NO: 6

LIVING
120374
 Rich aroma.
Refined taste.

Find your inspiration

 7>

CONTENTS

12 > Circa on Jellicoe

26 > Steel and nature in perfect harmony

34 > Bring it on – Summer 2010 here we come!

SA Fashion Week, Summer Collection

44 > Coffee brand leads the way in Italian

household consumption

52 > Transcending trinkets

56 > Highlights from Design Indaba 2010

64 > Success of Decorex Cape Town bodes well

for design sector

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8>

72 > REcreate: Designing a second life from the

old and discarded

81 > Glass wonders from Preciosa

88 > Retile? Why not paint?

90 > The Grand Café & Beach opens in Table Bay

94 > A lifestyle district at the forefront of urban

design

102 > Herrondale Wildlife Eco Estate and

Waterberry Haven: Making life worth living

116 > Architectural excellence live

LIVING
 Music
Dance
Drama
Design
Visual Art

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GREY9755 * TEL
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TEL603 0046 *0046
051-603 Fax 051 603 0480
* FAX 051-603 04
 11 >

CREDITS
PUBLISHER > ADMINISTRATION & ACCOUNTS >
Cameron Bramley Claudia Madurai & Michelle Swart
cameron@designmagazine.co.za
CREATIVE DIRECTOR >
EDITOR > Jacques Lange
Jacques Lange
jacquesL@iafrica.com DESIGN & LAYOUT >
Bluprint Design
CONTRIBUTORS >
Veruska De Vita , Bev Hermanson, Cover image courtesy of The Everard

Stacey Rowan, Karuna Pillay, Sidhika Sooklal, Read Gallery

Suné Stassen, Anri Theron, Russel Thomson

PUBLISHED BY >

SALES TEAM > DESIGN>INFORMATION

Francois Fassler and Jeff Malan Tel: +27(0) 82 882 8124

Fax: +27 (0) 86 678 8448

PRODUCTION ASSISTANT > www.designmagazine.co.za

Charl Lamprecht

© 2010 DESIGN>INFORMATION

DESIGN>LIVING is produced by DESIGN>INFORMATION. No material may be reproduced in part or whole without the
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are not necessarily those of the publisher, its endorsers, sponsors or contributors.

LIVING
12 >

CIRCA ON
JELLICOE
By Bev Hermanson

It’s a Saturday morning and the residents of

Rosebank, one of Johannesburg’s elite
northern suburbs, are flocking to the art pre-
cinct on the corner of Jellicoe and Jan Smuts
Avenues to enjoy a coffee, browse through
the book store and view the artworks on
display. This is the vision of Mark Read of
the Everard Read Gallery, whose brief to
Pierre Swanepoel of StudioMAS architec-
ture & urban design was to create a multi-
functional space on what once was a narrow
parking lot.
 13 >

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14 >

Top row: The Circa building commands the corner

while the Everard Read Gallery forms a demure
backdrop.

Left: A walkway connects the Circa building with

the fire escape.
 15 >

The Everard Read Gallery was started back in 1912 in the

central business district of Johannesburg. In a bid to
escape the crime ridden inner city, the Read family chose
to relocate the gallery to Jellicoe Avenue in Rosebank,
where a domestic residence was converted into a flow-
ing, bright viewing space for various artworks, sketches,
sculptures and artifacts. Then in the 80s, the Reads pur-
chased the property facing Jan Smuts Avenue, across
the road from the gallery. For the next 15 years the land
was utilised as extra parking for the gallery, however,
during this interval, the seed was sown to do something
more meaningful with the site. Mark Read set about
finding an architect that could share his vision and
eventually settled on the award winning practice of
StudioMAS. He briefed Pierre Swanepoel, the senior
partner, to come up with a concept that would become
a dynamic multi-functional building that would com-
plement the existing gallery.

“It was very challenging to conceptualise a building

that would take best advantage of what was essentially
a long narrow utility area. We came up with a triple storey
building that is an elliptical shape, transparent, yet self-
contained,” says architect Pierre Swanepoel. Known as
Circa, which means ‘thereabouts’ or ‘approximately at
that time’, the new building occupies the north western
corner of the Rosebank precinct. It is within walking
distance of the various malls, craft market, banks and
the many hotels and restaurants in the district. With
the building of a Gautrain station in the suburb, it is
expected that this area will become a vibrant node and
an attractive destination for visitors and residents of
Gauteng to visit.

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16 >

“Mark had initially wanted to extend the gallery across

the street, but as the project unfolded he decided to
leave the existing gallery as it was, merely paving the
road between the two sites to create more of an ‘art
in the street’ atmosphere,” Swanepoel continues.
“The new building is a very theatrical space that has
been split into three levels with a circular staircase
that ascends around the perimeter. It’s a place where
people can meet and interact in a highly inspirational The concrete stairs which encircles
environment.” the central structure.

The aluminium fins that clad the

exterior of the structure.

LIVING
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It was extremely difficult to piece the building together

to achieve the elliptical shape, says Swanepoel. Much
of the structure had to be constructed virtually ‘by
hand’ to achieve the uniformity desired. The central
structure is made from concrete, which is encircled by
concrete stairs. To ensure a level of privacy, this was
then clad with aluminium fins that allow natural light
to filter in during the day and artificial light to splash
on to the surrounding pavement area at night. “The
fins resemble the structures used for a Zulu kraal,
shielding the interiors from the bright African sun.”

The structure was conceptualised to become an integral

part of the public spaces with a coffee shop and book
store that will spill out on to the paving. The streetscape
lends itself to the showing of large sculptures and two
large glass sliding doors are the perfect answer to the
need for security, while offering transparency and a feel-
ing of openness to the space.

The ingenuity of the design has given this landmark a

triple storey structure with a top level lounge and deck
that takes in 270 degree views clear across to Northcliff
hill. The lounge, designed by Christine Read, and adjoin-
ing kitchen area is large enough to cater comfortably for
gatherings of 50 or so people and the west facing deck
is perfect for sundowners. The first floor, covering
around 177m2 is a multipurpose exhibition space with
seven movable screens that can be dropped through
the floor to the level below should the need arise for
more exhibition space on the ground floor.

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19 >
20 >

Named Speke, after John Speke, the pioneer who sought the
source of the Nile, this ground floor space is ideal for dis-
playing treasures of contemporary art and artefacts, all
things passionately collected by Mark and Christine from
Africa and around the world. The top level, known as the
Darwin Room, is linked to a fire escape via a walkway. This
metal structure will eventually be covered by a vertical gar-
den, allowing visitors the experience of descending
through a green world of foliage, should they wish to do so.

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 21 >

The top level lounge,

known as the Darwin
Room, designed by
Christine Read.

The top level deck that

takes in 270 degree
views clear across to
Northcliff Hill.
22 >

In addition to displays of artworks and crafts, Circa will be used

for a variety of cultural events that will encourage gallery support-
ers to rethink the definitions of art and other cultural pursuits.
“One can say that Circa is a small building with a big attitude,”
says Swanepoel. “One that is inspired by a new world economy,
where commercial gain is tempered by a concern for urban and
natural environments.” <

Circa’s multipurpose
exhibition space

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 27 >

Steel and
nature in
perfect
harmony
Gone are the days when the use of steel in residential
architecture signified the minimalist industrial aesthetic
favoured by the Modernists and Structural Expressionists
of the 20th century who mainly opted to combine the
material with glass and concrete.

As a construction material, steel has unique properties

that allow architects to achieve innovative and incredible
structural results that few other materials can offer. Yet,
steel is still considered by many as a material that is
more suited for industrial, commercial and civil structures
rather than for residential application because of its sup-
posed ‘clinical’, ‘dominating’ and ‘masculine’ associations.

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28 >

“The image of steel as an aesthetic construction material has

lagged somewhat in this country, but there are signs that this is
changing,” says Hennie de Clercq, executive director of the South- Highveldt House
ern African Institute of Steel Construction (SAISC). In recent years project details:
SAISC, in collaboration with other local institutions, has developed
several initiatives to promote steel as an aesthetic building Architect:
material. These include a guest speaker programme and the Van der Merwe Miszewski
Steel Awards, which also incorporates a Residential Category, Architects (Pty) Ltd
among others.
Structural Engineer:
In an interview with Engineering News, de Clercq said that recent WSP Structures Africa (Pty)
Steel Award winners, such as the Gauteng-based Highveldt Ltd
House, winner of the Residential Category in 2009, have contrib-
uted significantly to the image of steel in smaller-scale buildings, Quantity Surveyor:
while iconic structures, like the Nelson Mandela Bridge in Johan- Turner & Townsend (Pty)
nesburg and the Moses Mabhida Stadium in Durban, are evidence Ltd
of the effectiveness of steel and the local capacity to design
and build these structures.

Project Manager:
Turner & Townsend (Pty)
Ltd
Main Contractor:
IQNC Imagine Construction
(Pty) Ltd
Steelwork Contractor:
Cosira International SA (Pty)
Ltd
29 >
Focusing on smaller structures, the judges of the 2009 Steel
Awards highlighted the Highveldt House as a prime example
of a project that achieved outstanding results in the way in
which the architects incorporated steel as primary construction
element in a residential setting, while also integrating it fully
into a protected, natural and unspoilt environment by combin-
ing it with timber. Highveldt House is set in a typical South
African Highveld landscape, within the Cradle of Humankind,
which enjoys World Heritage Status. Accordingly, say the judges,
the central design task was the integration of the structure into
this unique environment, which was accomplished in out-
standing manner.
The project site is surrounded by a remarkably diverse land-
scape, which includes an oak forest, a white stinkwood forest,
open meadows, poplar groves, a river, a lake, typical Highveld
koppies (hills) and an open, natural veld. The site is slightly
elevated and shallowly carved into one of the koppies, on
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30 >

which stand numerous white stinkwoods around which the

house has been set. The elevation and the positioning of the
building on the site enables spectacular views to distant hills
Shortlisted projects in
where the various elements of the diverse landscape seam-
the Steel Awards –
lessly join. Residential Category

Dune House (left)

The house is designed as a series of pavilions arranged be-
Architect: Slee & Co
tween the horizontal planes of the floor and the roof. These
Architects Pty Ltd
planes are located within a section of the stinkwood forest, on
Structural Engineer: DMS
the edge of an intrusion of veld and are elevated above natural
Structures cc
ground by an ‘apparently randomly measured forest’ of skew
columns – two legs per column – to give the feel of tree trunks.

Toulon House, Sabi Sabi (right)
Architect: Nicholas Plewman
Architects
Structural Engineer: Victor
Booth
31 >
The columns, in turn, support a grid, about which the planning
and layout of the pavilions and functions are ordered, but
which together form the structure’s skeleton, which consists
entirely of linear steel elements partially clad in different tim-
bers, fixed to concrete bases. While enclosure is transparent,
terraces project into the forest and over the adjacent veld fa-
cilitating the harmonious integration of the structure into its
unique surroundings.
The Steel Award judges were particularly impressed with how
steel was used in this project, saying that despite the many
advantages of steel as a construction material, it has not been
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32 >

extensively used in the South African residential sector as a

prominent construction element.

