This Vredehoek townhouse, renovated by interior designer Susanne Brodnik, epitomises the elegance and functionality of Scandinavian design.

‘Clean lines’, ‘minimalist aesthetic’ and ‘serene ambience’ are the words interior designer Susanne Brodnik uses to describe the renovation of this townhouse in Vredehoek. The project was driven by a thoughtful vision and specific requirements, and the results are a testament to the beauty of Scandinavian design.

The German client’s vision for the renovation was to create a serene and functional living environment that embodies the essence of Scandinavian design for his ‘home away from home’. “The German engineer and his family were seeking a highly functional space that would work for all of them and during all seasons,” explains Susanne. The clients essentially wanted a space that would be aesthetically pleasing and highly liveable, enhanced with minimalistic and natural materials. “The brief highlighted the desire for clean, uncluttered spaces, a neutral colour palette with strategic pops of colour, and the integration of modern yet timeless elements,” she says.

Before embarking on the renovation project, Susanne had to carefully evaluate the existing home to ensure that the new design would maximise functionality and maintain an open, airy feel. “We knew we wanted to open and extend the kitchen, creating an inviting and stylish open-plan living space,” she explains. The amount of natural light each room received was also considered to optimise the placement of colours and materials, enhancing the overall brightness and warmth of the home.

As with any renovation, there were challenges. Limited space was one of the most significant hurdles. “Limited available space meant we had to redesign the structure of both the kitchen and bathroom, transforming them into more free-flowing areas. By reconfiguring layouts and removing unnecessary barriers, we enhanced the overall flow and accessibility of the spaces,” says Susanne. “We collaborated with Lisa from Bespoke Bathrooms for the bathroom refit,” she adds. By shifting some walls, Susanne created a timeless, yet space-savvy bathroom solution, suitable for a family of four.

Ensuring that the minimalist design remained practical was another key challenge. “To achieve this, we integrated clever storage solutions and multifunctional furniture that preserved the clean lines while meeting the client’s needs effectively,” explains Susanne.

As the clients had their hearts set on a muted, neutral colour palette, Susanne introduced shades of grey and subtle hints of green. “The decision to incorporate pops of green was deliberate, intended to introduce a touch of nature and vibrancy into the space. This choice of green helps to create a calming environment and was chosen for its versatility and ability to complement the neutral tones while adding a fresh, inviting quality to the rooms,” explains Susanne. With fabulous views of the City Bowl, the pops of green helped foster a seamless connection between the inside and outside. As a result, the renovated space feels both serene and dynamic, without overwhelming its minimalist aesthetic.

There are several standout features, that for Susanne, define this renovated townhouse. “The wooden floors by Oggie set a warm and inviting tone, providing a timeless foundation that complements the minimalist design and organic feel,” she says. “The kitchen’s black and white checked floor is another highlight. It contrasts beautifully with the otherwise subdued colour scheme,” she adds.

Regarding decor, Susan focused on using local suppliers to achieve the Scadi aesthetic. “Decor items were chosen to enhance the overall ambience and design narrative. Items such as minimalist furniture by Weylandts, a rug by Herringbone, custom-made scatters, soft textiles, and simple yet elegant accessories were sourced to complement the clean lines and muted colour palette,” says Susanne. | myplaceincapetown.com

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For the renovation of this outdated beach abode on Cape Town’s Dolphin Beach, Hanno de Swardt of Onnah Design used colour and light to give the apartment a contemporary facelift.

“This apartment was rather outdated with signs of much-needed TLC evident everywhere,” says architect Hanno de Swardt. “The owners wanted a space that felt more like a ‘holiday home’, so my task was to inject the apartment with contextual references that connect it to its location and improve the flow of the space,” he adds. The resulting makeover transformed the tired, dark holiday home into a light-filled contemporary apartment.

Hanno used soft, neutral tones, clean lines and rich textural layers to create a soothing and calm visual story. This design language runs throughout the apartment, ensuring visual continuity and enhancing easy flow between spaces. Hints of colour here and there introduce moments of drama whilst sensitive furniture and fabric choices fuse laid-back comfort and understated style.

