House Kelly is a minimalist masterpiece that balances thoughtful design with effortless living. Every detail of this home has been carefully considered to maximize its stunning surroundings.

The entertainment area, where a striking bay window frames sweeping ocean views, creates the perfect backdrop for gatherings. The bathroom takes relaxation to the next level, featuring a spacious window that invites you to soak in the serene ocean vistas while enjoying a luxurious bath.

Designed for both comfort and connection, this home offers an inviting open-plan living space where each area is perfectly positioned to highlight the surrounding beauty. Stack-away doors open seamlessly onto a lush fynbos landscape.

The interiors, brought to life by Rozanne De Villiers (@rdv.designs), embody the “less is more” philosophy, blending sophistication with warmth to create a home that feels both elegant and welcoming.

House Kelly isn’t just a home,it’s a lifestyle, offering effortless living, entertaining, and endless moments to savour the beauty of nature.

Photos by Jacques Oosthuizen Jordaan

A site visit to the bustling campus helped to crystallise Dries and Phoebe’s concept. The only available space to build was a narrow rectangle of lawn hemmed in by the admin building’s entrance on one side and the church’s processional entrance on the other. Using this parcel of land would also serve the additional function of obscuring the admin building’s adjacent courtyard, which was used as a storage area. In response, Phoebe drew up a floor plan based on the contours of two mirroring Roman numeral sevens – a symbolically significant number in the Christian religion – which she then extrapolated into two curved folds.

Translated into three dimensions, the chapel consists of two curved walls, slightly offset from each other, with two narrow apertures – one at the entrance and the other at the altar – which are respectively referred to as the Alpha and the Omega. In an elegant nod to the conventional church tower, a floating roof culminates in a dramatic cantilevered shard, jutting out among a leopard tree and a water feature.

“Because of the shape of the building, we had to use a specialist contractor in ETICS (External Thermal Insulation Composite Systems) to construct a lightweight steel frame. We then clad it in Terraco board, with a textured plaster finish,” says Phoebe. “The chapel is on a prominent site on campus, with a lot of movement around it, so we introduced light and cross-ventilation to the building with two narrow slit windows – one at floor level, and the other below the roof on the opposite wall. There is also a skylight in the roof that mimics the form of the building.”

A design feature in their own right, slivers of rectangular sunlight are an ever-evolving presence in the chapel, tracking over the interior’s gleaming epoxy resin floor and birch wall panelling and slats to great captivating effect. “We wanted the interior to be a contrast to the clean, white exterior, so we opted for something warmer and more approachable,” says Phoebe. “The furniture is movable so that the space can be adapted to whatever is needed, whether it’s for prayer, small services or even weddings.”

At night, the chapel is illuminated from the inside, neatly inverting the light streaming through the horizontal and vertical fenestrations during the day. “It was important to illuminate the chapel at night, as the space is meant to be used at any time,” says Phoebe. “In the evenings, when you’re driving around the area, you can see this glowing beacon from afar.”

It’s a guiding light, if ever there was one. And it couldn’t be more mesmerising.

SOURCE: SCAPE MAGAZINE

Kanonkop, a renowned name in the world of wine, emerged through a rich history and commitment to excellence. Situated in the esteemed wine region of Stellenbosch, South Africa, Kanonkop’s origins trace back to the late 17th century. Its story began when a fearless man named Jan Ernst Louw settled in the area and planted vineyards on the slopes of the Kanonkop hill. Through generations of dedicated winemaking and a steadfast adherence to traditional methods, Kanonkop steadily gained recognition for its exceptional wines, particularly its iconic Pinotage. Today, Kanonkop stands as a testament to a legacy of passion, expertise, and a deep understanding of establishing its well-deserved reputation as a world-class wine estate.

The brief entailed alterations to the interior which included the tasting room, elegant private tasting room, new Vinoteque and access to the gallery. The brief also expressed the need for additions such as the new outside tasting deck and new E-commerce extension where guests can enjoy the wonderful wine blends.

The design approach for the Kanonkop tasting deck and E-commerce extension is centered around creating an immersive and enjoyable experience for guests, allowing them to savour the wonderful wine blends. The New tasting room and Vinoteque was exquisitely designed to elevate the presentation of Kanonkop wines on elegant shelving, illuminated by tasteful LED strip lights, creating a captivating focal point for visitors to admire. In addition to that, one of the rooms also houses an art gallery, accompanied by a cosy lounge, providing guests with a delightful space to unwind and reveal in the artistic and wine-filled experience.

The design incorporates organic elements such as wood, rustic bricks, and sleek concrete, creating a harmonious blend of natural textures and contemporary aesthetics. The entrance arch walkway acts as a threshold when entering the wine cellar. The historic Kanonkop building holds a fascinating story, with its small windows mimicking the strategic openings for shooting during early settlements. However, these windows now play a beneficial role in maintaining a cool temperature inside, which is ideal for the production and storage of exceptional wines. The space is enhanced by the captivating aesthetic of the organic-shaped ceiling boards adorned with elegant LED lights, adding a touch of visual allure to the ambience.

The aim for the Kanonkop renovation was to preserve all the historical elements intact, ensuring that none of its rich heritage was lost in the process.