They added that in this country, steel is not popularly perceived

to be easily conducive to a ‘warm, relaxed home atmosphere’
while many are also doubtful of its aesthetic qualities in a res-
idential setting. Shortlisted projects in
the Steel Awards –
This project debunks these notions most emphatically. High- Residential Category
veldt House demonstrates clearly how warmth can be created
with steel. Here, the juxtaposition of steel columns and rafters,
Beach house, Rooi Els (left0
clad in timber, framed in glass and successfully integrated into
Architect: Slee & Co Architects
its environment, have created a warm and homely atmosphere
(Pty) Ltd
par excellence. Project Architect: Guillaume
Pienaar
The judges were, overall, in awe of this project. “Over the last Structural Engineer:
few years our judging team has had the opportunity to visit Cegela Consultants
and assess some stunning houses and most cannot compare
to Highveldt House, which is not only aesthetically magnificent

Ukhuni Lodge, Mziki (right)
Reserve, Zululand
Architect: Joy Brasler
Architect
Structural Engineer: Linda
Ness Associates cc
33 >
but is also an example of exceptional attention to detail and con-
struction quality.
The judges listed the elements that stood out for them: double
sloping columns at each column position; steel I-beams with
webs in-filled with timber to give a feeling of warmth; of the
same design were the internal columns, which were so carefully
planned they did not interfere in any way with the living spaces;
perfectly proportioned cap plates to support the single rafter
beams with timber in-filled webs; the hand railing, balustrades,
steel stairs and framing of the enormous glass walls all contribute
to the enormously high standard of finishing.
“This project could pave the way for showing the ‘steel objectors’
that steel can easily be part of an excellent solution, in a vari-
ety of settings, including sensitive public spaces, in the con-
struction of warm, beautiful homes,” concluded the judges.
This article was adapted from a feature published in Steel
Construction, Vol. 33 No. 6. <
LIVING
34 >

Nabeela

By Karuna Pillay

Soda Top: Colleen


Top: Darkie. Above: Mantsho.
n Eitzen. Middle: Ephymol. Above: DM Classics.
35 >
A nation of outdoor lovers gasped a sigh of relief as the on again,
off again, yes it’s happening, SA Fashion Week Summer 2010
show finally took root. Not only did the loss of the previous chief
sponsor present many hurdles in staging the SA Fashion Week,
but, understandably, this year’s Summer showing did not live up
to its predecessors. The ‘x factors’ so to speak, were missing.
The one saving grace, for me, was the new format adopted this
year, where buyers and the media got an opportunity to inter-
act with the designers and examine the garments up close. This
endeavour proved to be the highlight of many seasoned Fash-
ion Week attendees.
The one thing on everyone’s lips was: ‘So what’s new?’ The ex-
pectation was greater then the delivery this year, this being the
time of the Soccer World Cup where the world’s eyes focus on
South Africa. We should have seen local designers pull out all
the stops, showing collections that made one gasp with sur-
prise, admiration and pride to be part of the SA fashion industry.
But, it’s not all negative as the collections that were shown were
good ... Although, they were just good … nothing outstanding,
nothing brilliant and nothing we have not yet seen before. Yes,
fashions and fads come and go and with a year gone by here
was a chance to make things special and to stand out from the
rest of the crowd.
Let’s look at what SA Fashion Week’s Summer collections indi-
cated as what would be fashionable this year after an exception-
ally cold Winter and post-World Cup.
TRENDS OBSERVED
Some trends for Summer 2010 include the layering of light-
weight fabrics to give the illusion of water cascading off the
body and a mix of sheer and heavy weight fabrics to show off a
style choice. Men be prepared for the unveiling of the ‘reach for
the heavens’ legs - smooth, glowing legs uncovered by shorts.
The ‘reach for the heaven’ legs, paired with ladies shorts are
making a big appearance together, not forgetting long pants for
both casual and evening wear.
The men’s wear selection did not disappoint as they showed
both casual and immaculately tailored suits, shirts, shorts
and underwear.
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36 >

AMANDA LAIRD CHERRY

(in partnership with DAC, worked with crafters
from Gauteng)
An overwhelming fresh breeze of light, sheer
fabrics created a sense of ease and comfort.
The use of fabrics lent itself to the fluidity in
the design of fresh, simple, ready-to-wear
garments. Her colour palette of pale blues,
white, creams and khaki added to the almost
cloud-9 relaxed look. This collection is sure
to be a hit with the trendy earthy natural
women.

GUILLOTINE
Guillotine showed us the simple beauty of
black and white. The collection started with
the entrance of models with glow sticks and
a lamp shade. The black and white showed
off the garments design, the fabrics unique
textures, with vinyl and leather being thrown
into the mix. Again, layering played a huge
part of this collection.
 37 >

NIGHT SHOWS – DAY ONE

SUPERELLA
‘Bring the big top’ to SA Fashion Week was a sure hit
with all the attendees. This collection was funky,
quirky and, let’s just say, for the young at heart. A
clown walking down the runway with a bunch of
gold/yellow balloons certainly said this was not
going to be an ordinary collection – it was going to
be fun, fun, fun. Dresses, skirts and pants, both
long and short, matched with loose flowing tops
made of geometric shapes. All very comfortable
and funky. As to how many people will be seen in
it, is another question.

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38 >

TWO
‘Keep it simple’ is the best description for this col-
lection. The fabrics were comfortable and stretchy,
allowing the body to form curves that would in-
dicate a unique cut to each garment, therefore
unique garment to each model. The colours of the
collection brought out the contrasts between
beige and cream, a dark secret-bearing grey and
a light baby pink. This is a comfortable collection
that many will be seen in. Hold your breath,
count to 10 and be overcome by calmness – this
is what this collection is going to give you.

RJKAY CREATIONS
The dot is used in every culture around the globe
to symbolise the life energy given off by the sun. In
saying that, this collection had a life of its own.
An inspired mix of solids and patterns, in the form
of skirts dresses and pants, all showed immacu-
late tailoring. The use of blue, my favourite co-
lour, next to black was indeed eye opening,
bright, fun and spoke of a summer lost in the
deep blue relaxed ocean.
 39 >

NIGHT SHOWS – DAY TWO

CHIMERA
The clothing presented in the collection was
loose and comfortable, with the designer
using belts to emphasise the waist and
shape of the garments. She even showed us
that it is okay to wear more then one best
item at a time. Jackets, waistcoats, dresses,
skirts, pants and even hoodies made an ap-
pearance, showing us that fashion is what
you make of it.

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40 >

KAREN MONK KLIJNSTRA

A feel good summer of fun is what this
collection portrays. It has a certain rain-
bow nation feel where colours, cultures
and expressions are rolled into one,
making a unique garment that not only
appeals to locals but people all over
the world. As the saying goes “lekker
awesome”.

LOXION KULCA BY OLÉ LEDIMO

If you have ever wanted to see men’s fashion take
centre stage, this was the time. Loxion Kulca pre-
sented a challenging, yet confident, collection
that told every man it’s never too late to bring your
African roots to life. This range had attitude, and
its casual appearance embodied the funky hip
street-smart attitude of today.
 41 >

NIGHT SHOWS – DAY TWO

GUGULAM
A sexy earthy soulful collection greeted the audience.
The full range of women’s wear ranged from flowing
dresses to the, oh so hot, figure-hugging shirts, to
pants matched with tailored blouses. This collec-
tion brought back the days gone by of an older
styled collection, yet it still had major appeal to
today’s fashion conscience women.

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42 >

SYLVESTER FALATA
This was a fitting conclusion to SA
Fashion Week. The designer, a first
timer, was bold and exciting, making
use of colours never used in men’s
fashion before. The candy/pastel co-
lours certainly gave the collection an
edge and appeal for those hot sum-
mer days. The use of one-piece jump
suits, that were knee length, was in-
spiring and the safari styled opening
creation,was, for me, the best I have
seen in years. The use of lightweight
fabrics namely raw silk gave the
clothes an easy feel on the skin, yet
never lost its masculine look. All in all,
a job well done.

Images courtesy of SAFW. Photographs by Ivan Naude,

Clarisse Pieterson and SDR Photo. <
 43 >

NIGHT SHOWS – DAY TWO

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44 >

Cover of the 2010 Lavazzo calendar

by Miles Aldridge. Model: Lydia Hearst.
 45 >

By Veruska De Vita

Coffee is coffee is coffee. Yeah, right. Most

South African coffee drinkers will know the
difference between their favoured brand ver-
sus another, and the milk and two sugars
won’t mask any inconsistencies. In Italy
where the art of roasting and blending was
perfected, the scenario is even more appar-
ent. But what sets one coffee brand apart
from the others? Flavour and roast alone
won’t get consumers to reach for it amongst
the crowdedness of the coffee aisle, nor will
the pull of caffeine. So what does?

Historically, many suppliers got onto the coffee band-

wagon either as roasters or vendors; coffee became
popular in the United States after tea drinking became
politically incorrect. Coffee is drunk the world over. In
Africa coffee preparation is a daily ceremony; tea and
the Taj Mahal aren’t the only things big in India and

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46 >

the Nepalese drink coffee like it’s water. The same goes for the
Italians. Cue Francesca Lavazza Corporate Image Director of
Lavazza. She comes from a line of coffee marketers and
knows that to make her brand stand out she has to keep it
firmly entrenched in the lifestyle and habits of her target mar-
ket. Since 1993, Lavazza has produced an annual collector’s
calendar as part of the company’s worldwide marketing cam-
paign. “This year’s calendar is all about music, Italian music,”
says Francesca. Just making good coffee is not enough any-
more, it’s about turning a brand into a lifestyle, one that con-
sumers cannot live without. The annual launch of the Lavazza
calendar is a glittering and pricey affair, one that is well worth
the budget. The 2010 calendar, which was launched in Octo-
ber 2009, has music at its epicentre, with a splattering of film,
finesse, fashion and irony.

“Like coffee, music inspires, it ignites creativity and this is

what we wanted to bring across. Each picture in the calendar
tells a story with a sense of humour and a sense of time, an
indication that something happened before and will happen
after, there is continuity. There is also a sense of irony, like the
image has two souls, two interpretations” says Francesca.

The Lavazza marketing committee chose Miles Aldridge, an

English photographer, to capture the images. “We liked Miles’
style, his innate sense of aesthetic, his appreciation of all that
is Italian. We shot the calendar in Italy in a film studio, spe-
cifically because we have a history of motion pictures and we
wanted to capture this also,” says Francesca.

The calendar launch was set in Torino, a city in the north of

Italy known as the capital of coffee, and journalists from all
over the world were invited to attend.

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 47 >

Nessun Dorma from

Puccini’s Turandot.
Model: Georgia Frost.

Con Te Partirò (With

you I will leave/Time to
say goodbye).Model:
Daisy Lowe.
48 >

Guarda Che Luna (Look,

what a beautiful moon).
Model: Alexandra
Tomlinson.

‘O Sole Mio (Oh, my

sun). Model: Bianca Balti.
 49 >

“We wanted to include the city, the coffee bars, the history,
the vibe and then launch into the rest of Italy, and then world-
wide. The marketing campaign in Italy is different to the vari-
ous campaigns we apply in the rest of the world. The cam-
paign in Italy called Campagna Paradiso was launched in 1993
and has made Lavazza the preferred coffee brand in Italian
households,” says Francesca.