The new large format floor tiles from Stiles Tiles were the source of inspiration for the wall colour running throughout the apartment. “A soft, sandy, earthy tone was the obvious choice for the intended calm mood throughout,” says Hanno. A murky blue feature wall in the living room links two bedrooms and the bathroom, adding drama and the perfect backdrop for art. This same dark colour is repeated in the study and guest bedroom, dubbed the ‘Sea Spray Room’, dedicated to the ocean outside. “The dark colour used in the living room is repeated in the study and guest bedroom for various reasons. It provides visual continuity and acts as a backdrop for the blue headboard and sleeper couch, making both pop nicely in the space,” explains Hanno. There is a sense of balance and equilibrium as this dark colour mirrors the joinery on the opposite wall… and in the kitchen.

The open-plan kitchen is one of the standout features of the apartment. “All the luxurious walnut elements repeated everywhere elevate the various spaces whilst the deep shadow lines within the ceiling create a lovely floating effect enhancing the feeling of airiness. Floor-to-ceiling pivot doors leading into two bedrooms are packed with punch, appearing deceivingly simple whilst celebrating ceiling height,“ says Hanno.

In keeping with the beach holiday theme, all the wall art was meticulously sourced to make sure it celebrated the coastline in all its glory. “From beach pebbles painted by Kurt Pio to a piece of ‘kalp’ blowing in the wind, craftily constructed by Danny from Moonbasket, right down to simple mirrors reflecting amazing views and bouncing off light, the decor all reinforce the apartment’s beautiful context,” explains Hanno.

The choice to use round coffee and side tables, the addition of the round woven chair from Maputo to the lounge setting, the circular pendants over the dining table and the pebble artwork are all deliberate design choices. They soften the look and create a welcome contrast against all the clean, straight architectural lines defining the shell of the apartment.

“This is now the perfect space for a relaxed beach holiday in stylish surroundings that never tire,” says Hanno.

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PHOTO Paris Brummer (Fish Hoek House); Pexels

Let’s face it, painting can be a tough job… especially if you’re not 100% sure on where to start. But with the right techniques and some careful planning, you can transform your space. If you’re thinking about repainting a room (or your whole house for that matter), then these are five essential painting tips you should keep in mind.

Preparation is key

Before you start, check the condition of the surface you plan to paint. There may be various issues, such as cracks, that need to be dealt with first. Don’t paint over problems.

Determine the previous paint type

To determine what kind of paint (water-based or solvent-based) was previously used on a surface, conduct a test patch on a small area using a cloth and methylated spirits. If the coating is removed, then it is water-based; if no paint is removed then it is solvent-based.

Three things to consider when choosing your paint

Choose your product based on quality, the benefits you require, and how well it matches the task at hand.

Tiling or painting first?

When deciding whether to tile or paint first, it ultimately depends on your personal preference. Our advice? We recommend tiling first and allowing the tile cement and grout to completely cure. Then, cover the tiles with drop-sheets and masking tape before painting. It’s much easier to cover a floor while painting than to cover walls while doing tile work.

Consider the sheen level

The sheen level of an existing paint coating, whether water-based or oil-based, affects the preparation and paint system. New paint coatings won’t adhere to any existing coating with a sheen. For instance, if you have an existing coating of water-based paint (like Plascon Double Velvet) and want to apply a new coating of the same, you’ll need to sand the sheen to a flat/matte finish first.

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Once the chapel of a monastery, this high-ceilinged, open spaced apartment in the Dutch village of Bennebroek is now home to a textile artist and her partner.

Located in the heart of Bennebroek village in the Netherlands, the neo-Gothic St Lucia monastery has seen various tenants come and go. Built in 1896 by the Sœurs du Sacré-Cœur (the Sisters of the Sacred Heart), it was initially a boarding school for girls from wealthy Catholic families. This was a short-lived endeavour, and with (no doubt) heavy sacred hearts, the Sisters sold it to a fellow Catholic order, the Franciscans, who founded the St Lucia monastery here in 1920. Theirs was a much more successful residency that lasted until 2007, when the buildings were sold to a property developer, who transformed them into seven townhouses and 11 apartments.

