HOUSE OF ORELOWITZ

Johannesburg architect Anthony Orelowitz has designed a family home that reinvents the notion of the urban refuge;

“In Johannesburg, there is no mountain,” explains architect Anthony Orelowitz…. “There’s no sea either; It refers to Table Mountain in Cape Town, South Africa; Houses in Cape Town generally face outwards, for views of the ocean or Table Mountain;
“Here you have to create your own environment,” explains Anthony;

He wanted to adapt to Johannesburg’s urban character when he designed his own house in the city’s famous wooded suburbs; Anthony is first and foremost a commercial architect; His firm, Paragon, is responsible for some of the city’s most important projects; But, he says, “I hadn’t built a house for nearly 15 years”;
Nevertheless, working closely with architect Elliot Marsden and interior designer Julia Day, he has designed a house in Joburg that is both perfectly suited to the city and completely different from its neighbours;
The land on which Anthony has built his house used to be a tennis court: it was reached by a long driveway surrounded by houses on all sides;
Julia was involved right from the start of the project, so that the ideas behind the design were maintained right down to the smallest detail; She says the house is unlike any she has worked on before; “Everywhere, the details were personalised as we went along,” she says; (She remembers redesigning entire bathrooms so that the tiling was perfectly even, lining up exactly with the doors, without the need to cut or use unevenly sized tiles); The design, engineering, construction and decoration have been a constantly evolving experience;
For his home, Anthony turned to the archetypal atrium house: an interior courtyard surrounded on all sides by the building, creating a peaceful sanctuary at its heart, open to the sky; He describes it as a veritable oasis in the city;

The house is essentially a series of pavilions, with vast sliding doors and screens that can be opened or closed, reconfiguring a mosaic of spaces in countless ways. (A new track system had to be designed to operate the solid glass panels of the sliding doors);
However, rather than simply enclosing the central courtyard, Anthony has “pushed” the landscape into the pavilions and out to the edges of the site; “The floor inside is a single piece from one end of the house to the other,” he explains;

This creates “secondary courtyards” all around the house, where the pavilions open onto private, peaceful spaces under the trees, and where the boundary walls actually become the walls of the house;

Architect and owner Anthony Orelowitz and interior designer Julia Day;

Despite its long, low appearance, the house also has an upper level in the treetops, carefully designed around the branches that lean into and over the house. It’s like a “big tree house for adults”, explains Anthony; This gives a feeling of space knitted together both vertically and horizontally, drawing you towards the terraces as much as towards the house and gardens on the ground floor;

Anthony designed the house “upside down”, with the bedrooms on the ground floor, nestling under the trees, and the outdoor living and relaxation areas (including the swimming pool, whose portholes at the back overlook the central courtyard) on the upper level. He says that when he wakes up in the morning, he wants to “touch the ground” and “be in the forest”;

The luminosity and apparent simplicity of the design is truly an engineering marvel, from the massive, solid ‘post tension beams’ that wrap around the house (so well hidden by the cascading plants that you can’t see them) to a floating lounge floor suspended by a 90mm steel hanger from the ceiling above which it seems to defy gravity.
Julia explains that the carefully controlled palette of interior finishes has been selected for its natural, tactile and raw aspects; Anthony talks about “sensory feedback” when you touch the surfaces in your home, from the walls to the floors; It’s a quality he finds regenerating; The raw sensuality of the stone, the lushness of the plants and the presence of elements such as air and water move away from minimalist European modernism towards a lush, tropical sensoriality that is typically Brazilian;

The tactile, natural materials bring nature indoors and this ‘feeling’ is reinforced by the way light enters the house, the way air flows over a pond and through a skylight, the movement and variations in temperature…

Particular attention has been paid to detail so that there is no transition between the inside and the outside, a goal often sought but rarely achieved; Wood cladding covers the walls and ceilings, and the door and window frames are integrated with such precision that the thresholds are imperceptible; The lighting (also highly personalised) is concealed and designed so that, in the evening and at night, the quality of light inside and outside is the same; The effect is magical;
Despite the pure beauty of its design, Anthony compares his house to Hogwarts School in the Harry Potter book series, referring to the secret passageways and hidden staircases of this imaginary school; He describes it more as a system than a fixed structure; “There are hidden passages and other hidden spaces behind these spaces,” he explains;
The way in which walls and screens can be opened or closed in Anthony’s home means that it can be magically reconfigured; It is always moving and changing shape; “It’s quite theatrical,” admits Anthony;
Some totally over-the-top features, such as the app-controlled automated skylight (around 20 m long and 3 m wide) that runs the length of the front of the house, add to the magical effect, transforming interiors into exteriors. “The walls are made of plants,” says Anthony, referring to a vertical garden that runs the length of the first floor;
Julia has maintained this sense of surprise and discovery throughout the interior, in particular by concealing cupboards and storage spaces behind wall panels and even entire rooms (the cloakrooms and scullery are hidden behind seamless wall panels); This has the effect of bringing the house back to a comfortable, human scale;