The day after the 2010 calendar was launched, every bar in
Torino, where Lavazza is served, had a Lavazza hostess stand-
ing at the door, clad in slinky black, handing out postcards of
the calendar images. Around her neck and on her wrists, cos-
tume jewellery – tiny espresso cups and saucers and minia-
ture teaspoons – the attention to detail noteworthy. The host-
ess also handed out cellphone accessories to patrons, so that
they too could have dangling miniatures of cups, saucers and
spoons.

On the sides of the buildings, giant posters of pictures from

the previous calendar were replaced with the new ones, over-
night. These posters were placed strategically in piazzas, with
high foot traffic, and outside the Lavazza Headquarters.

“Lavazza started in Torino so for this reason also we thought

it apt to have the launch in the city. Lavazza started as a gro-
cery store in 1895 in the historic district. The shop specialised
in roasting and selling coffee. What set it aside is that it was
the first company to vacuum pack ground coffee. This helped
the brand win over Italian consumers, as you can imagine,”
says Francesca.

It was during the 60s that Lavazza started its communication

and TV campaigns using well-known actors as brand ambassa-
dors. One of the actors, Nino Manfredi, would utter the slogan

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50 >

“Lavazza Coffee: the more of it you down, the more it picks you
up” which would prove to be unforgettable in the mind of the
Italian consumer.

“In the eighties we expanded into other European markets,

opening subsidiaries in France, Germany, Austria and the UK. We
also opened in the United States. Then in Spain and Portugal. We
entered two emerging markets a few years ago – Brazil and In-
dia,” says Francesca.

With the expansion into other territories, a larger advertising and

marketing campaign was necessary and so in 2002 the first La-
vazza calendar in colour was launched. “We decided from the
start to collaborate with well-known photographers. To date,
we’ve worked with the likes of David LaChapelle, Jean-Baptiste
Mondino, Ellen Von Unwerth, Finlay MacKay, Annie Leibovitz and
Miles Aldridge,” says Francesca.

Other Italian brands doing the calendar rounds are Campari and
Pirelli, with Pirelli, a tyre brand, bringing the sexy back to the
months of the year. Amongst these brands the calendar has be-
come art, or rather, collectible art. What better way of keeping a
brand top of mind than with a calendar that hangs behind the
kitchen door or in the office, a point of reference that is also an
object of beauty.

“Lavazza is spirited. If the brand were a person, she would enjoy

the irony of life and have a positive outlook. She’d be someone
who wouldn’t take herself too seriously, that’s the kind of hu-
mour she’d have,” says Francesca. <
 51 >

Baciami Piccina
(Kiss me, little one).
Model: Lydia Hearst.

Va’ Pensiero (Thought

goes, aka Chorus of the
Hebrew slaves) from
Verdi’s Nabucco.
Model: Alek Alexeyeva.

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52 >

Top row (left to right): Heart; Steel flowers; Snow pet; Snow pet and Steel flowers.
Second row (left to right): Bird of prey; Growable cog; Lily family; Lily family and Time Immemorial.
Third row (left to right): Takbok; Takbok and Heart.
 53 >

Transcending
Trinkets
By Sidhika Sooklal

LIVING
54 >
During the last few decades, communication de-
sign has become a field wherein designers have
started to cross-pollinate and transcend into other
design fields in order to stay ahead of the rest.
This transition has produced a hybrid breed of
new designers who are readily able to morph with
the dexterity of a chameleon and produce innova-
tive work and new product ranges. Elske Nel is a
prime example of this transition. At the tender age
of 23, she has already received industry accolades
that would make designers twice her age envious.
Holding a degree in Information Design, Nel’s most
recent achievement, Trinket, launched in 2009,
has proved to be an instant success.
Nel, who has always enjoyed making things with
her hands, fondly reminisces over her university
sense of enjoyment that it brought her. During one
such project, Nel produced a range of brooches,
which she aptly named ‘Trinket’. The idea lay dor-
mant for a year, until Nel resigned from her job in
advertising to pursue her freelance ambitions.
Nel started manufacturing Trinket products in July
2009. The range of designer brooches is made of
a combination of steel, Perspex and wood and. Nel
has paid special attention to every hand-crafted
brooch by giving each a unique name such as Ysbeer,
Hymns for a small bird, Snow Pet and Night Owl.
The collection includes animals, flowers, fruit, clocks
and crowns. Nel explains that the world around
her, music and good design all serve her as sources
of inspiration. Indicatively the latest addition to
Trinket is a collection of rockets that came about
as she was listening to the new Goldfrapp album,
Head First.
Trinket is stocked throughout South Africa at ex-
clusive boutique stores as well as South African
singer, songwriter and entertainer, Nataniël’s
Kaalkop Studio stores. However, Nel’s ambitions
have not ceased there. She works as a freelance
communication designer and has also branched out
into wallpaper design and is currently in the pro-
cess of producing packaging for Kaalkop Studio.
The rapid success of Trinket has seen it being ex-
hibited at Design Indaba 2010 as well as the upcoming
African Fashion Week (30 June – 3 July 2010). Nel’s
aspirations for Trinket have grown as well, and in June,
she will be travelling to England and France to meet
with prospective stores that have shown interest
in the Trinket range. <
 55 >

Top row (left to right): King of hearts; Growable cog and Tassel & spikelet.
Second row (left to right): Oh Dear; Oh Dear; Bunny rosette and Bunny rosette.
Third row (left to right): Hymns of a small bird; Ysbeer and Ysbeer.

All images courtesy of Elske Nel.

LIVING
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HIGHLIGHTS FROM
 57 >

A highlight of the South African design industry calendar is

surely the annual Design Indaba Conference and Expo. Design
Indaba has grown in stature to become a highly-regarded
event on the world design stage, from humble beginnings
in 1995 to a jam-packed conference and expo that exposes
design trends, design thinking, design the profession, design
contributions to mankind’s development, and not to forget,
design education. As the Design Indaba institution has
grown, it has taken a leadership position in South Africa and
has driven advocacy programmes to promote the creative
industries among business, government, academia and civil
society.

Running from 24 to 26 February 2010 at the Cape Town Inter-

national Convention Centre, over 40 speakers addressed
more than 2 400 delegates over three days. The main plenary
sold out for the sixth year running. This year also saw the
introduction of a new registration option, which allowed
professionals and the design curious to also benefit from
the Young Designer’s Simulcast. The simulcast, which was
also sold out, offered additional delegates a live feed to
the auditorium to view proceedings at a cheaper rate and
benefiting from the pearls of wisdom and insights shared
by the lineup of speakers, that ranged from design super-
stars to the rising stars.

Conference topics ranged from puppetry to social solutions,

from traditional design disciplines to radically new design
genres, turning the Design Indaba into an elixir of creativity
and innovation. Adding a curveball to the mix, Design Indaba
introduced a ‘mystery speaker’, genomic researcher, Dr J.
Craig Venter, who spoke about the possibilities of designing
life via a live satellite link to La Jolla in the USA.

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Adding some additional spice, the Friday morning’s

lineup of power-women included uber trend fore-
caster, Li Edelkoort, who spoke about the redefini-
tion of families and radically concluded with a future
vision of the bordello. Following her were Han Feng
and Christien Meindertsma, and then, blockbuster
homemaker, Martha Stewart. Stewart’s presentation
goes down as the most talked-about session at De-
sign Indaba in the 15 years of its existence, when
large numbers of delegates mockingly walked out in
defiance of her gross display of self-promotion and
insular points of view.

The conference was overall a huge success and was

enlightening to many seasoned and new design pro-
fessionals, as well as avid followers of design.

The Design Indaba Expo opened with much pomp

and pageantry on the third evening. The Expo fea-
tured more than 280 exhibitors, including 80 first-
time exhibitors and 40 emerging creatives. The core
Design Indaba Expo show drew well over 35 000
visitors, including 379 journalists and 427 buyers –
one third of which were international.

DESIGN>LIVING selected its top-five exhibits at the

2010 Design Indaba Expo based on innovative design
thinking, clever use of materials and application of
design principles that go beyond the obvious. These
five featured exhibits represent the ethos of what
many Design Indaba speakers alluded to as innova-
tive approaches that elevate the common and cur-
rent perception of design beyond mere aesthetics.

RAW Studios: KLiK furniture

The KLiK system grew naturally from an office furni-
ture design that RAW Studio did for the Tribeca Cof-
fee Company. At its root is a large slotted panel in
grid formation. Into this panel, the user can slot an
 59 >

Views of the Tribeca Coffee

Company’s offices using the KLiK
furniture system. Images
courtesy of RAW Studio.

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60 >

Construction of the Cibitoke

School, Burundi, using the
EarthBag Construction System.

Examples of Umcebo Trust’s
range of beautifully beaded
chandeliers and décor items.
61 >
array of modular elements such as shelving, work-
tops, cupboards, drawers and storage boxes. The
panels are fixed and spaced from the wall so that the
plywood clipping system can do its work. KLiK af-
fords the opportunity to fit offices or homes in a
unique, yet modular, way which can be modified as
requirements change.
EarthBag Construction System
The EarthBag Construction System blends the an-
cient technique of building with earth and modern
materials, combining the benefits of both. The com-
bination resulted in a custom-designed and patented
polypropylene bag, developed and manufactured in
Cape Town.
The system allows for the bags to be filled by almost
any earth fill material to construct sustainable build-
ings with multiple dimensions. The benefits of Earth-
Bag include using local labour and materials, recy-
clable by-products and reducing the carbon footprint
by 70%, compared with standard materials. The
EarthBag building system reduces the use of timber
and water and provides exceptional thermal insula-
tion while also damping acoustics. Further benefits
include its structural durability, termite and corrosion
proofing, and non-toxic and fire resistant properties.
The final factors that make this a superior designed
product worthy of mention is that it is inexpensive,
that it allows for free-flowing design applications,
that it is user-friendly, and that it is easy to build.
UMCEBO Trust
Umcebo is an isiZulu word meaning ‘treasure’. The
Umcebo Trust, established by Robin Opperman, was
born out of his work as a special needs art teacher.
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Umcebo has a primary goal of empowering young

crafters, particularly people with special needs and
other community members to use and develop their
artistic talents as a means of personal and creative
development, as well as to generate income. Umcebo
believes that personal empowerment and improved
self-awareness is brought about through art, craft,
creativity, exposure to business, learning and teach-
ing. Umcebo takes this philosophy further and offers
it more broadly, through its dynamic workspace and
retail outlet at uShaka Marine World, Durban. Here,
individuals and organisations throughout the region
collaborate in the development of unique arts, crafts
and other projects.

On show at the 2010 Design Indaba stand was Um-

cebo’s signature range of beautifully beaded chande-
liers inspired by nature and its bright unique colour-
ful sparkle. What caught our eye, as visitors walking
into the expo, was the Eco-Tree, a 6m-high structure,
clad in recycled material – plastic bottle caps, beads
made from plastic bottles and corks.

Fundi Light and Living

Fundi Light & Living is passionate about designing
and manufacturing high-quality lighting and décor
products with a unique South African aesthetic. Its
product range and manufacturing capabilities are
diverse because it strives for constant innovation.
Products include lamp shades, wooden and metal
lamp bases, pendant fittings, woven products, tex-
tiles, cushions, runners, wall art and more. Their
work ranges from one-off sculptural pieces to high-
A selection of Fundi Light
volume production.
and Living’s lamp shades
and lamp bases.
 63 >

While we resisted featuring design for design’s sake,

we cannot ignore the 2010 Design Indaba Most
Beautiful Object in South Africa initiative.