One of those buildings is the former chapel, bought by textile designer Milla Novo and her partner Nigel Nowotarski, who works in the fintech business. While the 190m2 chapel’s six-metre-high ceilings would not usually make for an ideal living space, for Milla it was perfect – she creates large knotted wall hangings inspired by her connection to the Mapuche community of south-central Chile (her mom still lives there), and this was the perfect functional and comfortable place to live and work. “My works are what you might call grand, and the wall hangings are large,” says Milla. “Daylight is extremely important in order to be able to work properly. That my work can take place at home, in my own living environment, is a bonus.”

Another bonus during the renovation was when a painted head of an angel emerged from behind the plaster – and then another one. When the building originally went on sale, it was stated that nothing was left of the original murals, but as it turned out, most of them were completely intact beneath the stucco. “It was a sign,” says Milla. “It felt like a kind of guardian angel. Past and present came together, became ‘entangled’.”

Where possible, the murals were restored, becoming the basis for the interior colour scheme. The interiors were conceptualised in collaboration with Wouter Slot of Amsterdam-based Standard Studio. “It was a challenge to come up with a concept to suit both residents,” he says. “We also had to respect the monastic atmosphere while giving the interior a comfortable, homey feeling for Milla and Nigel.”

The couple designed the kitchen themselves. “The choice of material was especially difficult,” says Milla. With the help of Dutch natural-stone expert Nick Blok, she opted for Italian quartzite; its patterns and pink/amber tones go well with the original murals. As with all aspects of the interior, the goal was to retain the atmosphere and spaciousness of the chapel. “Together with Standard Studio, we have created a beautiful layout – one that allows for adventure,” says Milla. “I wanted an open flow in the apartment; that way, you can take a walk through your living space. I think that’s very important.”

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A tired and outdated apartment on Cape Town’s Dolphin Beach received a refreshing facelift by Hanno de Swart of Onnah Design.

The brief from the owners for the Cabana was to create a pared-back Hamptons-like retreat that promotes relaxation and a sense of calm. When Hanno de Swart embarked on the project he had to take interior and exterior space layouts, colour schemes and fittings and fixtures into consideration when converting the space with promising bones into a home that lives up to its full potential.

“The previous interior was completely outdated with impractical, problematic layouts, odd wall colours and underutilised spaces, lost opportunities basically,” explains Hanno. “The main areas that required attention were the lounge and bedrooms, all filled with bulky furniture pieces, in the wrong locations and consuming too much valuable space.”  

READ MORE: Llandudno Beach House Renovation

Downstairs, the kitchen, teak floors and aluminium sliding and stack doors remain untouched. Upstairs, the two bedrooms and study received a complete overhaul whilst the two bathrooms received only a more subtle refresh, retaining existing plumbing points but only replacing certain key fittings. 

The client’s favourite colour is blue which had to be introduced wherever possible. An effortless flow between inside and outside was also key, with an emphasis on relaxed, comfortable luxury.  

Hanno used his brief and years of experience to create a space that has a contemporary classic edge and exudes sophistication and timeless style in a way that appears natural and effortless.

When asked about his favourite design elements in the home, Hanno elaborates, “The exquisite dining table for me is a personal favourite and takes centre stage in the living room, beautifully crafted by Brisago. In addition, I would say the little courtyard flowing off the kitchen is a super special cosy corner, much loved by the client and guests alike.”

The space houses some renowned local names from Haldane Martin and Cara Saven to artists Mbali Dlamini and Barry Salzman, to create a space that celebrates and showcases local designers and makers.

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Source Interior Brand Architecture (Source IBA) directs the sensitive restoration and upgrading of one of the Cape’s oldest working farms, Vergenoegd Löw The Wine Estate (VLWE), to its heritage form as captured in a series of 1600s watercolour studies by Jan Brandes housed in Amsterdam’s Rijks Museum.

