SUMARI KRIGE TRANSFORMS A FORMER HOLIDAY RENTAL INTO A HOMELY BOUTIQUE HOTEL THROUGH A DISCERNING USE OF STRIKING PATTERNS IN ACCENT FEATURES
TEXT TRACY LYNN CHEMALY PHOTOGRAPHS ELSA YOUNG
When the owners of The Thatch House, a family villa on the Hermanus lagoon, decided to transform the property from a holiday rental into a boutique hotel, they sought the timeless approach of La Grange Interiors’ Sumari Krige for the much- needed interior revival. ‘They wanted something that wasn’t going to date,’ Sumari says of the once English country- style private abode, now The Thatch House Boutique Hotel, that needed to appeal to a modern holiday-maker. Keeping with La Grange’s philosophy of mixing classics with fresh elements, the only change made to any structures was to paint them black, instantly imbuing the interiors with a renewed level of sophistication. ‘Everything we could reuse, we painted in black, so we used a hell of a lot of black chalk paint on that mahogany-coloured cherry wood they utilised 15 years ago when the house was built,’ Sumari laughs. ‘We painted vanities, built-in features, joinery, chests of drawers, servers…’ Respecting the historical nature of the classic thatch house, traditional furniture that was salvageable was reupholstered, offering an opportunity for a contemporary approach to fabric application and the introduction of print and pattern. ‘Where 10 years ago we would have used a natural linen, nowadays we make furniture current by using a lot of pattern,’ she reveals. However, it was the sheer volume of the rooms that informed her decision to let loose fully on pattern-mixing. A colossal open-plan living area divided into two lounges and a dining space, and four unusually expansive bedroom suites, each giving onto a children’s room, were doused with contemporary patterns in her quest to create the intimate, homely atmosphere that the hotel owners required. ‘You can probably fit four regular hotel rooms into one of these bedrooms, so the pattern we used was never too big or too much. It honestly disappears, and helps make the humongous rooms feel smaller and more cosy.’ Wallpaper cleverly connects the main suites to their welcome nooks, passageways, lounge areas, bathrooms (some with separate his and hers) and children’s rooms, with focal walls covered in theme-specific applications that are referenced in either the colour of a cushion or ottoman, or by means of a patterned rug, tying each suite together. In the downstairs living room, it’s the two chimneys mirroring each other on both ends of the 35-metre-long space that hold this vast area together. ‘Modern chimneys are so small, so these old- fashioned eight-metre-high ones were such fun to play with,’ Sumari says of her unconventional decision to wallpaper them in a monochromatic 3D graphic print. ‘When you walk into the room, the impact is instantaneous.’ Although a mezzanine library occupies the overhead space in this room, it’s the giant black dome lights from La Grange’s contemporary handmade Indian lighting range that offer visual attraction at this level. ‘We tried to lower the ceiling height with these lights, painting them gold inside to reflect more warm light,’ she explains. Custom-made metal wall lights were dotted around the room for additional accent illumination, adding to the welcoming home-from-home environment. With a swimming pool flanking either side of this living area, one overlooking the lagoon and the other facing the Klein River Mountains, as well as a putting green, treehouse and tennis court, the atmosphere is one of ultimate relaxation for the entire family. ‘It’s not pretentious, and you don’t get the idea of being in a hotel,’ Sumari says. ‘It really feels like you’re at home, where the emphasis is on comfort and finding a spot where you can chill.
La Grange Interiors / lagrangeinteriors.co.za; The Thatch House Boutique Hotel / thethatchhouse.com
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THIS CONTEMPORARY JOHANNESBURG HOME WITH COUNTRY ROOTS BUCKS RESIDENTIAL ESTATE TRENDS AND LOOKS OUTSIDE FOR INSPIRATION
TEXT MILA CREWE-BROWN PHOTOGRAPHS ELSA YOUNG
Tucked down a gated lane in one of Jo’burg’s best-loved estates, this unassuming home steers clear of grand statements, giving little away at first glance. From the street, a clean- lined, white-walled, barn-style building with a neat roof emerges from its inconspicuous position below road level, more striking for its simplicity than its flashiness.
The home takes inspiration from examples of classic farmhouses, with its dominant rectangular form, pitched, galvanised iron roof and expansive entrance court, which makes arrival an occasion in its own right. A stripped-back façade belies what awaits inside, save for a large glass window that peers into a courtyard where Mark Swart’s ‘Reading Man’ sculpture reclines among the tall grass.
Stepping through the front door into the entrance area with its low-slung ceiling, the house opens up dramatically and suddenly into a staggering double-volume living area and vast glass wall that o ers the garden up to viewers, determinedly connecting the two.
Due to the owners’ love of the outdoors, the view was of utmost importance. Diminishing the separation between inside and out, glazing extends the full length of the northern façade from floor to ceiling, while an axial view from the front door in the south through the glass in the north ensures a strong bond from the outset. ‘This axis from arrival court to garden, by means of exciting serial vision, strengthens the unity of house and garden, making the one part of the other,’ explains Johan Bergenthuin of Bergenthuin Architects. Openings along the way also link the spacious covered veranda with the interior, drawing you out.
Together with interior designer Sumari Krige and her team at La Grange Interiors, they were tasked with conceiving an understated and comfortable home, with interiors that wouldn’t date. ‘They wanted a family home, not a showcase,’ Krige recalls of her brief
from the homeowners, a couple who have demanding corporate jobs and are raising two teenagers.
While Krige has injected the space with a handful of juicy colours, she’s steered clear of pieces that ‘shout’, and defends her reputation for carefully balanced interiors. Inky blue and aubergine-hued velvets are teamed with warm wood, light grey walls, oak floors and raw concrete, while an inventory of collectable artworks by the likes of Jordan Sweke and Deborah Bell animate the walls. The result is an aesthetic that’s both stylish and relaxed, but designed not to distract from the all-important vistas.
In the voluminous living room, Krige opted for a well-positioned sofa and a set of Prato open-backed armchairs, chosen for their low back height and translucency. ‘We anchored the room with a group of transparent pendant lights that we designed in-house,’ she adds of the light feature that links the space with the lofty expanse above it.
The open-plan kitchen and lounge area is a nexus for the family, whose lives intersect in this welcoming zone. From the kitchen, with its interactive bar counter and intimate breakfast area, to the cosy TV lounge and study area for the kids, it’s a space designed to cater to everyone’s needs.
Upstairs, a sense of calm prevails, thanks to a predominantly pale grey and white scheme, with oak to bring balance. All three bedrooms claim a stellar vantage point over the garden, which was designed by renowned landscape architect Patrick Watson. Together with Rekopane Landscapes, he’s created an understated layout with wild grasses and clipped lawn that steps down a series of small terraces. It’s a low-key plan that capitalises on the scale of the site while concealing neighbours and street traffic with a thicket of trees along its boundaries. Just like the interior, there’s a thread of restraint that runs through the impressive garden, with the two in constant dialogue with each other. lagrangeinteriors.co.za, bergenthuin.co.za