Most beautiful object in SA

An award scheme where everybody has the opportu-
nity to vote for their personal favourite is priceless.
“So what is beautiful to you? The simplistic, minimal-
ist and definable or the unexplainable, the breath
taking and indescribable?” asks the Design Indaba
website. The finalist included the W-Table by Frank
Bohm, Polyhedra Modular Coffee Table System by
Haldane Martin, Twi-light Table Lamp by Snapp De-
sign, Fibre in Motion by ALPACAFelt, Emotive Series:
Love Table by 1010 Creative, Luhle! by Khumbulani
Craft, Flow Ring by Emma Anne Jewellery, Hand-
spring Puppet Company by David Krut Publishing,
Ostrich Barstool by Tsai Design Studio, The Tulip by
Urban Africa and Wooden Chandelier by David
Krynauw.

But there can only be one. Votes were cast via SMS
and South Africa has chosen what is beautiful to
them. The Design Indaba Most Beautiful Object in
South Africa 2010 is Anatomy Design’s Lab Light.
Anatomy Design describes their product as: “Created
out of a fascination with utilitarian equipment, the Lab
Light exists on the borders of engineering and design,
using the functionality of laboratory equipment and
harnessing the beauty within it. Constructed out of
black steel and solid spun brass, this object portrays
functional aesthetic with a touch of nostalgia.” <

The Lab Light by

Anatomy Design,
winner of the 2010
Design Indaba Most
Beautiful Object in
South Africa.

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64 >
65 >

LIVING
66 >

Patriotic fabrics, wind pumps on scatter cush-

ions, bathrobes of bamboo, bedding from corn
husks, birds everywhere and contemporary
cuckoo clocks had home interiors flying high at
Decorex Cape Town 2010.

With 35 220 visitors flocking through its doors

– 10% more than in 2009 – Decorex Cape Town
confirmed that the Western Cape’s decor and
design industry is alive and well.

This performance is a hat-trick for Decorex SA,

being the third Decorex exhibition in a row to
show an increase in visitor numbers, despite
the flattened economy. (Decorex Joburg showed
25% growth on the previous year, while visitor
numbers for Decorex Durban increased by 7%).

Sponsored by Plascon, with DStv as media

partner, Decorex Cape Town celebrated its 12th
exhibition at the Cape Town International Con-
vention Centre from 23 to 27 April with the
show theme ‘Breath of Fresh Air’, living up to its
promise. More than 340 local and international
exhibitors, including 69 first-time exhibitors,
showcased their products and services.
Luxurious finishes.
Says Melanie Robinson, director Decorex SA:
“Visitors expected something special, cost-
saving and trend-driven, which our exhibitors
delivered in true form. We were optimistic from
the onset that the exhibition will contribute to
the region’s decor industry – from design and
manufacturing to retail – and the positive feed-
back from exhibitors confirmed that there are
marked signs of economic improvement.”

Robinson mentions that it is noticeable that

consumers retain their shopping habits ac-
quired during the economic downswing:
“There’s less impulse buying as consumers are
much more discerning and tend to shop around
before making the final purchasing decision.
Having so many options under one roof made

Stylish bedrooms to help relax and refresh.
Africa on display with Plascon’s colour forecast.
67 >
Decorex Cape Town the ideal spot for compara-
tive shopping, ranging from high-ticket items
and investment purchases to small appliances
and affordable decor items.”
Cairey Slater, general manager exhibitions,
cites the show’s continuous reinvention as one
of the main reasons for Decorex Cape Town’s
success.” It is key to stay on top of local and
international industry trends and interpret
these new directions in a novel, yet accessible,
manner for trade and consumer visitors alike.
Special projects and fresh initiatives such as
the ‘MAKE Theatre’ dedicated to home improve-
ment; the ‘Home Tweet Home’ design challenge
aimed at charity, as well as the industry confer-
ence ‘Conversations on Architecture’ reflecting
on the built environment, added to the allure of
the exhibition. Building strong business part-
nerships with sponsors and exhibitors are also
vital to our success.”
TRENDS
Although the pace of new trends introduced to
the design arena shows signs of slowing down,
innovation and new product lines are vital to
keeping consumers interested and satisfying
their search for the novel and the fresh.
AFRICA THE CREATIVE HUB
The new design direction on everybody’s lips is
the way the African continent has become a
major source of inspiration for the design
world. The African influence was most evident
in the Plascon 2010 Colour Forecast stand.
Using the Plascon 2010 Colour Forecast as her
design inspiration, Yolande Wieners from d²
Interiors in Durban created a stand to match
these colour trends. Expressing the 32 new
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colours in the four diverse palettes through

different textures, moods and hues, the stand
reflected Plascon’s eco-consciousness and cur-
rent philosophy about recycling and re-using.
The stand conveyed its message so effectively
that Wieners won an excellence award for her
interpretation of this new love affair with all
things African.

According to Anne Roselt, Plascon colour man-

ager and colour forecaster, one of the reasons
for the global interest in Africa include South
Africa’s selection as host nation for the 2010
FIFA World Cup.

The public response on the 2010 African Fine

Art’s Stadium Collection also pointed towards
the immense interest and pride in new South
African icons. The Stadium collection consists of
a series of iconic fine art photographic images
of the 2010 FIFA World Cup stadiums in South
Africa’s Host Cities, captured through the lens
of local fine art photographer Dennis Guichard. Bring fresh spaces to life.

PATRIOTIC DESIGN
Local designers find inspiration on their own
doorstep. Natural materials flourish and prod-
ucts are woven, plaited knitted and whittled
from fibres ranging from wood, raffia, cork,
rattan, leather and feathers. Recycled materi-
als, ranging from plastics to porcelain, shells
and cardboard, to rusted and corroded surfaces
have an undeniably South African feel.

African cotton prints, naïve black and white pat-

terns, folklore and traditional and spiritual
motifs are used in earthy colours brightened up
with yellows, blue and greens. Detailed embroi-
dery and beadwork, seen on handmade craft-
inspired objects, also find their way to sophis-
ticated upmarket fabrics and finishes.
 69 >

As a motif, the Protea is still very popular and

can be seen in fabric prints as well as wall tat-
toos and vinyl stickers to adorn fridges and
other kitchen appliances. Fast becoming the ‘it’
symbol of the year is the wind pump. This iconic
image of the Karoo landscape finds its way to
scatter cushions in tints of fashionable grey and
muted browns. Consumers are also investing
in home-grown craft aimed at upliftment and
job creation.

Brisk sales and trade interest at the stand of

the DTI’s South African Handmade Collection
Pavilion, as well as the CCDI’s craft shop, indi-
cate that the excesses and style-first approach
of the past have been replaced by the era of
emotion-in-design. “What people want now is
to make emotional connections – to be sur-
rounded by things that mean something. More
than ever we want to be comforted by beauty,
quality, great craftsmanship and eco-conscious
design,” says Robinson.
A sense of texture and life.

Engaging spaces to interact with.

GOING, GOING GREEN
Green buzz words abound – from salvage chic,
to re-use, retrieve and re-process. The greening
of the exhibition was a major draw card, tap-
ping in on the immense consumer need for
guidance towards more conscious living. New
attractions such as the Pick n Pay Living Green
Pavilion with its eco-caring house supplied by
Greenstuff.co.za set a new benchmark in green-
minded product displays. It focused on sustain-
ability, mindful green living and eco-solutions,
illustrating that green living can be both beauti-
ful and affordable. Pick n Pay’s Fresh Living
kitchen also proved to be hugely popular, con-
firming that culinary cocooning is the stay-at-
home-for trend of the moment.

Decorex Cape Town sponsored the planting of 55

trees to help offset its carbon footprint, which

LIVING
70 >

is part of its drive at making the show a zero

waste event – from reducing and recycling, pack-
aging and re-use of materials such as banners to
eco-friendly printing and green breathing spac-
es throughout the exhibition. This process also
entails the types of show lighting used; the au-
tomatic switching off of lights outside show
hours; using recyclable material for stands,
and educating exhibitors on waste prevention.

MADE IT MYSELF
DIY is clearly no longer the poor cousin of the
decor world. The mantra ‘made by my own
hands’ elevated its status in design circles, es-
pecially contemporary designs with a modern
sensibility. This renewed interest in DIY sprout-
ed a variety of activities to hone visitors’ cre-
ative talents and DIY-know-how. Experts at the
Make Theatre, hosted by Aidan Bennetts, en- Modern Kitchens to inspire.
ticed visitors to tackle home makeovers on a
shoe string budget and tackle do-it-yourself- Salome Gunter’s winning decor stand.
decor with confidence. The topics, ranging from
modern mosaic work, to easy-to-do wall tat-
toos and contemporary paint techniques, re-
flected the upsurge in edgy DIY.

THINGS WITH WINGS

All things avian rule the roost as one of the
year’s hottest trends from puffins and peacocks
on tea towels, to weaver birds on wall paper
and antique birdcages housing delicate pot
plants. This winged trend also inspired the cre-
ative Home Tweet Home fundraiser. For this do-
good design challenge Decorex SA put out a
bird call to decorators, fabric houses and decor
magazines, in support of Little Angels, whose
aim it is to provide a place of safety for babies
and children.

Taking part were well-known personalities from

the Cape’s interior design scene including John

Birdhouse by Elle Decoration.
71 >
Autard of Autard de Bragard Design & Decora-
tion; David Strauss of David Strauss Interiors;
Esther Schumacher of mywalltattoos.com,
Katie Thompson of REcreate; Maarten Peutz of
Professional Home Services, Condé Nast House
& Garden, Elle Decoration and VISI.
Birds’ natural nest-building artistry got the
creative juices flowing. Using off-cuts from
the studio floor or recyclable material from the
bin, the designs also tread as light as a feather
on Mother Earth.
A birdhouse parading as a golf cart, designed
by John Autard, was chosen as the winning en-
try by judges John Sofio – Los Angeles based
architect – and designer, Aidan Bennetts. Au-
tard’s blend of sharp design with humour and
fantasy was a step outside the box. Covered in
faux-grass to resemble a mini golf course, the
bird house came equipped with wheels, while
a handle (made from a recycled golf club) could
also be used as a perch for the ‘birdie’ to rest on.
First runner-up Katie Thompson from REcreate
used dustbin finds such as discarded crockery
and cutlery to turn the blank birdhouse into an
orchestral masterpiece. Thompson’s philoso-
phy is repurposing items in the home to create
renewed interest and a new talking point.
Taking third place, the team at Elle Decoration
opted for an ultra modern birdhouse design
featuring black line drawings on a crisp white
background. The key words are young, contem-
porary, urban and graphic. “We love the bird
theme and find our inspiration in the bower
bird – the male goes out and collects things like
buttons and pink ribbons to attract a female”.
The Home Tweet Home initiative raised R15 000
for Little Angels. Decorex Joburg will be held
from 5 – 9 August 2010 at Gallagher Convention
Centre, Midrand. <
LIVING
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 73 >

REcreate:
Designing
a second life
from the old
and discarded
Katie Thompson is a South African designer with a special passion: She loves
designing original and collectable furniture, lighting and interior accessories
by repurposing objects that others might consider junk. For Katie, found old
objects like milk and booze bottles, oil containers, typewriters, suitcases,
medical trolleys, scales and baking trays are pure inspiration. With these she
creates contemporary décor pieces that ooze character and tell stories of the
past and the current.