A series of thoughtful placements, strategic interventions and reconfiguring of irresponsible add-ons by Source IBA and Urban Concepts (the historical architects) reveal the generous gabled Homestead as the hero of the land once more, while the two long barns – believed to be the oldest of their kind in South Africa – stand architecturally revived and interiorly outstanding.

Though the challenge was not only architectural: Source IBA found the soil a series of wildly different patches ranging from acidic to richly fertile and often restrictively moist. Not to mentioned environmental issues, such as the ever-encroaching urban sprawl, borders defined by major motorways and various droughts.

Initially engaged as experiential hospitality experts, Source IBA partnered with a panel of leaders across disciplines to remap a journey of discovery that would not only breathe new life into the farm’s heritage-rich honour, but also realise a contemporary space suited to a new generation of guests. The core principle was to restore it to a proud working farm, not just an attraction. And to do so with local makers; everything was made locally where possible, as local as joiners from Macassar.

With the help of landscapers Planning Partners, every piece of soil on the property was carefully considered: The first tranche of visible change being the dramatic but sensitive resettling of landscaping around the Homestead. Following was a reinstatement of the historic entrance facing the Faure village; an apt change from the previous one close to the N2.

With a firm vision of total reinvention – one that appears invisible to guests; as if the farm’s always been that way – each of the four buildings were renovated one at a time, allowing each to establish its own identity within a broader settlement:

Die Geuwels

Starting with the wine cellar and deli building dating from the 1920s, the first building renovation
included a major upgrade of the wine making facility – of which included the first reinvented public space. Formerly a series of rooms part of the wine cellar, Bertus Basson’s Die Geuwels now offers soothing daytime luxe that spills over to picnics on the green lawns.

The Werf

To minimise signage, all of which was replaced by BitterSuite, large interventions attract guests to destinations. One of the most significant is the ‘corkscrew’ by Craig Thomas – a green tunnel that delivers visitors from the parking space onto the werf.

Another is a number of well-presented taps; with the water quality on the farm far superior to municipal water, guests are invited to refill the glass water bottle provided when booking a picnic.

But by far the newly-oriented natural vistas steal the show. Presented through now resolved landscaping – a previously muddled mess of gravel parking lot and odd access points that deeply obscured the poetry of the architecture, the werf now features a most unique frame of Table Mountain over its dam to one side and rolling views of the undulating Helderberg on the other.

The Homestead

As the focal point across the lawn, the gabled Homestead had to be the next project. Sensitively
restored on the outside (under the watchful eye of Heritage Western Cape), the interiors offer an arresting modern mood that offer comfort, effortless but considered hospitality and a sense of ‘leaving it all behind’.

A key aspect of the design philosophy was to offer contrast and seclusion: Seating spaces are generous and vast areas are left unoccupied as the farm purposely endeavours to welcome an air of tranquility over the suffocation of crowding.

The Barns

Finally, the two precious barns that create the ‘agterwerf received gentle, focused attention to become another Bertus Basson signature restaurant, Clara’s Barn; home of fine dining South African Farm kitchen headed up by Drikus Brin.

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Overlooking Umdloti beach’s main surf break, this contemporary Kwazulu-Natal beach house evokes a mindful minimalism that is cool, calm and utterly covetable.

It was a serendipitous Sunday drive that delivered the current owners to this prime property in Umdloti. They were met by spectacular views out towards the local surf break, and a 400-year-old milkwood standing sentinel in the front garden. “We had been thinking about buying a home in Umdloti for a while, so to happen upon this place without trying too hard felt like the realisation of a dream,” they say.

Although the couple live full time on a farm on the North Coast, the family have a long association with Umdloti, dating back to the early 1900s, when a great-grandfather lived there.“ We have great memories of the times we spent here over the years, and we wanted to emulate that with our own children,” say the owners. “The original house was tucked away behind such an overgrown garden that you couldn’t see the sea, and you had to fight your way through an impenetrable banana plantation to get to the milkwood,” they add.