Photographer: 3sixty photography

SOURCE: SCAPE MAGAZINE

A site visit to the bustling campus helped to crystallise Dries and Phoebe’s concept. The only available space to build was a narrow rectangle of lawn hemmed in by the admin building’s entrance on one side and the church’s processional entrance on the other. Using this parcel of land would also serve the additional function of obscuring the admin building’s adjacent courtyard, which was used as a storage area. In response, Phoebe drew up a floor plan based on the contours of two mirroring Roman numeral sevens – a symbolically significant number in the Christian religion – which she then extrapolated into two curved folds.

Translated into three dimensions, the chapel consists of two curved walls, slightly offset from each other, with two narrow apertures – one at the entrance and the other at the altar – which are respectively referred to as the Alpha and the Omega. In an elegant nod to the conventional church tower, a floating roof culminates in a dramatic cantilevered shard, jutting out among a leopard tree and a water feature.

“Because of the shape of the building, we had to use a specialist contractor in ETICS (External Thermal Insulation Composite Systems) to construct a lightweight steel frame. We then clad it in Terraco board, with a textured plaster finish,” says Phoebe. “The chapel is on a prominent site on campus, with a lot of movement around it, so we introduced light and cross-ventilation to the building with two narrow slit windows – one at floor level, and the other below the roof on the opposite wall. There is also a skylight in the roof that mimics the form of the building.”

A design feature in their own right, slivers of rectangular sunlight are an ever-evolving presence in the chapel, tracking over the interior’s gleaming epoxy resin floor and birch wall panelling and slats to great captivating effect. “We wanted the interior to be a contrast to the clean, white exterior, so we opted for something warmer and more approachable,” says Phoebe. “The furniture is movable so that the space can be adapted to whatever is needed, whether it’s for prayer, small services or even weddings.”

At night, the chapel is illuminated from the inside, neatly inverting the light streaming through the horizontal and vertical fenestrations during the day. “It was important to illuminate the chapel at night, as the space is meant to be used at any time,” says Phoebe. “In the evenings, when you’re driving around the area, you can see this glowing beacon from afar.”

It’s a guiding light, if ever there was one. And it couldn’t be more mesmerising.

SOURCE: ARCHDAILY.COM

A site visit to the bustling campus helped to crystallise Dries and Phoebe’s concept. The only available space to build was a narrow rectangle of lawn hemmed in by the admin building’s entrance on one side and the church’s processional entrance on the other. Using this parcel of land would also serve the additional function of obscuring the admin building’s adjacent courtyard, which was used as a storage area. In response, Phoebe drew up a floor plan based on the contours of two mirroring Roman numeral sevens – a symbolically significant number in the Christian religion – which she then extrapolated into two curved folds.

Translated into three dimensions, the chapel consists of two curved walls, slightly offset from each other, with two narrow apertures – one at the entrance and the other at the altar – which are respectively referred to as the Alpha and the Omega. In an elegant nod to the conventional church tower, a floating roof culminates in a dramatic cantilevered shard, jutting out among a leopard tree and a water feature.

“Because of the shape of the building, we had to use a specialist contractor in ETICS (External Thermal Insulation Composite Systems) to construct a lightweight steel frame. We then clad it in Terraco board, with a textured plaster finish,” says Phoebe. “The chapel is on a prominent site on campus, with a lot of movement around it, so we introduced light and cross-ventilation to the building with two narrow slit windows – one at floor level, and the other below the roof on the opposite wall. There is also a skylight in the roof that mimics the form of the building.”

A design feature in their own right, slivers of rectangular sunlight are an ever-evolving presence in the chapel, tracking over the interior’s gleaming epoxy resin floor and birch wall panelling and slats to great captivating effect. “We wanted the interior to be a contrast to the clean, white exterior, so we opted for something warmer and more approachable,” says Phoebe. “The furniture is movable so that the space can be adapted to whatever is needed, whether it’s for prayer, small services or even weddings.”

At night, the chapel is illuminated from the inside, neatly inverting the light streaming through the horizontal and vertical fenestrations during the day. “It was important to illuminate the chapel at night, as the space is meant to be used at any time,” says Phoebe. “In the evenings, when you’re driving around the area, you can see this glowing beacon from afar.”

It’s a guiding light, if ever there was one. And it couldn’t be more mesmerising.

SOURCE: VISI MAGAZINE

T he name, Lagom derives from the Swedish term – “not too much not too little” The concept of the Lagom cabin draws inspiration from the Protea Fynbos in the form of a fragmented (bract) structure, allowing the building to “breathe” within the landscape. The semi-detached rooms allow the fynbos to seep through the exterior walls to become part of the interior spaces. The fragmented architecture allows for views, light, and nature to occupy the space, connecting the dweller with nature and the unique fynbos landscape of Romansbaai.

The challenge of the project was the limitation of a 90m² footprint required by the clients. The use of fewer materials in a compact-footprint dwelling is increasingly relevant with the ever-expanding carbon footprint in the world. The design approach was to integrate the interior and exterior spaces and to create a seamless transition between the indoor and outdoor areas. Once you open the cabin the interior seems larger than 90m², and natural light infiltrates the space to enhance the intimate connection with the natural landscape, becoming a pavilion of refuge in the vast fynbos landscape on a summer day, but at the same time the cabin ensures for Hygge- The Swedish concept of coziness, contentment, and well-being found through cherishing little things, which can be experienced on a winter and or rainy day. The windows incorporated between the trusses allow for the dweller to have a visual connection to the atmosphere (sky) while being protected by the structure. This connection was manifested by fragmenting the structures to create the voids and crevasses that allow the landscape to flow through the house, providing a constant connection with the outside.

SOURCE: ARCHDAILY.COM