LIVING
74 >

Here enters REcreate, the company that Katie

Thompson founded in 2009 as a means to channel
her passion for retro materials and repurposing
those to create contemporary applications for high-
end décor and interior design. Under the REcreate
label, Katie has transformed the ordinary to the ex-
traordinary and converting junk into desirable col-
lectables, tapping into her past experiences work-
ing in the interior, furniture and fabric industries in
London and Cape Town for several years.

Katie never works within established stylistic

boundaries. She creates an eclectic combination of
styles, materials and finishes. This approach and
design sensibility highlights her passion and her
ability to find the beauty and hidden purposes in
old and discarded items. A hoarder of all things
useless, impractical, broken, colourful and shiny,
Katie’s eclectic product collection tells tales of her
Surrealist and Dadaist passions.

Describing her design philosophy, Katie says: “Not

throw anything away and creating new functions or
use is my core philosophy. I love junk! The more in-
valuable something is to someone else, the more
valuable it is to me. It is amongst these found, raw
items that I find inspiration and each found object
dictates what purpose the new product should
have. A found old Hoover tells me that it wants to
be a standing lamp. An old scale simply, but quite
obviously, wants to be a new clock. I listen intently
to what the source materials ask me to do with
them and then respond with a design solution.”
 75 >

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76 >

“Dadaism and Surrealism have been major influ-

ences on my work. I studied Art and Art History at
school and remember being quite disinterested
most of the time until the day we learnt about the
‘absurdities’ of Surrealism and Dadaism. These
movements continue to influence much of my cur-
rent work in profound manner. The most influential
artist I have come across is Marcel Duchamp who
signed a urinal and declared it to be an artwork. I
love the questioning behind this! Why should an
artwork be on canvas with a brush and paint? Who
determines what form a chair should be?”

The REcreate product range also has another con-

scious dimension – sustainability. “The fact that my
products are helping to eliminate a negative impact
on the environment is just another exciting aspect
to my business. To source my raw materials, I often
go to garage clearances, do junk shop hunting as
well as picking up things that others are throwing
away.”

The buyers of REcreate products come from diverse

backgrounds and generational demographics. “My
clients include anyone with a sense of humour and
an eye for design. Most people can identify with my
products as they – or their grandmother – ‘used to
have one of those’. Each of my products has a certain
sentimentality connected to it that most people
can relate to. I feel that it makes even the most
‘ungreen’ person want to recycle. I get a lot of
comments, ‘I had one of those, but it broke and I
threw it out years ago. I never thought about con-
verting it into a light!’” says Katie.
 77 >

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78 >
What makes the REcreate range even more special
is that every product and product part is custom
made. “All the products are one-off pieces and
therefore I am constantly looking for new materials
and processes to add new ingredients to the prod-
ucts. All manufacturing is outsourced to Cape Town’s
best trades and craftsmen. Although the raw mate-
rials that we work with are discarded or broken
junk items, I am in fact a perfectionist. This combi-
nation, as well as having great working relation-
ships with all my suppliers, result in high quality
finished products.”
Working with old and discarded artifacts as core
materials for constructing contemporary furniture
LIVING
obviously poses some unique challenges. Katie ex-
plains: “Because much of our raw material is old junk,
we often battle with skew angles, rusty edges,
broken handles and wobbly parts that all need to
be repaired and dealt with before production be-
gins. One has to be sharp and involved in all the
aspects of production to foresee these problems.
The challenges from a manufacturing and process-
ing side are that each item is outsourced to at least
three or four different suppliers. It is extremely time-
consuming since every product passes through
the hands of several specialist craftsmen. However,
the technical input of all these trades people is
what makes such a unique and perfectly finished
product.” <
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Lighting fixture with fibre

optics, The Yas Hotel, Abu
Dhabi, UAE.

Glass
wonders
from
Preciosa
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82 >

Lighting fixture of contemporary

design made of mouth-blown glass
components, The Yas Hotel, Yas
Island, Abu Dhabi, UAE.
 83 >

The Czech Republic, a small nation located in the very heart of

Europe, has always been particularly famous for a unique hand-
craft – handworked glass. The origins of this craft, which ranks
among the oldest in human history, date back to 3000 B.C.
Here in Bohemia, glassmaking has been a major industry since
the 13th Century, and in 1724 the first chandelier workshop
was established in the region of Kamenický Šenov. Kamenický
Šenov has acquired its world-wide fame as a glass producer,
thanks to the delicacy of its forms and the purity of its hand
cut crystal. Magnificent chandeliers have become an insepa-
rable fixture of royal palaces, noble manor houses and other
splendid buildings.

The tradition of this renowned craft of glassmaking continues in

the production of PRECIOSA – LUSTRY, a.s. (joint-stock company),
which is a fixed star in the field of glass light fixtures. The com-
pany, based in northern Bohemia, in the region of Kamenický
Šenov, has been operating in the market for decades and, there-
fore, it can boast of a great deal of experience, acquired thanks
to the long-term history of its activity. Today, it is spread across
the world with offices in Dubai, Hong Kong, Singapore, Moscow,
Madrid and New York.

Nowadays, PRECIOSA’s core activity lies in the design and

production of decorative lightings on a wide scale, consisting
largely of decorative lighting fixtures of various styles and sizes,
wall lamps, table and floor lamps, delivered as complete lighting
projects or as a catalogue assortment. Besides lighting fixtures,

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84 >

lighting sculptures and decorative artistic objects

form another part of their production.

The main activity of PRECIOSA is the creation of

the so-called lighting projects. These are individu-
al solutions, composed on the basis of specific re-
quirements of the client. It comprises a compre-
hensive service, ranging from design, production
and installation to the subsequent maintenance
and repair. Extensive projects usually represent
luxurious interior decorations for various spaces
of a prestigious nature, such as luxurious hotels,
palaces, religious and governmental buildings, res-
taurants and theatres.

These unique concepts originate in PRECIOSA’s

own studio on the basis of a close collaboration
with top architects and designers from all over the
world. In the design phase, traditional methods of
hand sketching are used side by side with up-to-
date software, which presents a faithful simulation
of the light fixture in its future environment. The
designers draw their inspiration for the shaping of
glass objects from various sources: nature pro-
vides a permanent and almost endless source of
inspiration; folklore and legend provides another.
New views can also be applied to well known clas-
sical works of art.

As mentioned above, PRECIOSA’s product portfo-

lio is quite extensive. The first product group con-
sists of luxurious classical lighting fixtures, char-
acterised by the classical shapes of their arms
and trimmings, often decorated with rich etching.
 85 >

Lighting fixture made of

glass components
inspired by nature,
One&Only Cape Town,
South Africa.

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86 >

The other self-contained group consists of fashion-
able lighting objects made up of hand-blown glass
components. Over the last few years, the so-called
free sets, created by hanging differently shaped
objects in clusters in an open space, have been
popular. They range from minimalistic pure shapes
to complex organic motifs. Glass sintering and fusing
technology adds a further dimension, where a glass
powder of various colours is fused into one piece,
which can then be bent and shaped in various ways.
These objects are often floodlit by modern light
sources such as LEDs or optical fibres. The use of
fibres, especially, can lead to the creation of mag-
nificent pieces. Their light sources can be pr0gram-
med to be able to change their intensity or colour.
Aside from an impressive decorative effect, the place-
ment of the light source gives them a major advan-
tage in simple maintenance. <

Classical lighting fixtures produced

for a private residence.

LIVING
88 >

Retile?
Retiling is arguably one of the most gruelling parts of
any renovation; the effort alone to remove the tiles is
enough to make most people run for the hills. Reno-
vators have their own horror stories of continuous
hammering and the resultant shards and dust in

Why not
their to-be-renovated bathrooms and kitchens.

Furthermore, retiling is undoubtedly expensive and

time consuming; apart from the labour costs. Replac-
ing it can send any budget spiralling. So, what to do

paint?
if you simply don’t have the time, budget or the incli-
nation to retile your bathroom or kitchen?

Paint it. Yes, paint will do the trick and give you a
quick makeover without breaking your back, or the
bank. Today’s paint technology and techniques are
sophisticated and comprise most surfaces, including
tiles. The most effort is really the surface preparation
and priming which will in turn ensure that your new-
By Russel Thomson ly painted tiles do stand the test of time.

The right paint for the right job

Firstly, and quite obviously, choose your paint colour
and ensure that it is steam resistant and therefore
suitable for areas such as kitchens and bathrooms.
The label will clearly indicate what the indoor paint
can be used for, be it water or oil-based. The key is to
read the label properly to ensure it can handle condi-
tions that are less ventilated and more humid.

Clean equals success

Secondly, and importantly, is preparing the surface.
Ensure the surrounding area is protected from any
dust or paint.

Next, take a suitable detergent and wash down the
tiles to remove all dust and grease. For the grouted
areas use a nailbrush, or similar, to get right into the
joins. If there are any cracked or chipped tiles these
will have to be repaired or replaced in order to
achieve the best possible result and a uniform finish.
Once you are sure the tiles are clean, wash it down
again with clean water and allow it to dry.
Most importantly
The next step is the most important as it forms an
integral part of achieving a high-quality final product.
Priming is critical as it seals, binds and ensures good
inter-coat adhesion; so choose your primer accord-
ingly. Again, the packaging is straightforward; you
can choose primer that has been designed for tiles or
universal applications.
Don’t cut corners; an inferior and low-priced product
or primer that you used as part of an exterior paint
job a year ago will put some serious cracks in your
tile painting efforts. As with any foundation, your
priming efforts must be solid.
Ultimately, primer extends the lifetime of the paint –
it can withstand elements such as rising damp as it
offers better alkaline properties.
Applying the primer is relatively straightforward;
once the area is clean and dry use a synthetic bristle
brush and coat the tiled area evenly - smooth vertical
paint strokes are the key to achieving an even coat.
Once you have coated the entire area you will need
to leave the primer to dry, normally for several hours
89 >
as indicated by the label instructions. Again, adhere
to the drying time as it will contribute to the success
of the final product.
After the primer is dry, rub down the entire surface
with fine sandpaper and remove the dust with a lint-
free cloth. Now apply the second coat of primer in
the same way, and again, rub down with some fine
sandpaper and clean off with a lint-free cloth.
The end is near
The next and final step is the most fun as all the prep-
aration will start showing some results and give you
a very real idea of what the finished product will look
like.
Take your natural bristle brush, or a synthetic brush
if using a water-based paint, and apply the paint in
much the same way as you did the primer, although
it may give a better finish if you paint the grout first.
Once you have covered the entire area, leave the
paint to dry according to the manufacturer’s instruc-
tions. After the paint has dried, continue with the
second coat using the same technique as before and
leave to dry thoroughly.
The above steps are undoubtedly time consuming
but not half as painful as retiling, plus it is substan-
tially cheaper and will allow you to change your bath-
room or kitchen as often as you want without the
resultant dust, shards and backaches.
Russel Thomson is brand marketing manager at
Prominent Paints South Africa, a fully integrated
member of PPG <
LIVING
90 >

The Grand
Café & Beach
opens in
Table Bay
By Suné Stassen

From within a once-abandoned warehouse at Granger Bay

adjacent to Cape Town’s V&A Waterfront, the Grand Café &
Beach has been created on the lip of fashioned white sand
in Table Bay. Following on from the runaway success of the
Grand Café and Rooms in Plettenberg Bay and the Grand
Café in Camps Bay, the Grand Café & Beach is an eclectic
fusion of international and local cultures, café ambiance
and fun beach elegance.

