the vintage kitsch look, but don’t know how to put the look together.  In my store I help them visualise it.

And lastly, what do you think Cape Town’s title of World Design Capital 2014 will bring to the city?

I think this will bring many advantages for Cape Town.  Getting global exposure and attention will benefit tourism, which will in turn bring feet into my store.  It is a great opportunity for creative people to show their talent and bring awareness of our city to the globe.

For more information visit www.babetteclothing.co.za

info@babtteclothing.co.za /  021 424 4457

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As part of our ongoing series of Real Spaces, we pay a visit to Leon Saven Design, a multi-disciplinary design studio based in De Waterkant, Cape Town. Dylan Culhane speaks to Leon Saven himself:

What is the core business of Leon Saven Design?

Leon Saven Design is a multi-discipline architectural and interior design practice focusing on the holistic design and integration of the environments which we creating, as well as the more detailed aspects which ultimately form an integral part of our projects, i.e. furniture, lighting and interior details.

Do you tend to do more architectural or interior design?

We tend to have a good balance between the two, which we see as inseparable.

How long have you been in business / and in your current studio?
Leon Saven Design has been trading since 1996 and we have been in our current premises for close to ten years now.

Did you design the space yourself?
Yes.

Is there a central design ethos that governs all the work you do, or does each project necessitate unique considerations?
Both are true; while each individual project is informed by the specifics of the brief, the client and context of each project, we at Leon Saven Design have a particular approach to design and to our projects. Very simply our projects follow a value system and the value system of our clients.

In your opinion, what are the key design considerations for an office space or studio?
Clarity, cohesion, communication and functionality. 

And for a home space?
Comfort, flow and the presentation of a collage of values, representing those who live there. 

How would you describe South African design in a sentence?
As a search for our own identity and independence; looking too closely to the rest of the world for answers instead of looking internally where the true answers and clues lie.

Do you think WDC 2014 will have a significant and lasting impact on this country, or is it all much ado about nothing?
If we as a design community can make sense of the opportunities and meaning behind this initiative, we could work cooperatively and collectively towards a clear goal and vision; this would be significant and furthermore this would make a meaningful contribution to the world.

Are there any upcoming projects you can let us know about?
We have some very exciting projects coming up – both residential and commercial. We’ll be sure to keep you posted!

For more information visit leonsavendesign.com

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