By all accounts, Julia has worked miracles to ensure that all the exteriors and connections are truly habitable, and that the family occupies all the living spaces; She explains that large volumes and open, fluid spaces also need “modules” and “restful corners” that create more intimate spaces; To be relaxing, open spaces must be places where people can “be alone together”;
So, while respecting the architecture in her choice of furniture, she has ensured that the house is as warm, welcoming and soothing as it is surprising and delicious;

She was largely inspired by the creations of De Padova and brands such as Ligne Roset, Wiener GTV Design and local designers such as Haldane Martin; She points out that not only is the furniture beautiful on its own, but it also works wonderfully together without “competing” with each other; She has favoured low, often lightweight designs, with fairly transparent pieces that do not interrupt sight lines or “break up” views to give a feeling of fluid, continuous space; “There’s nothing to stop you looking,” she says;

But she has also chosen creations that are imposing enough to occupy the space; “La maison autorise des éléments sculpturaux”, dit-elle. Les formes architecturales du mobilier d’extérieur de Haldane Martin, par exemple, ont transporté le langage de la “coque dure” de la maison dans une autre dimension.

Because the space is so interconnected, she had to constantly think about what the furniture would ‘translate’ into the house from different points of view. In the same vein, she steered clear of designs that were “too functional”. The kitchen was conceived more as a convivial space for cooking and entertaining, rather than a traditional kitchen;

The interiors, she emphasises, are an exercise in layering, articulating and complementing architecture rather than decoration. Natural textures are echoed in the fabrics, maintaining a sense of grounded, authentic materiality. Colours are drawn from water, foliage, sky and stone to “make inside and outside a single space”;

To maintain the notion of simplicity, subtle variations in colour texture and materials (the same hammered granite here, but sandblasted there) prevent the whole from appearing monotonous or sterile. She has turned to craftsmanship, the tactile and the imperfect to bring warmth and conviviality to the space;
She has even gone so far as to adopt what she calls ‘anti-perfection’, and to make a few deliberate ‘faux-pas’. The patterned tiling in the central courtyard’s outdoor lounge, for example, breaks the rules, but introduces the whimsy and freshness desired for the spirit of the place. Julia quotes Vico Magistretti, who designed a number of her favourite pieces of furniture, some of which she chose for the house: “Simplicity is the most difficult thing to achieve. It’s an effect rather than a set of rules;

But the secret lies in the details, in the ability to maintain a clear vision of the “big idea” right down to the smallest detail. Of course, this meticulous attention to detail only pays off if the idea is convincing from the outset. If it is, you are creating an architectural monument;

The house is located at the end of a long driveway. The patterns in the cladding mimic tyre tracks, transforming ephemeral movement into artistic detail and demonstrating how architecture and design are about movement and connection. The variation in colour of the aluminium strip cladding softens and breaks up the surface of the façade. The entrance is through a large pivoting glass door. The entire length of the building can be seen from the courtyard through the transparent pavilion-like structures. As soon as you enter, you are greeted by the freshness and sound of the water in the pool. A metal border has been installed around the pool. In the window embrasure is a table with drawers in red clay by Maarten Baas;

A staircase leads from the entrance to the upper level. Another, smaller, staircase leads to the kitchen and dining room, which are slightly sloping, with the edge of the pond at eye level. The baskets beside the pond are from Amatuli. The Louisiana chair, inspired by a saddle, was designed by Vico Magistretti for De Padova. The rug is by Paco, its abstract organic pattern a work of art in itself, especially when viewed from above; Its colours echo the details of the foliage in the vertical garden and the cascading vines. The Vidun table in the dining room was also designed by Vico Magistretti for De Padova. The Korium armchairs by Tito Agnoli for Matteo Grassi belonged to Anthony’s parents. The skylight at the top of the double-volume space opens onto the sky. The floating lounge above is suspended from a thin arch at its corner, giving the architecture an airy, floating character. The granite cladding on the wall behind the staircase is sandblasted, while that on the staircase is hammered, creating subtle variations in materials throughout the house, while maintaining coherence and unity.