Although it had been a neglected feature of the
Waterfront area for many years, most of the façade
of the old warehouse has been retained while a
sundeck and sea sand beach have been extended
to the water’s edge, ensuring that the ground-
breaking new Grand Café & Beach promises to be
the place to lay down your sun hat this summer.
“The design inspiration was Cape Town meets St
Tropez – a free–spirited, eclectic, beach café cul-
ture,” says Sue Main, CEO of Grand, who designed
the interiors with Morne Christian Smith from M.
Christian Smith Design.
91 >
© http://greenpointstadium-and-capetown.blogspot.com
“Along with beach café culture, the natural ele-
ments of the location, landscape and existing
structures, proximity to the ocean, magnificent
new Cape Town Stadium and Table Mountain cre-
ate the perfect setting” adds Smith.
“Natural textures with contemporary and timeless
antique furnishings complete the trendsetting
design of the new Grand concept with singular
elements including oversized chandeliers, antique
Indian rugs, Parisian café chairs and open win-
dows to the sea as well as large screens for multi-
faceted use.”
LIVING
92 >
“Sue bought two chandeliers on one of her travels
to France. Both used to hang in her house, but the
one found a home in Grand Camps Bay and the
other had to join Grand Cafe & Beach”.
“I also went looking for a gift for Sue for her birth-
day and stumbled upon some amazing pieces at
The Railway House in Kalk Bay. I knew we had to
go back. Sue and I went back later in the week and
found the most incredible mixture of old pieces,
from tables and chairs to an old 60/70s surfboard,
old Dunhill cigarette display case, old Germanic
beach chair, a church prayer chair and a mirror. We
also found a travel light at The Railway House,
loved it but did not think it was working. Not giving
it another thought, we bought it, had it connected
and then had the great surprise that it lit up in pink
neon,” says Smith.
Entering beneath a wooden-covered ‘floppy hat’
along a wooden deck flanked by tall palms, guests
arrive to a space of discreet escapism. Take in the
15m-long pure white bar with cherub detail and
subtle lighting which adds to the ambience of the
main dining area, backed by an exhibition kitchen
which has a pizza oven as its centre feature.
Furthermore, the existing timber beams were left
exposed to create a natural setting for the new
Grand lifestyle gallery and private VIP dining room.
Smith continues: “In the middle of this huge space
you will find a dinner table designed by Gregor
Jenkin, called the Blue Wale. Jenkin is truly a great
example of home-grown talent. The table is 6200
x 2400mm in size and weighs about 1 1/2 tons.
Around 14 people are needed to move the table. It
is made from steel and has only five legs, and in-
credible feat given the size”.
The Grand’s signature theme of grey and pink were
introduced by using textured eco-friendly paint,
while natural textures with contemporary and an-
tique furnishings complete the trendsetting design
of the new Grand concept. Dark stained interior fur-
niture combined with fresh white furnishings and
the Grand signature velvets create an eclectic mix.

Outdoors, the Grand’s deck spills out onto the
main beach where sun-seekers can laze on Indian
day beds, ordering from the pink outside beach
bar. Additional feature include two round sea wa-
ter pools along with outdoor fresh water showers.
“I had to consider the number of people the deck
had to carry and had to ensure that the substruc-
ture would be able to withstand the load. Sue also
wanted the entrance deck to be able to accommo-
date a vehicle driving in for special launches, so I
had to make this substructure even stronger. Due
to the close proximity to the ocean and the long
length of the deck, the timber had to be properly
kiln dried to prevent warping,” says Smith.
During construction, all efforts were made to en-
sure a green approach. Notable aspects include
the selection of sustainable timber for the outside
deck, use of textured eco-friendly paint, enhance-
ment of the original building’s look and feel and
even using harvested beach sand from surround-
ing areas cleared by the Cape Town City Council to
create the new beach.
93 >
“Scattered outside on the beach sand you will find
ceramic balls that are a by-product of fuel produc-
tion. It is a 100% eco-friendly product used to re-
move metal particles from fuel. The ceramic balls
attract the little particles, which then cling to the
ceramic balls resulting in much cleaner fuel prod-
uct,” says Smith.
The Grand Café & Beach also offers a chic, bistro-
styled menu for both lunch and dinner, serving up
dishes of robust flavours and sensory tastes, with
old and new classics combined in a new-world fu-
sion of beach café cuisine.
“The Grand approach is to blend worldly charm
with top cuisine, service and style in astonishing
destinations, all of which reflect uniqueness and
imagination. The Grand Café & Beach is an excit-
ing new ‘sun-drenched beach boy’,” says proud
owner, Sue Main. <
LIVING
94 >
 95 >

A lifestyle
district
at the
forefront
of urban
design
By Suné Stassen

LIVING
96 >

On Friday, 6 November Cape Quarter donned its

glad rags when the official launch sent everyone
into party mode. Enjoying a welcome drink on
the Piazza, celebrities and VIPs mingled to the
hot sounds of Coda and Shamanzi dancers led
the guests across to the Square where MC, Jo-
Ann Strauss welcomed everyone. The guests
were treated to a high-octane evening with a
seductive tango setting the mood, followed by an
awe-inspiring aerial act symbolising the opening
of this magnificent lifestyle centre.

Fashion took an interesting and unusual turn as the Eco

Fashion Show presented garments made from recyclable
materials. As guests enjoyed the spectacle and tasted the
delicious food offerings from the restaurants the Jonny
Cooper Big Band made the evening swing to the sounds
of old favourites. An elegant and sophisticated event, this
was a memorable night of pure celebration.

The extension of Cape Quarter in De Waterkant came to life

on 1 October with the opening of the new Square. This
niche boutique lifestyle destination with its superior tenant
mix is set to attract shoppers, diners and investors to Green
Point’s latest and most exciting trading hub.

Since 2002 the original Cape Quarter has been hugely suc-
cessful. There was, however, a demand for retail outlets such
as a supermarket, more shops, especially focussing on fash-
ion, as well as a gym and offices, which led to the creation of
the extension.

Over 10 000m2 of retail space (more than 100 retail stores

and restaurants), and 8 700m2 of office space bring a new
energy to this lively district. Don’t expect to see the usual
 97 >

LIVING
98 >
 99 >

tenant mix found in shopping centres. The Cape Quarter is

a lifestyle centre that has at its heart unique entrepreneurial
businesses.

A creative epicentre is how developers, Bob Knight, Paul

Moxley and Ross Stegmann describe the building. “We
wanted to give residents and visitors a lifestyle experience
like no other, whilst retaining the architecture and village
atmosphere of the area. Our tenants are all individual, inde-
pendent retailers and restaurateurs, each with a unique
character that fits the new building,” says Knight. “Only one
store is part of a chain and that is the Spar Gourmet Food
Store, but it is one of a kind!”

Leading the trend in urban renewal in this once run down

area, Cape Quarter Property Company has taken the lead
in using the old industrial buildings, warehouses and ser-
vice yards that covered the block of Somerset Road, Dixon,
Jarvis and Napier Streets to create the new Cape Quarter.
Add to this a keen sense of the environment; design and
recycling plus generous use of space; the creators of Cape
Quarter have brought together a unique shopping experi-
ence at the forefront of urban design. The design and ambi-
ence are in keeping with the surrounding streets – no mean
feat since each street has its very own design qualities.

Looking up at the unique building, the traditional Cape archi-

tecture is clearly reflected in the external façades. From Art
Deco lintels to sash windows to arches and raw brickwork,
the building is far from the slab of concrete that usually sig-
nifies shopping malls.

Enhancing the area was the core of all design decisions

made by the team of Propfin Design who ensured that space,
light and harmony take precedence.

The façade on Somerset Road has been retained, giving

the main entrance a charm that is inviting in its simplicity.

LIVING
100 >

Once inside, the atrium reaches high into the sky and the
roof garden on the top level is in full view as you look up.
Integral in this development has been the recycling of mate-
rials from the old buildings that originally occupied the site
and the preservation of some of the authentic architectural
elements is evident, giving the development a charming
character and ambience.

The Cape Quarter Food Spar is the anchor tenant with 1 600m2
devoted to gourmet foods. Catering to an upmarket clientele
seeking the unusual alongside their basic food commodities
– food shopping has never been this good. A quick park ’n
shop area has been created on the corner of Somerset and
Napier allowing for late evening shoppers to purchase goods
quickly and efficiently. With the Deloitte’s staff, the retail ten-
ants have a readymade market to cater to and the office
workers will have a playground of shops, eateries and
healthy pastimes to enjoy.

From Jarvis Street you walk straight on to The Square. This is

a magical use of space which forms the soul of the building.
Open to the sky, the area is reminiscent of a European cen-
tral square in an old city and a water feature, stage area,
trees and wrought iron décor complete the scene. Four res-
taurants spill onto The Square and live entertainment allow
shoppers to spend the day enjoying the atmosphere.

The use of natural light has also been key to the develop-
ment and many of the retailers have this advantage on their
premises. The office space above The Square offers moun-
tain and harbour views that are hard to match and on the
northwestern side trees screen the building from the sun.
Many of the design features save the overuse of air-condi-
tioning.

Eight escalators and lifts facilitate easy movement around

the centre. Multiple entrances and exits off three roads give
easy access to different levels and there is ample parking,
 101 >

relieving some of the congestion in the area. The Jarvis Street

precinct becomes the link between the original Cape Quarter
and the new section, creating greater pedestrian access than
ever before as the building has been set back from the road
whilst street parking is still available.

Sharing some insight into the design considerations, the de-

velopers explain that sustainability was high on the cards.
“The water for CQ living and the common bathrooms are
solar heated. The concrete roof is vegetated and can be re-
garded as a ‘green roof’. Many materials have been recycled
from the demolition of the old buildings. Sun shading and
roof overhangs have been designed to reduce heat loads
and subsequent air-conditioning power requirements.”

“It was also our vision that a common thread must run sub-
tly through the development. The possible use of pergolas,
stonework, cobbles, arches, ironmongery, shop fronts, plant-
ers and lighting and more could be used to link the original
Cape Quarter and the new development.”

“The design had to be cost-effective, frugal where possible

and extravagant in selected areas. Natural and practical fin-
ishes were used in common areas while the retail shop-
fronts are to be maximised in size and exposure. The offices
have more than the normal appeal by using Juliet balconies,
glass, foyers, natural light and more.”