Although the house was run-down, initially that was part of the charm for the couple, who would “camp out there with nothing more than an air fryer” on weekends. Their delight at finding a property that so encapsulated the spirit of Umdloti had them initially thinking of a small renovation. However, as soon as they got architect Lisa Rorich on board, they began to see the enormous potential of the location. Together with project architect Gareth Porrill, Lisa set out to create a home that embraces the relaxed lifestyle of the North Coast with a take on tropical modernism. “The old house determined the levels of the new house as it was laid out over split levels,” says Lisa. Her idea was to build to the highest level to capture the views and the north light, and to offer protection from wind. The resulting L-shaped home, laid out over two floors, has generous living areas and a guest suite downstairs, with the main bedroom and three bedrooms for their children located upstairs.

READ MORE: Berea Home

“We wanted to pay homage to the original bungalow, and so designed a grounding, painted stone wall at the entrance that weaves its way through the building to create a solid, textured backdrop to the living areas on the ground floor,” explains Gareth. You enter into a double-volume space, where a six-metre-high picture window to the left takes your eye up to the patterned brickwork on the mezzanine above while bringing the lush tropical greens inside. Ahead of you is the warmth of natural wood cladding in the living area and kitchen, while overhead a skylight and raked ceilings amplify the light and airy feel of the tropical architecture.

Layered with warm natural timber cladding and slatted screens that offer security and monkey-proofing, the downstairs living areas can be opened up or closed as the mood takes you. “The fine slatted timber screens also offer a wonderful filtered quality of light, which changes throughout the day, further enhancing the tones and textures of the white-on-white interiors,” says Lisa.

This timber box effect is repeated in the living room, where a “secret” panel of the timber cladding slides away to reveal the entrance to the upstairs areas. It works on a magnetic locking system. An office, which sits behind the timber cladding right next to the kitchen, can also slide away to expose the living area and the lush views beyond it.

“We purposely kept the overall palette to a minimum, using mostly white with subtle pops of green, natural tones, brushed brass and terracotta throughout,” explains Gareth. The textures of white – as seen in painted stone, breeze blocks, natural oak, bleached balau and rattan – create a grounded space, with all interior finishes sourced locally from South African craftsmen.

“We couldn’t be happier with what Lisa and Gareth have created,” say the owners. “Living in an old farmhouse where there is lots of wasted space, we love that this house functions so efficiently – it really is our little slice of heaven.”

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After a carefully considered four-year renovation, Cala Di Volpe, the iconic hotel by French architect Jacques Couëlle, is once again open. And if it looks familiar, you can thank James Bond for that.

It was the perfect backdrop to a ’70s-era James Bond movie with a landscape of exotic locations, a beautiful Russian spy, a steel-toothed villain, and a supercar that turned into a submarine. And it was an entirely authentic role, too – Cala di Volpe’s star turn in 1977’s The Spy Who Loved Me reflected this Sardinian hotel’s reputation as a legendary hotspot, adored by the likes of Prince Karim Aga Khan and fellow members of the international jet set.

The work of celebrated French architect Jacques Couëlle, whose free-form architecture is known for its organic forms and textures that blur the lines between nature, architecture and sculptural art, the hotel was first opened in 1963, and stood as a stark contrast to the angular modernism of the time. Entrusted with restoring this significant property in 2018 were Bruno Moinard and Claire Bétaille of interior design agency Moinard-Bétaille – a four-year project not without challenges and pressures. How does one do a restoration that’s sensitive to an architectural work of art, yet create something that meets the demands of the modern guest?

READ MORE: Italian Holiday Home

For Moinard-Bétaille, keeping the soul of the hotel intact was critical. And that meant adapting to the empire of materials that reign supreme at Cala di Volpe: powerfully sculpted plaster, roughly textured wood, thick colourful glass, warm terracotta, textured fabrics, and custom-designed furniture. “Hotels have a soul, each its own,” observes Bruno, “and each has its own way of being inhabited. Each suite is distinctive, each bar is a piece of civilisation, each lobby is an introduction to a unique experience. Each hotel is a theatre, with its sets, its characters, its secrets – and sometimes its intrigues.”