Anthony explains that he didn’t want a traditional kitchen and dining room, but rather a space for cooking and entertaining. The Vidun table Julia chose for the dining room was designed by Vico Magistretti for De Padova. The Korium armchairs by Tito Agnoli for Matteo Grassi belonged to Anthony’s parents. The carpet is by Paco; The wood of the kitchen island echoes the aluminium element of the front. The wooden panels at the back of the kitchen conceal not only a storage area, but also a scullery and a pantry. The artwork on the back wall is Four Letter Brand (Life) 1 by Kendell Geers, represented by Goodman Gallery. On the lower level, the kitchen opens onto a covered terrace with skylights. The stone floor, wall cladding and wooden ceiling extend seamlessly from the inside out, with the sliding door tracks integrated into the finishes. The Papa Sun armchair and sofa are by Haldane Martin. “I love their shape,” says Julia, referring to their organic curves, which contrast with the rectilinearity of the architecture. Their form and lightness interfere very little with the fluidity of the space, while the close-knit rods that form the bases of the Cha Cha side tables, also by Haldane Martin, have been designed to create an illusion of movement, accentuating the fluid feel of the architecture. Amatuli’s handmade African objects add a tactile dimension to the décor, recalling the artisanal nature of much of the home. “I love their shape,” says Julia, referring to their organic curves, which contrast with the rectilinearity of the architecture. Their form and lightness interfere very little with the fluidity of the space, while the close-knit rods that form the bases of the Cha Cha side tables, also by Haldane Martin, have been designed to create an illusion of movement, accentuating the fluid feel of the architecture. Amatuli’s handmade African objects add a tactile dimension to the decor, recalling the artisanal nature of much of the house. Pictured here are Anthony’s wife Zahava and sons Luke and Joshua (14);

Three ‘porthole’ windows under the pool on the upper level project liquid light onto the covered part of the courtyard below. The Hula Dining chairs and Cha Cha side tables are by Haldane Martin and are a playful reworking of the mid-century Salterini Hoop chairs once found in every South African garden. The circular shape of the furniture echoes the shape of the windows, accentuating the sense of calm created by the consistent and harmonious use of form (not to mention colour). The tiles on the seat in the background, (although Julia says they “stand out a bit”), introduce a slightly off-theme element and “deliberately break the perfection”, as she puts it, adding a fun and quirky touch to the design. The mosaic pattern designed by Anthony and Marley Swanepoel for the pool floor was inspired by contour maps of the ocean floor – and a dash of David Hockney! Anthony’s wife Zahava’s desk reflects her love of Eastern philosophy. (She’s a psychologist.) WIENER GTV’s Targa sofa, upholstered in deep turquoise felt, introduces a slightly whimsical Japanese influence in its lacquered finish, which can be seen in the Clyde desk by Numéro111 for Ligne Roset , in the Japanese print on the wallpaper and in the use of gold and brass, seen in the brass legs of the desk, by Ligne Rose. The artwork entitled Kwa Mahlongwane, Inkuthu, Ladysmith, is by Jabulani Dhlamini, represented by the Goodman gallery. The Tondo armchair is by Vico Magistretti for De Padova; Les carreaux du siège à l’arrière plan, (bien que Julia dise qu’ils “dénotent un peu”), introduisent un élément légèrement hors thème et “cassent délibérément la perfection”, comme elle le dit, en apportant une touche amusante et décalée au design. Le motif de mosaïque conçu par Anthony et Marley Swanepoel pour le sol de la piscine s’inspire de cartes des contours du fond de l’océan – et d’un soupçon de David Hockney! Le bureau de Zahava, la femme d’Anthony, reflète son amour de la philosophie orientale.Three ‘porthole’ windows under the pool on the upper level project liquid light onto the covered part of the courtyard below. The Hula Dining chairs and Cha Cha side tables are by Haldane Martin and are a playful take on the mid-century Salterini Hoop chairs once found in every South African garden. The circular shape of the furniture echoes the shape of the windows, accentuating the sense of calm created by the consistent and harmonious use of form (not to mention colour). The tiles on the seat in the background, (although Julia says they “stand out a bit”), introduce a slightly off-theme element and “deliberately break the perfection”, as she puts it, bringing a fun and quirky touch to the design. WIENER GTV’s Targa sofa, upholstered in deep turquoise felt, introduces a slightly whimsical Japanese influence in its lacquered finish, which is echoed in the Clyde desk by Numéro111 for Ligne Roset , in the Japanese print of the wallpaper and in the use of gold and brass, which is echoed in the brass legs of the desk, by Ligne Rose. The artwork entitled Kwa Mahlongwane, Inkuthu, Ladysmith, is by Jabulani Dhlamini, represented by the Goodman Gallery. The Tondo armchair is by Vico Magistretti for De Padova;