The developers conclude: “Connectivity and individual yet

unified look and feel between the original Cape Quarter and
the new extension and development was key for us. We
want both to be perceived as the enhancement of the other
rather than a distraction. This concept is already in develop-
ment through the use of pedestrian crossings and under-
ground basement connection and will be perfected with the
proposed pedestrian bridge that will hopefully be built in the
near future.” <

LIVING
102 >
 103 >

A mere 100km away from the frenetic pace of

Johannesburg’s busy suburbs, two Dream Veld
Authentic Lifestyle Developments projects, on
the outskirts of Potchefstroom, offer an alterna-
tive lifestyle to those looking for something
completely different. The Herondale Wildlife
Eco Estate on a magnificent 2400ha malaria-
free game farm offers residents an exclusive
bushveld experience, while Waterberry Haven
offers a retirement option which is more a re-
sort for active seniors than a retirement village.
By Bev Hermanson

Although there is no pressing need for gated secu-

rity estates in Potchefstroom, the directors of Dream
Veld Authentic Lifestyle Developments realised that
this residential trend has many advantages. This
prompted them to come up with two unique, but very
different estates. The Herondale Wildlife Eco Estate is
situated 9km outside Potchefstroom on a piece of African
bushveld that would make one believe one is truly out
at the wild frontier. Waterberry Haven, on the other hand,
is pretty much a part of Potchefstroom’s urban fabric.

HERONDALE
Travelling along the vastly improved N12 roadway
from Johannesburg to Potchefstroom, one can’t miss
seeing the imposing gatehouse of the Herondale
Wildlife Eco Estate proudly welcoming visitors and
residents to its bushveld experience. Even when all the
building work is complete, this 2400 ha game farm will
remain mostly ‘wild’ as only 2% of the entire land
area will be covered with buildings.

LIVING

LEFT: Artists impression of the Herondale Gatehouse.
TOP RIGHT: Map of Sunset Creek showing the layout of the stands.
BOTTOM RIGHT: Map of Kiepersol showing the layout of the stands.
On completion, the estate will have four villages
placed remotely from each other in the depths of
the African bush. Each village has about 70 stands
of between 2000 sq m and 3 500m2, of which the
houses may only occupy 500m2 on their ground
floors with a further 300m2 allowed for an upper
level. No perimeter fencing is allowed, although provi-
sion has been made for each home to have up to
600 sq m as a courtyard. This is to allow the game
to roam freely throughout the estate.
The game on the estate is non-predatory and is
mainly made up of herds of zebra, impala, spring-
bok, waterbuck, reedbuck, black wildebeest, bles-
buck, gemsbok, kudu, eland and giraffes, as well as
a number of ostriches and other birdlife.
“To qualify as an eco estate, the built-up area has to
be less than 5%,” explains Zieg van Huyssteen,
sales consultant at Dream Veld Authentic Lifestyle
Developments. “At Herondale, we are only building
up to 2% of the land, so there’s lots of room for the
game and birdlife.”
105 >
ARCHITECTURAL STYLE
The first two of the four villages have been launched,
with all the electricity, water and sewerage services
in place and dirt roads provided during the building
phase. After all the building has been completed,
the roads will be tarred so that luxury vehicles can
be driven around the estate, in addition to 4x4s.
The architectural style prescribed for the develop-
ment is contemporary African with natural materials
used as much as possible. Landscaping should be
done with indigenous plants typical to the region
and the colour palette for paints has to blend with
the earthy colours of the surroundings.
Sunset Creek, with 75 stands, is already almost
50% sold out, while the second village, Kiepersol,
with 71 stands, is 35% sold out. With stand prices
just over R500 000 each and monthly levies of R400
per month, a slice of this African paradise is certainly
within reach of most families looking for a secure,
yet authentic lifestyle.
LIVING
 106 >
A view of the surrounding landscape.
Being at home in the African bush, residents will
be able to enjoy the climate and natural flora and
fauna of the area, undisturbed and in safety. Rec-
reational activities available to residents include
game drives, hiking, walking and jogging, mountain
biking and horse riding. In addition, an organic spa
centre will be built close to the gatehouse. This will
house a gym, heated swimming pool and squash
courts, while outside, there will be tennis courts and
a driving range.
WATERBERRY
For older residents looking to downscale, the con-
veniently located Waterberry Haven is the answer.
Seeking to revolutionise the concept of a retirement
village, the directors at Dream Veld Authentic Life-
style Developments conceptualised a village where
residents need not lead sedentary lifestyles, although
full facilities have been included so that, should
there be a need for frail care, this will also be avail-
able as part of the unique Waterberry life care pro-
gramme.
The village is split into full title independent living
units and assisted living units, with a care centre
that has facilities for frail care and sub acute con-
ditions. When the village is complete, a clubhouse,
with a restaurant, lounge, pub, overnight accom-
modation for visitors, wellness centre, social centre
and conference centre will be available.
107 >

LIVING
108 >

He has his mothers eyes and

your sense of humour

Will he inherit your carbon

footprint as well?
What legacy do you want to leave?

Not only will Eskom subsidise your purchase of a solar geyser, and thereby assist you in
reducing your electricity bill by about 40% - installing a solar geyser reduces carbon
emissions by 3.7 tons per annum, the equivalent of taking a small car off the road
completely.

Isn’t it time you did something for your children’s planet?

Louis Robbertse Chantelle Robbertse

Cell: 083 308 9988 Cell: 082 493 2249
Tel: 012 997 5676 E-mail:
E-mail: louisr@setsa.co.za northwest@setsa.co.za

www.setsa.co.za
An Accredited Supplier on the Eskom Solar Programme. Also Supporting

Situated on the banks of the Mooi River, with 200km
of river frontage on the western side and the wall
of the Potchefstroom Dam on its northern perimeter,
Waterberry Haven is one of the only estates in the
North West Province with water on two sides. With
5 ha of parkland and landscaped gardens for relax-
ing, the estate offers residents the opportunity to
enjoy the outdoors without having to stress over
the maintenance of the common areas. The upkeep
of the estate is handled by the Waterberry Manage-
ment Trust, along with the 24 hour security and
emergency service.
The communal buildings have been planned to cater
for the movement impaired and are wheel chair-
friendly, with widened doorways and passages,
ramps, user-friendly taps and specially designed
showers. Furthermore, emergency and security buttons
have been strategically placed in case of crises.
109 >
To make life easy at Waterberry Haven, once the
estate is complete, transport will be laid on for
those needing to go shopping, laundry and clean-
ing services will be available and meals will be
provided by arrangement.
WHY POTCHEFSTROOM?
Both Herondale and Waterberry are close enough
to Potchefstroom’s central business district to
make either one of the developments a worthwhile
choice, depending on age and lifestyle require-
ments. Present-day Potchefstroom is best known
as a ‘university town’ with a large student popula-
tion. However, the city is actually steeped in his-
tory and has much to offer.
Founded in the late 1830s by the Voortrekker leader,
Andries Hendrik Potgieter, Potchefstroom (or stream
LIVING
110 >
Artists impressions by architect Shawn Rowley Architects – recommended style for Herondale houses.
of the chief Potgieter) was, at first, the capital of the
Transvaal Province and home to the first president
of the Zuid Afrikaansche Republiek (ZAR), Marthinus
Pretorius. During the Anglo Boer War, the Battles of
Frederickstad and Tygerfontein were fought close
by and many of the Potchefstroom residents were
involved in defending the territory. Gold was dis-
covered in the region in 1853. This caused great
changes as hordes of fortune seekers arrived in
the Transvaal to grab their share of the action.
In 1910, the Avenue of Oaks was planted with a
total of 710 oak trees. Stretching 6,84km from the
Agricultural College in Botha Street, via Tom Street
to the Lakeside Resort, it is considered the longest
avenue of oaks in the southern hemisphere and is
now a national monument. Other national monu-
ments include the Old Gunpowder House, the Old
Police Station building, the Kruger Kraal Opstal
and the old Landrost, Post and Telegraph Offices.
LIVING
For the culture lovers, there are a number of museums
to be found in Potchefstroom. The Potchefstroom
Main Museum in Sol Plaatjie Avenue comprises three
art halls and a cultural history hall. Totius House
Museum was the home of the well-known bible trans-
lator, JD du Toit, who was better known as Totius. The
President Pretorius Museum is the restored Cape-
styled residence of the late Marthinus Wessel Pre-
torius, the first president of the ZAR and the Goetz/
Fleischack Museum is the Karoo-styled residence
of the late Andreas Marthinus Goetz, magistrate of
Potchefstroom between 1870 and 1881.
For avid shoppers, there are a few shopping cen-
tres, the most notable of which is the sprawling
Mooi River Mall that was built in 2008. Straddling
the Mooi River, this modern shopping mall offers
a wide selection of stores, banking facilities, res-
taurants, and cinemas – enough to keep one busy
for hours.
 111 >

to Herondale Wildlife Echo Estate

We Specialise in:
Whole House Filtration
RO-Purifiers
Dispensers
Softners
Pieter Bredenkamp 082 879 7507
Len Haarhoff 083 475 8622

15 Goetz St., Potchefstroom

112 >
At night, the student district comes alive, with lots
of fun to be had in the various eateries frequented
by the younger set.
If sport is the priority, there are a number of sports
grounds in Potchefstroom. At the Fanie du Toit Sports
Grounds, one can play soccer, cricket, netball and
hockey. The Kenneth McArthur Oval is well known
as a venue for rugby and soccer matches, while
cricket is best enjoyed at the North West Interna-
tional Stadium – Seagars Park. The North West
University’s Potchefstroom Campus also boasts a
variety of world class sports facilities, including
the North West University High Performance Insti-
tute. The Potchesfstroom Country Club has an 18-
hole golf course and the Boskop Dam is a favourite
angling spot.
Game on the plain at Herondale Wildlife Eco Estate.
LIVING
For nature lovers, the NWU Botanical Garden, which
is maintained by the university’s School of Environ-
mental Sciences & Development, is open to the pub-
lic. Another attraction is the OPM-Prozesky Bird
Sanctuary located on the wetland adjoining the
golf course, which is excellent for bird spotting.
Further afield, the Vredefort Dome, now proclaimed
a World Heritage Site, is the spot where, more than
2000 million years ago, a giant meteorite crashed
into the Earth. Here, one can enjoy hiking and many
outdoor adventure activities, including white water
rafting, kayaking and canoeing on the Vaal River.
Of course, the many attraction of Johannesburg are
not too far away and the OR Tambo International
Airport is less than a 2 hour drive, for those who
still wish to enjoy their holidays overseas. <
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116 >

