Queen of the South African VILLA

There­se­both­aturned­herlove­of­beau­ti­ful spacesin­toabusi­ness,writes­me­laniepeters

Weekend Argus (Saturday Edition) - - GOOD LIFE -

der Merwe and Ma­cio Miszewski.

It has mas­sive glass win­dows and the light fil­ters through the trees into the open, spa­cious liv­ing area.

The ar­chi­tects’ brief called for the ex­ist­ing stone pines and poplars to be pre­served where pos­si­ble, the views of the city, har­bour be­yond and Ta­ble Moun­tain be­hind to be max­imised, and for ex­ca­va­tion to be min­imised.

Botha said: “My hus­band and I are keen bird­watch­ers. That’s one of the ben­e­fits of be­ing sur­rounded by all these trees.

“The big glass win­dows bring us close to na­ture. The views from the top floor are breath­tak­ing.”

The east façade opens on to a light­weight steel-and-tim­ber walk­way, a pure con­crete frame struc­tural grid with in­fill glazed panels, cre­at­ing a sense of open­ness, which can be ma­nip­u­lated by tim­ber fold­ing- slid­ing shut­ters to con­trol pri­vacy, sun­shine and ven­ti­la­tion.

The flat roof tilts up along its south­ern and western edges to catch glimpses of Ta­ble Moun­tain.

The in­te­rior is a mix of glass and sil­ver, where ma­hogany pieces mix with other softer fur­nish­ings, and the walls pay trib­ute to South African artists in­clud­ing mod­erns Ger­ald Ta­bata and Bill Ainslie, as well as old masters Irma Stern and Ja­cob Pierneef.


This­glass­ball is­partof Therese Botha’s ex­ten­sive­g­lass col­lec­tion.

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