The transparency and permeability of the house’s suburban structure are revealed from the upstairs lounge areas. Lines of sight run uninterrupted through the living space to the vertical garden at the rear and diagonally across the courtyard to the terrace below. The upstairs living room floats spectacularly against the backdrop of a vertical garden, suspended by a slender steel arch. It is open onto the paved terrace on the first floor, which leads to the swimming pool on one side and to the outdoor relaxation area on the other side of the courtyard. The furniture Julia has chosen is low and light, so as not to break the lines of sight through the house and courtyard. She chose textured fabrics such as loops (for the cushions) and hand-woven rugs to introduce “a human touch”, or “the anti-perfection” as she puts it. The tactile materials not only add a touch of comfort and envelopment, but also complement the sandblasted stone walls, which bring a raw, earthy feel to the interiors. The Mosaic sofa was designed by Piero Lissoni for De Padova. The Dan table by Vico Magistretti and the Ishi coffee table by Japanese designer Nendo are also by De Padova; The ceramics on the table are by Cape Town ceramist Lisa Firer, and the African headrest and other objects are from Amatuli; A smaller lounge, also on the upper level, with the vertical garden as a backdrop, is a more intimate space around the fireplace; In this space, Julia explains that she has focused on simplicity to create an inherent sense of calm; While each piece of furniture is beautiful in its own right, they work harmoniously together; La chaise Wingback P22 de Patrick Norguet a été conçue pour Cassina et le tabouret Butterfly est signé Sori Yanagi pour Vitra. The Ashby table is by Lemon;Patrick Norguet’s Wingback P22 chair was designed for Cassina and the Butterfly stool is by Sori Yanagi for Vitra; The large sculpture on the table is by Edoardo Villa; Other objects on the table include a ceramic vase by Liebermann Pottery and a Chica-Boum lamp by Numéro111 for Ligne Roset; The yellow abstract painting is by Fred Schimmel, represented by ArtVault;

The courtyard on the other side of the master bedroom is one of Anthony’s favourite places – a quiet, serene space under the trees; The plants cascade down from the upper level to the ground, creating a curtain of greenery and an almost tropical atmosphere, while cleverly concealing the massive metal beams that allow the architecture to be light, open and floating. The Papa chaise longue and Cha Cha side tables are by Haldane Martin; The Firefly nomad lamp was designed by Alexander Åhnebrink for De Padova; Inside, the wood panelling creates a warm, enveloping atmosphere; The bed was custom-made by Julia; She calls it “sleep island”; It is covered in a raw linen cover made to measure by Heavenly Feather; The bedroom and bathroom open onto their own courtyard, which can also be opened onto the main courtyard or, alternatively, closed off to transform the room into a private suite; The Yak sofa in aniseed lamb leather is by De Padova; The Elementi table lamp was designed by Elisa Ossino for De Padova; The artwork above the bed is by Candice Kramer;

In the main bathroom, which can be opened onto a courtyard between the bedroom and the garden at the back of the house, Julia has designed the marble showers as if they had been “inserted” into the volume; The false ceiling creates a cocoon-like atmosphere; The details are perfect – there’s hidden storage behind the mirrors, for example – and there are no superfluous details. The Paipaï armchair is by Ligne Rose, as is the Globe Indoor lamp. The Estenda coat rack was designed by Busetti Garuti Redaelli. The Sen range of occasional tables is by Kensaku Oshiro for De Padova. The sculpture on the wooden base is by Angus Taylor, represented by Everard Read. The bespoke bamboo napkins are by Heavenly Feather;

The upstairs guest suite opens onto a magnificent bathroom, which can be completely open to the sky thanks to an automated skylight controlled by an app. In the bedroom, the sculpture on the wooden plinth is the work of Candace Kramer. The bespoke bed linen in shades of green is by Heavenly Feather and echoes the plants in the bathroom;

Floating staircases lead from the inner courtyard to an upstairs relaxation area, which Anthony describes as a ‘tree house for adults’, almost like a pavilion in the branches. The large fireplace below was inspired by the fusion of the idea of a fireplace and a room. The balustrades, made of standard square steel tubes, were converted into planters with succulents, transforming something banal into something original;

The relaxation area is furnished with a 0-Plat table and Hula chairs by Haldane Martin. The structure, carefully designed around the branches of existing trees, which lean directly into the space, provides a covered area.

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