From a sliding roof to an origami
house to a backyard in the sky, the
World Architecture Festival (WAF)
Award attracts the mind-boggling,
the complex and the sophisticated.
No other event offers architects
from around the world with this
type of inspiration and the 2009
awards seemed to have an extra
soft spot for the housing category.
The WAF Awards is the world’s
biggest architectural award pro-
gramme and is designed to cel-
ebrate and showcase the best of
the best work by the international
architectural community. WAF re-
wards excellence across a wide
range of building types and budgets.
Its judges are instructed to con-
sider the principal qualities of well-
designed buildings wherever they
find them, including Vitruvius’s
classical definition of “commodity,
firmness and delight”, as well as
contemporary considerations such
as clarity of organisation, expres-
sion and representation, appro-
priateness of architectural ambi-
tion, integrity and honesty, archi-
tectural language, scale, conformity
and contrast, orientation, flexibil-
ity, sustainability and aesthetics.
What sets this scheme apart from
the rest is its unique entry and ad-
judication process. Entries are first
screened by an expert jury before a
shortlist is invited to present their
projects live to the public, as well
117 >
as to a star-studded international
jury of architecture experts. The
process entails a fully interactive
live format that has produced
some spectacular results. The
2009 event, held in Barcelona, at-
tracted 1 507 architects from 71
countries who came to view and
learn from the best projects and
to help shape the future of the
industry through exchange and
collaboration.
With the 2010 entry deadline
looming (1 July), DESIGN>LIVING
looks at some of 2009 winners
and commendations in the Hous-
ing and Residence categories as
well as the overall winner of the
World Building of the Year award.
LIVING
118 >
WORLD BUILDING
OF THE YEAR
MAPUNGUBWE
INTERPRETATION CENTER
Category: Culture
Location: South Africa
Architect: Peter Rich Architects,
Johannesburg, South Africa
Award: WAF 2009 World Building
of the Year
The Mapungubwe Interpretation
Centre, which is situated at the
confluence of the Limpopo and
Shashe Rivers, features rounded
roofs and is surfaced in local rub-
ble in order to fully complement
the surrounding landscape.
From the start Peter Rich Architects
sought to add value to the region
not only in delivering the final so-
lution but also in the process of
its design and construction: The
project’s agenda extends beyond
the presentation of ancient and
more recent history of the area to
awaken an understanding of the
vulnerability of the local ecology.
These objectives are manifested
in the construction process of the
Centre in which unemployed local
people were trained in the manu-
facture of stabilised earth tiles
and in building the timbrel vaults.
This knowledge has been accept-
ed into the culture of the region,
with the masons continuing the
skills they have learned by using
the remaining tiles for their own
houses in nearby villages. Thus,
the Centre not only tells a story,
but has become part of a story
that is still unfolding, of culture
developing in symbiosis with its
natural legacy.
The Mapungubwe Interpretation
Centre was chosen as the 2009
World Building of the Year by
some of the world’s most distin-
guished architects and renowned
industry experts, beating off
competition from a shortlist of 17
entries. The jury admired the way
in which: “the architecture re-
sponded to vernacular African
styles. The judges described the
project as ‘an indisputably con-
temporary building of immense
resonance and richness. It is also
underpinned by a strong social
programme, using the skills and
labour of local people and involv-
ing them in the design and con-
struction processes.”
Peter Rich Architects describes
the project as a “poverty relief
project using ecological methods
and materials” and that “the com-
plex landscape was both the in-
spiration for the design and the
source of most of the materials
for its construction. This resulted
in a composition of structures
that are authentically rooted in
their location.”
 119 >

IMAGES
© Iwan Baan

LIVING
120 >

IMAGES
© McBride Charles Ryan

HOUSING
CATEGORY
Housing as a category has a lot of
criteria to take into consideration
by the WAF judges. It could be ra-
tionality of the plan, the comfort
of living, new typology, or pre-
senting an additional public
space to a city. For the 2009 judg-
ing panel, the main criteria was
the strong message that the
building sends to other architects
and other specialists in residen-
tial developments.
KLEIN BOTTLE HOUSE
Category: House
Location: Rye, Australia
Architect: McBride Charles Ryan,
Melbourne, Australia
Award: WAF 2009 World’s Best
Home Award
With rapid developments in com-
puter software it’s becoming pos-
sible for architects to achieve in-
creasingly complex and dynamic
shapes in their structures. The
Klein Bottle House, a holiday home
shaped like an origami Klein Bot-
tle, situated in Australia’s Morning-
ton Peninsula, is a testament to
this and truly thinks ‘outside the
box’.
The Klein Bottle House celebrates
the country’s traditional beach
houses whilst remaining a practi-
cal and useful 21st century home.
121 >
The judges praised the design of
Klein Bottle House as: “evoking
on every day of the year, the en-
riching playfulness of being on
holiday. The house was also cel-
ebrated as fitting comfortably
within the dramatic Australian
landscape.”
The Klein Bottle House is built in
heavily treed sand dunes directly
behind 16th Beach at Rye, only
two hours drive from Melbourne.
The house revolves around a cen-
tral courtyard with a staircase
connecting all the spaces and
levels. McBride Charles Ryan de-
scribes their design process: “We
were keen to remain topologi-
cally pure, to distort the shape as
need dictates but not to appear
to sever this form. We were at-
tracted to the idea of the origami
version of the Klein bottle be-
cause of its beauty and the per-
versity of an origami Klein Bottle.
To accommodate ‘rooms’ within
the bottle we thought of them
like objects inserted within the
bottle. The Klein bottle was also
the perfect fit to the constraints
of the site. Once adopted, the
shape of this building had some-
thing of a life of its own, the genie
was out and she was difficult to
temper. The development was in-
tense, the serious pursuit of joy-
ful nonsense. The result we think
is a unique shape, an internal
space with series of new relation-
ships between the traditional
components of the home.”
LIVING
122 >

CHEN HOUSE
Category: House
Location: Sanjhih, Taiwan
Architect: C-Laboratory,
Turku, Finland
Award: Category Commendation

Situated on an old Japanese cherry-

farm in the Datun mountains of
northern Taiwan, the Chen house
is notable for its synthesis of tradi-
tional methods of construction
with contemporary living and
spaces. Built for a retired couple, it
is an adaptive entity and designed
entirely on the principles of bio-
climatic architecture, taking into
consideration the regions’ summer
heat, occasional flooding, strong
winds and seismic activity.

The Chen house is orientated to

the north and south and is built
on heavy concrete blocks raised
above the ground, allowing flood-
waters to pass freely without
causing damage to the structure.
Beams of mahogany are used on
almost every surface of the house,
both interior and exterior, in such a
way that air can easily pass through
the spaces creating a self-cooling
system. To accommodate for earth-
quakes and typhoons common in
the area, the house is flexible, each
space acting as a buffer to absorb
movement instead of working
against it.

The Chen house is beautifully sim-

plistic, not aiming to close out the
surrounding environment but rather
 123 >

IMAGES
© Nikita Wu

LIVING
124 >

IMAGES
© Ross Russell
 125 >

becoming part of it. C-Laboratory

explains “A ruin is when ‘man-
made’ has become part of nature.
With this house we were looking
forward to designing a ruin.”

SLIDING HOUSE
Category: House
Location: Suffolk,
United Kingdom
Architect: dRMM, London,
United Kingdom
Award: Category Commendation

Described as ‘the industrial and

the picturesque’, the Sliding
House is a combination of the cli-
ent’s vision for the unconvention-
al and the architect’s knack for
innovation. The outcome is a 28m
linear building comprised of three
structures, the main house, ga-
rage, guest annex and a dynamic
fourth component, a 20-ton mo-
bile roof.

Ross Russell, the owner of the

Sliding House, approached the
architects with the mantra “we
are prepared to be radical,” and
for the conventional area of Suf-
folk the result is very radical. All
the structures are aligned on a
level ridge that runs north to
south along the northeastern
boundary of the property. The
sliding roof sits on rails and is
powered by hidden electric mo-
tors on bogeys integrated into
the wall thickness. As the roof
slides over the three structures in

LIVING
126 >
a mere 6 minutes, it transforms
the spaces by creating combina-
tions of enclosure, open-air living
and framing of views, according
to the position. dRMM explains
“It is about the ability to vary or
connect the overall building com-
position and character according
to season, weather, or a remote-
controlled desire to delight.”
THE MET
Category: Housing (including
mixed use)
Location: Bangkok, Thailand
Architect: WOHA, Singapore
Award: WAF 2009 Housing
Category Winner
The Met, a Bangkok skyscraper
designed by WOHA, was the per-
fect fit for this category’s adjudi-
cation criteria. The housing de-
velopment is inspired by Thai tiles,
textiles and timber panelling. The
judges praised the development
as “an excellent attempt to open a
skyscraper to the city and to allow
its inhabitants to use the building
as much as possible in a rapidly
developing Bangkok.”
When designing The Met, WOHA
successfully took on the challenge
of exploring the opportunities for
high-rise living in the tropics.
Rather than adopting models de-
veloped in temperate countries,
with a strong separation of inte-
rior and exterior, this skyscraper
explores how aspects of low-rise
tropical housing can be applied
to create outdoor-indoor spaces
in the sky. The staggered block
arrangement gives all apart-
ments access to light and air on
all four sides and recalls the Thai
teak staggered panelling on tra-
ditional houses.
The Met also features open-air
communal terraces with bar-
beques, libraries, spas and other
facilities. “These sky terraces,
both private and public, link the
blocks every five storeys, creating
dramatic yet human-scaled exter-
nal spaces in the sky,” explains
WOHA. Strategically located be-
tween two main train stations on
Bangkok’s busy South Sathorn
road, The Met also practically deals
with the problem of urban sprawl
and traffic by making use of existing
infrastructure.
IMAGES
© Patrick Bingham-Hall
WOHA Group
127 >

LIVING
128 >
LOOKING TO
THE FUTURE
WAF also considers projects un-
der development as well as future
projects as separate categories
in its awards programme.
MERO BEACH PROJECT
DOMINICA
Category: Future Projects –
Residential
Location: Dominica
Architect: BURO II
WAF Entry 2009
Award: WAF 2009 Category Winner
From the onset of the Mero Beach
project, BURO II had one goal: To
design a solution in which a sus-
tainable relationship with the local
economy, culture, natural heritage
and environment is central.
The judges at the 2009 WAF were
especially impressed with the way
in which BURO II were able to per-
suade their client to reduce the
scale of this hotel project from
45 000m2, firstly to 25 000m2, and
finally to just 15 000m2. With this
scaling-down they also reduced
the amount of disturbance to the
sensitive natural habitat, almost
completely eliminating the need
to excavate into the coastline.
BURO II even considered what
would happen at the end of the
projects’ lifespan, showing how
the site could be returned to na-
ture with the seismic spine walls
being the only permanent built
element to remain.
BURO II further explains their phi-
losophy: “The goal of the project is
to create a dialog with the pres-
ence of the existing: the nature and
the village. The main characteris-
tics of the site are: the presence
of the beach, the thick foliage all
along the beach, the long and thin
plot, the road running along the
plot, the topography from flat to
steep, the river and ravine and the
proximity of Mero village.” Set to
be completed in 2010, each resi-
dential unit will offer flexibility
for use as multiple single rooms
or full-scale family residences. A
promenade will serve as the con-
necting element between the
hotel’s different areas such as the
marina, shops, reception, parking,
restaurant and beach club.
360º BUILDING
Category: Future Projects –
Residential
Location: São Paulo, Brazil
Architect: Isay Weinfeld,
São Paulo, Brazil
Award: Category Commendation
The 360º Building is set to be
developed on an elevated area
between the districts of Alto de
Pinheiros and Alto da Lapa in São
Paulo. São Paulo, the largest city
in Brazil, is home to a little over 10
million people spread over an area
of 1525km2. Residential areas are
often crammed with housing that
is compact and closed onto them-
selves to sustain the rapidly grow-
ing population. Isay Weinfeld
designed the 360º Building mind-
ful of the urban reality in São Paulo
and with open air, space and views
in mind. The building will feature
62 elevated ‘homes with yards’
with a choice of seven types of
apartments, either 130, 170 or
250m2, combined in sets of two,
three or four units per floor. The
lower levels, semi-subterranean,
will be an adults’ playground
featuring a gym, lounge, party
room, sauna and a swimming
pool. <
RIGHT: Mero Beach Project,
Dominica. © BURO II
FAR RIGHT: 360º Building
© Isay Weinfeld
129 >

LIVING
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