The renovation started with the lobby, corridors, rooms and suites, and finished with the restaurants, terraces and outdoor spaces. “Everything must change for everything to remain the same,” says Claire, quoting a character from Giuseppe Tomasi di Lampedusa’s 1958 novel Le Guépard (The Leopard ). “It was this idea that was our guide, and our ambition was simple: to remain faithful to Jacques Couëlle’s creativity, and to show that he is more modern than ever.”

To this end, the spectacular hotel lobby’s structural elements – the vaults, arcades, beams and massive pillars – were all faithfully restored, and were crucial to retaining Cala di Volpe’s mood and visual rhythm. As a counterpoint, the lighting was revised for more softness during the day and warmth in the evening, and a full range of furniture was created.

Another big focus for Moinard-Bétaille was the hotel’s corridors – key elements in a guest’s experience of any hotel as they move through it. The openings and windows were all covered with wooden bars, softening the light and creating tree-like shadows that fall across striped carpets concealing a scattering of little foxes – a mischievous reminder of the hotel’s name. (Cala di Volpe means “Cove of the Fox”.)

Given Couëlle’s organic, cave-like style, it’s no surprise that the rooms are all unique in shape, with rounded corners and half-partitions creating soft, intimate and peaceful spaces. Shiny, dark juniper wood creates a beautiful contrast against the matte white masonry, while large beds topped by a canopy of reeds enjoy sea views. Moinard-Bétaille also had specific furniture designed – a pebble-like rounded chest of drawers in solid walnut with bronze feet; glass-topped bronze side tables cast in the shape of seaweed; console desks fashioned in stone; and tables in solid local woods.

“We wanted to give this magical place back its lustre, but also its function in today’s world,” says Bruno. “Year after year, as the work progressed, we moulded Cala di Volpe into a coherent hotel concept, speaking a single language, writing a single story.”

The lasting impression of this unique and important piece of architecture is that nothing has really changed in appearance – yet everything has been refreshed, renovated and rearranged. Mission accomplished, as James would say…

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A pair of serial renovators in Johannesburg have brought a mid-century gem back to life with a sense of subtlety and fun.

It takes a good eye to spot potential in a fixer-upper, particularly in a city like Johannesburg. There are some real gems – almost always undervalued – but their qualities are often lost beneath the add-ons that barnacle their way onto houses over time. Christo Vermeulen and Nico Venter are serial renovators. Inevitably, after a few years of living in a house, they find their eyes wandering.

They most certainly do have a knack for recognising the signs that something special might be lurking beneath the surface a nondescript exterior. Christo is a former textile designer turned builder/renovator – with a sideline in manufacturing bespoke features, especially metalwork and ironmongery – and Nico is an urban designer with an interest in the city’s architectural history. Together, they make a formidable team: insightful and capable, with the perfect combination of vision and respect for the innate qualities of a good find.

READ MORE: Renovated Parkhurst Home by Christo Vermeulen and Nico Venter

They recognised that they were looking at something special when they walked into this early 1940s double-storey house in the suburb of Greenside. The perfection of the sensuously curved, Art Deco-inflected balustrade on the stairs was the first clue that highly skilled builders had been at work here. “There’s not a nick on it,” says Nico, adding that there were other details, particularly in the cast concrete, that were “impeccable”. He also recognised the fine workmanship of the rounded edges where the walls meet the ceiling.

Christo soon realised there were timber floors – parquet upstairs – and terrazzo beneath the layers of carpeting and glue, as well as other “beautiful features of the era”. They were both particularly pleased with the brass fittings sprinkled throughout and the long, narrow planters outside. The overall design suggested a thoughtful architect. The home’s orientation was perfect, and details such as the cantilevered concrete overhangs above the windows had been precisely designed to keep the hot sun out in summer and let it in during winter.

“The bones of the original house were absolutely perfect,” says Christo – and all were structurally sound, which, he says, is testimony to the quality of the workmanship. His and Nico’s alterations brought those features decisively into the 21st century, so you could, as Nico puts it, live a “modern lifestyle” (and use more efficient power and water sources) while still having the luxury of being surrounded by “the feel of the old walls”.

