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ha ab t tit h e a r t o f l i v i n g

Architecture: Wood Works in Queensland, Australia l Japanese Influence in Atholl, Sandton

Design: A Country Courtyard Home in the Cape Winelands | White on White Cape Town Apartment

Focus: Collectibles – Timepieces of the Finest Kind l Architecture ’15 – March of Modernism

2015 Dulux ColourFutures™ inside

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architecture

Asian Influencelocation: Atholl, Sandton | developer: Aevum Developments | architecture: Wilh + Co |interior design: Wilh van der Merwe & Shaista Manekia | photography: Elsa Young

This new home is bui lt on a neglected portion of open ground which remained from the original town planning scheme for Atholl , an established Sandton suburb, and measures 2 460 square metres. Natural advantages included indigenous trees – many of which are exotic – and an overal l cool garden ambience.

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Simplicity is key in this well-considered family home in Atholl, Sandton. The architects succeeded in taking full advantage of the indigenous trees that existed.

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The brief to the architects was to create a dwelling, that was unlike current typical ‘brand architecture’, with a structure that would respect and preserve the trees on the site. Tranquil courtyards and a strong connection with the garden and distant views were to be incorporated into the design. And the house had to suit a globetrotting family; to be a calm retreat, forming a neutral and warm backdrop for art and collectibles from all over the world. Cues were to be taken from the limited use of materials prevalent in contemporary Japanese architecture.

Further, floor to ceiling height was to be exaggerated and the home had to flow easily between well-defined areas; allowing privacy where needed, without endless passages, or breaking the whole into smaller spaces. Lastly, the building had to make use of passive design features to reduce energy consumption. The architects interpreted this in accommodating as much of the client’s requirements as possible, while still creating a building that will outlive its current occupants.

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Sculptured interior elements pay dividends within a simple palette that evokes Japanese influence.

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Their first task was to identify the important trees around which the building would be developed. The most magnificent specimen is a massive oak that, due to its position on the stand, had to be located inside the built structure. Sufficient space had to be left around this ancient tree to give it space to live and grow. This led to the creation of a circular courtyard, which would become the cool lung of the building in summer and a suntrap in winter. Due to the deciduous nature of the cover the oak creates, it acts as a perfect passive heating and cooling tool. The rest of the trees were used to restrict the limits of the building, forming natural indentations in the façade.

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There is a restrained brutality evident in the metallic tonality of the shell. Colour is a muted addition seen in art and accent furniture.

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Secondly, the building had to face north to benefit from ultimate solar control, allowing light into the house in winter while restricting harsh sun in summer. This caused the structure to be shifted off axis on the stand, which created a juxtaposed tension between sections of the building that are running parallel with the site boundaries and those facing directly north. Thus the overall shape is molded by place and function.

This twist to the north also allowed for the driveway to meander from the north side of the house to the south-entry courtyard. This driveway hints at the practices of ancient Greece when people approaching a building were forced to walk around it to observe it entirely before reaching the entrance. All the major areas are spread along the north façade and every ground floor room opens almost entirely onto a timber deck that connects to the pool and garden. Each room feels like a covered patio in itself, which has allowed for generous spaces, without doubling up from inside to outside.

these pages: Materials selected illustrate Japanese principles: wood, stone and metal. Interior designer Shaista Manekia and architect Wilh van der Merwe interpreted their brief to perfection.

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Says Wilh van der Merwe: ‘Due to the narrow nature of the stand it was necessary to stack some of the rooms in the building behind each other from north to south. By using courtyards and roof windows as light wells we were still able to get sufficient north light into the sections of the building on the south side.’

Inspirations are patently Japanese. Says the architect: ‘The Japanese have an amazing ability to restrain themselves when it comes to the use of materials: concrete for structure, wood for warmth and glass for light. Further, they have perfected the art of opening the inside to focus on the outside, allowing the eye to flow from a warm comfortable interior to the beauty and tranquility of nature.

‘Feature lighting was an essential part of the

interior architecture and key areas are accentuated by these elements: Foscarini, Tom Dixon and Issey Miyake all came into play to achieve the desired result. And, in terms of accentuating architectural features, it was important to transform normal, functional elements into sculptural pieces; the staircase, bar, coffee station and guest bathroom vanity were all developed bearing this in mind. To match the scale of the building we incorporated delicate antiques into the bolder units.’

Indeed, this is a beautifully detailed home, perfectly located on a site that represents a unique find in Johannesburg. It measures just under 900 square metres and succeeds in portraying an ambience of simplicity, elegance and calm.

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In the main bedroom a glass ballustrade allows the garden to integrate with the interior. Tranquility is key here – and throughout the entire home.