To protect the unique beauty of the Cape Winelands, much of the region is regulated by conservation legislation. With regard to the best approach to new building development, there has been much heated debate between architects, planners and urban designers. A prevailing philosophy is that, “the old should not be made to look new, and the new should not be made to look old”.

The recently completed project illustrated, was constructed on a Grade 1 National Heritage site and had to comply with strict guidelines and legislation put in place by the South African Heritage Resources Agency. Due to the heated debate which took place when the guidelines were compiled, much in the guidelines seemed contradictory and confusing. When I was commissioned to do the design and I was taken to the breathtakingly beautiful site, my mind was flooded with inspiration. I envisioned everything ranging from a highly contemporary approach to the design, to something with a very traditional feel that simply felt at home in it’s beautiful setting.

My clients specifically requested that the proposed development should have the “look and feel” of a rambling old farmstead. They liked symmetry, and wanted the buildings to have a rustic character. Hence, the farmstead was designed with direct reference to the forms, proportions, rhythms, textures and spatial arrangement of historic farm buildings. The exterior walls comprise a combination of plaster and painted unplastered brickwork to give a rustic impression. Interior finishes, fixtures and technology are highly contemporary.

As I drive by on the road in the valley below, although the landscaping around the new development still needs to mature, the farmstead looks as though it has always been there. With all the heated esoteric debate that goes on among architects about “what to do in a rural landscape?”, perhaps the answer is simple. We need to play close attention to the intuitive response from within.

THE RESPONSIBILITY OF AN ARCHITECT

What is the responsibility of an architect? To whom is an architect responsible?

Think about it. In a little more than a 100 years from now, all of us would have passed from the face of the earth, yet, much of what we have done will still be standing and in use, some of it exactly the way we designed it. We cherish and protect the good architecture of previous generations, much of which is protected by heritage conservation legislation. Just as those who have gone before us took great care to create a beautiful built environment, so too we can play a part in leaving behind a legacy for future generations. In this regard, no architect should do less than strive for excellence in all that he does. We may think that to simply respond to satisfying our client’s requirements, means a job well done. Our responsibility extends far beyond that. 

With reference to the above, it is commendable to see influences that have been set in motion in the Cape Winelands, specifically the influence of “critical regionalism”. In the early 1980’s there was a world-wide reaction to rampant, sloppy, modernism which was ruining our built environment. “Modern Architecture” itself was not at fault, as can be seen by an appreciation of the Masters of the movement, such as Le Corbusier and Frank Lloyd Wright who truly strove for excellence in all that they did and left behind a legacy which we revere and cherish. The reaction to modernism was evident in two main movements, “Post Modernism” (a return to classicism), and “Critical Regionalism”.  Much of “Post-Modernism” is today also severely criticized, since much of it was done without a deep understanding of the fundamental principles of classical architecture. Hence, there has again been a “pendulum swing” back to modernism. The influence of “Critical Regionalism” has, however endured, even in cutting edge contemporary architecture, which has proven to be compatible with critical regionalist theory.  

In Stellenbosch and the surrounding region the influence of “Critical Regionalism” is today clearly evident. It began in the early 1980’s when Claude Behrmann and other young architects and urban designers in Stellenbosch embraced its principles and developed a style of residential architecture which has popularly become known as “Cape Vernacular”. The principles of the style are today the common denominator in the Architectural Guidelines for residential estates in the region. The principles of Critical Regionalism allow for design approaches ranging from very traditional to cutting edge contemporary. Ironically, some examples of very contemporary work, resonate the most sympathetically with existing historical architecture, because the designs are done with a deep understanding of the enduring principles of good architecture. When all is said and done, that is what really counts; to strive for excellence, which has enduring principles of good design as its foundation. 

Why so much white?  To understand the answer to that question, one needs to understand white.  

White is often referred to as the absence of color.  In reality it is the most alive “color”.  If you paint a wall a color it will absorb the light and reflect back only one color (the color you have chosen).  If you paint a wall white, it has the capacity to reflect back all the colors of the rainbow. It reflects back the warmth of the morning sunrise, or the rosy hue of the sunset, the blue of an adjacent swimming pool, the luminous green of surrounding foliage, or the warm color of light reflecting off adjacent paving.  The moods of white are constantly changing.  It is alive! The next time you look at a white wall bathed in sunlight, look carefully and see what you really see. You might be surprised. 

White accentuates the “positive/negative” play of the surrounding foliage – the shadows of a tree adjacent to the positive form of the tree itself.  As the sun moves the shadows constantly change. The play of light and shade on the white painted building accentuate and give definition to its form.  