There’s no slavishly applied ideology or principle at work in their approach. Rather, they allowed themselves to be inventive, creative and playful as they went along. They’ve clearly been respectful, taking joy in celebrating the finer historical features, but never becoming precious or pretentious. Many of the alterations they’ve made draw attention to the original architectural features of the house. They’ve widened doors, for example, to improve the lines of sight between rooms – one between the living room and entrance hall now perfectly frames the staircase – and replaced all the light fittings with spherical ones, almost unconsciously harmonising with the curves in the architecture. Christo also paid homage to the curves in the selection of new features, such as the bathroom mirrors and other fittings, recognising and emphasising this aspect of the original design.

In contrast to the bright white exterior, the interiors are dark, playing with a kind of chiaroscuro hinted at in the chocolatey floors. Christo says that he found himself studying paintings by the Dutch Old Masters, and carefully selected what might superficially look like black paint for the walls, but with undertones of brown to give it variation and warmth. “We knew that we could go dark inside because the exterior is white, so there’s plenty of light coming in,” he says.

It’s not just light, but lightness that he and Nico have brought in. Their home’s mid-century features have been given a second lease of life, celebrated in the context of a contemporary lifestyle, with as much joy as reverence.

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An old and neglected farmhouse, originally built in 1882, has been transformed from its current sad state back to its former glory by local design studio Onnah Design.

The purpose of the renovation was threefold: To act as a residence for the current farm foreman, to provide a future place of residence for any of the Kitshoff family members, and lastly, to provide a future prospect of being transformed into a functioning boutique guesthouse.

“The designers followed a sympathetic approach to the renovation, keeping intact the main facade front with the original roof, gable, sash windows and doors while having a more modern take on the remainder of the building, with emphasis on a modernised look and feel of the interiors,” explains Onnah owner Hanno de Swardt.

Previously, the house consisted of many dark, impractical rooms (with a few add-on rooms over the years) that were not conducive to the design brief and current modern-day living. The only way forward was to completely reconfigure the entire internal layout – adding open plan living, free-flowing spaces and room for flexibility.

READ MORE: Llandudno Beach House Renovation

The team started by opening up an enclosed kitchen and converting two smaller rooms into one large space, now the spacious laundry and scullery. Two bedrooms to one side of the house were joined and converted into the main bedroom with a generous, luxurious walk-in en suite.

The three bedrooms on the opposite end of the house were also reconfigured and now all boast en suite bathrooms, ideal for a guest house. A previous store room and a cold store are now beautiful bathrooms whilst one large room allowed ample space to add a third en suite.

The client was hoping to restore and retain the original wooden floors inside, but sadly, after lifting the carpets, these were found to be completely rotten. A combination of tiled and vinyl flooring proved the most suitable and practical replacement. In retrospect, these design interventions for the flooring turned out to be more in keeping with the desired contemporary interior and contributed positively to the lighter and brighter look and feel of the space.

READ MORE: Lazari Coffee Shop Redesign by Onnah Design

Original dark wooden ceilings were painted white, combined with new warm white coloured walls and light grey joinery transforming rooms into havens of light, bright calmness. In addition, larger windows were introduced to celebrate stunning views over the expansive countryside, allowing in much-needed natural light simultaneously. Strategically positioned downlights further enhance the required light levels inside all the rooms.

To accomplish the desired open plan concept it was necessary to knock down several walls which proved to be quite the challenge. After chipping off the plaster, the builders were confronted with extremely thick stone walls, some as thick as 800mm – an arm’s length! Removing these stones was no easy task for the crew.

And to add ‘oil to fire’, most walls were invaded by rice ants… which resulted in walls having to be demolished and built from scratch. Fortunately, a few stone walls were in good nick. It was decided to keep them raw and exposed, making for very effective, eye-catching interior features.

“As an architect, this made me extremely happy because these walls tell a beautiful, rich story — the story of a farm built in the 1800s. A story of traditional honest building methods with raw material sourced from the land,” explains Hanno. “A story of new beginnings for a farmer and his family once upon a time. A story now, of a beautiful and exciting future for the next generation. And what a huge privilege to be part of this transformation and protection of this important part of the Kitshoff family history and legacy.”

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