White creates the perfect counterpoint in a verdant landscape. Because it is not a “color”, it does not clash with the colors of its surroundings.  While being the perfect counterpoint, it also harmonizes perfectly.  

White, when used in interiors, also does not clash with any color. Therefore the décor is not bound by the colors of the painted interior, and can be varied easily and with more versatility. 

I love color and I use it whenever a client requests it or when guidelines prescribe it, but personally I really love white.   

In compliance with the principals of "Critical Regionalism", most residential estates in the Cape Winelands have stringent architectural guidelines intended to ensure that the designs done by various architects are appropriate to the historical and natural context of the magnificently beautiful region in which they are situated. The intention is that new development should be both "true to it's time and place". To bring the point home; the fairly recently written book and corresponding film "Under the Tuscan sun", caused a world wide craze in the Tuscan style of architecture. Shamefully, due to pressure from developers, this craze spread even into parts of the Cape Winelands. I ask you the question, "If you were to visit Tuscany would you want to stay in a hotel that had a fake Cape Dutch style?". Definitely not, I am sure. That is the challenge in the world we live in today. By not complying with the principles of "Critical Regionalism" the built environment of the world is in danger of becoming a "hodge podge" of discordant and inappropriate architectural styles, with the Las Vegas Strip and Disneyland everywhere!

Even with the application of architectural guidelines, architects still fall into the trap of copying historical architecture too literally. This creates an architecture, which while being (perhaps) true to it's place, is not true to it's time. The casual passer by is confused, and asks the question, "Is that a historic building, or was it built in the present day?" Architecture needs to be legible and true to the present time, otherwise it ends up being "pastiche" or even "Kitsch" - once again, Disneyland.

The architectural guidelines for Fransche Hoek Estate are very stringent, allowing architects little latitude to deviate from that which is appropriate to the context of the local historical architecture. Within these confining parameters, the design of the house illustrated is not only appropriate to it's place, but very specifically appropriate to the present day. While conforming to the typical "footprint", scale, rhythms, symmetries and proportions of the local historical architecture, the detailing, stylistic approach, materials and finishes, are modernist, minimalist and "cutting edge" contemporary. The design is crisp and clean, with large expanses of framed and frameless floor to ceiling glass, to capture the magnificent surrounding views. There are no exposed rainwater pipes, and the approach to the design is to avoid anything superfluous, purely decorative, or non-functional. For example, gable ends do not have parapets. We would all most likely agree, gables on newly completed houses look nice, but they soon deteriorate, eventually leak at the flashings, and end up looking terrible, becoming a constant maintenance problem. In fact, on the historic Cape Dutch houses, they had a functional purpose; to retain the thatch of the roofs at the gable ends. On anything other than thatched roof houses, they are purely decorative. Personally, I love parapet gables when used appropriately. But if there use is purely decorative, one must be prepared to pay the price.

In addition to the above mentioned, design elements throughout are functional and contemporary. The "floating" modernist staircase is separated from the kitchen by a frameless glass screen, which in a contemporary way makes reference to the traditional wooden and glass louvred screens which separated the "voorkamer" (entry hall) from the "agterkamer" (dining room) of a traditional Cape Dutch homestead. The pergola of the long "stoep" (veranda) facing west, while referencing the traditional "stoeps" of local Victorian era houses, is designed as a sunscreen and incorporates remote control automated sunscreen blinds. Eventually the pergola will be softened as the decorative vines which have been planted, mature. The design and finish of the kitchen and bathrooms is "cutting edge" contemporary, and the house incorporates the latest in technology for the lighting and sound system. Hot water is solar energy supplemented.

Externally, an "infinity edge" rim flow pool at the edge of the pool terrace is positioned to reflect the magnificent view of the mountains at sun set. Balconies and the pool terrace are surrounded by frameless glass minimalist guardrails, which are not only "child safe", but provide some protection from prevailing winds. The thick surrounding walls of the property, intended to make reference to the traditional "werf" boundary walls in the region do not have plaster copings, but instead are given a crisp clean lined look.

At a glance, the house looks like a typical Victorianized, Cape Dutch house, similar to those seen in the town of Franschhoek and in the surrounding region. On closer inspection, the house is modernist, minimalist and contemporary in every way. The secret lies in the strict adherence to authentic traditional forms, scale, proportions and symmetries.

The adoption of the design approach described above enabled the construction of a large luxury home within a modest budget.

Take a look at newly added photos to the site.  This thatched roof farmhouse, completed in 1995, makes close reference to the historical architecture of renowned South African architect Sir Herbert Baker.  The house was planned to ensure that every mature old oak tree on the site was saved.  A high standard of materials and finishes was used, including yellow wood for the floors and teak for the doors and windows.  For more information and pictures see the portfolio.