The range of experience has been broad covering an array of project types ranging in scale and complexity with the focus on delivering a service matched by the quality of the product. The firm thrives on new challenges to test their skills in imaginative and creative ways backed up with the use of technology to achieve their objectives. In line with global trends, the architecture firm believes that the provision of a quality service is exacting and realizes the best potential in people as a strategy for continuance in world markets.

“Our approach is a holistic one and a total design service is offered. Each project is considered in its entirety, touching not only on the design of the physical fabric of the envelope, but also on the interiors, furnishings and landscaping, and the attention to each of these in great detail is the recipe for the success of the final product. Our process is one of constantly questioning and measuring all that we do in an ongoing quest for timeless, elegant and relevant design solutions. Our commitment to this is total from inception through to the final culmination of each project.”

House Sealion, located at the foot of the mountain in the Atlantic Seaboard of Cape Town – South Africa and it was designed with the intention of an entertainment home. The site presented a challenge of making the mountain and the ocean integral parts of the experience of the home.

Privacy was an important issue, while trying to optimise on achieving maximum allowable height. The close proximity of the adjoining neighbours presented an opportunity to think differently about how to organise the building on the site. The resolution was to stack the building and optimise on height, by separating the main volumes by way of courtyard spaces – which offer an additional layer to the horizontal spatial relationships. Key to the clients brief was an integral relationship between the mountain and the ocean. This is central to the way one circulates through the central circulation spine that connects the two key volumes of the house. The internal courtyard at ground floor level and upper bedroom levels become integral extensions of the internal spaces.

Double volumes work to shift the spatial experience at the entrance and living levels where the mountain and ocean gain special emphasis respectively. The main staircase double volume opens onto a more intimate, water feature courtyard and extends towards the living area, the sliding doors in the living room and dining room slide away into cavity walls, which allows the living room and dining room to flow out onto the Pool and BBQ Terraces. The Master Bedroom, situated on the Second Floor level enjoys access to it own terrace, where the experience and relationships to the mountain backdrop and ocean below dominates.

The street edge is protected with splayed concrete walls with intentionally placed window openings from the Master Bedroom and Study desk. The laser cut screens serve a dual purpose of security as well as the slick aesthetic contribution to the facade of the house. Being very sociable people and great hosts, the client needed both a home and a place to entertain and “share” the incredible natural beauty offered by the special location.

The minimalism of the interior finishes, creates a sense of calm, which is immediately contrasted by the bold and colorful decor. Bold and discreet lighting has been layered to evoke contrasting but complementary moods throughout the house.

“We are thrilled with the house that Greg Wright Architects have created for us. We set a challenging initial brief that included an ocean view from every single room in the house; quiet garden spaces, as well as a strong connection between inside and outside. We wanted to create a ‘journey’ through the house so people could appreciate both our art and the views. We have a strong focus on entertainment within the house, with the desire for all key needs to be on one single spacious level – this included the kitchen, scullery, wine cellar, dance floor, cinema, living room, gym, sauna, BBQ and swimming pool. Greg Wright Architects have definitely achieved our brief and helped create an amazing contemporary but yet cosy home with amazing views out of each section of the house.” The client.

Greg Wright Architects
Units 9 & 10,
Canal Plaza, Battery Park, V & A Waterfront
Cape Town, 8001, South Africa

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Designed by the Dublin-based Heneghan Peng Architects, the construction of the museum first began in 2006 but slowed down due to the outbreak of the Egyptian revolution in 2011. The museum was first announced in 1992 and initially scheduled to open in 2012.

In June 2018, the authorities announced that the museum would partially open its doors in 2019 for the unveiling of its star attraction—all 5,400 objects from the tomb of King Tutankhamun. The full opening was expected to follow in 2022, for the centenary of Howard Carter’s discovery of the boy Kings’s tomb. But finally, the Egyptian government’s new ambition is that the entire 490,000 m² complex will be inaugurated in 2020.

Although it bears the double signature of the renowned builders BESIX and ORASCOM, the construction of this museum remains a complex and challenging project.

Nested between the ancient Great Pyramids and the modern city of Cairo, at the junction between dry desert and the fertile floodplain, the Grand Museum is a portal to the past. The Giza plateau Memphis and its Necropolis nominated by UNESCO among the world Cultural Heritage Sites, contains irreplaceable monuments from across time.The museum complex will be built on a plot of land approximately 117 feddans, about 480,000 square meters.

After several years of monument examinations, restoration and transportation, the GEM is expected to house around 100,000 artifacts from various periods of Egypt’s rich long history. Khaled Al-Anani said that the GEM is one of the ministry’s largest projects, approximately 20,000 artifacts would be exclusively displayed for the first time.

By presenting unseen artifacts, the museum next to the pyramids of Giza intends to impress with pieces by King Tutankhamun that since their discovery in 1922, have never been exposed to the public. The GEM’s General Manager Tarek Tawfik said in a previous interview with The Art Newspaper that the GEM accommodates two 7,000 sqm galleries revealing the king’s lifestyle; how he lived, dressed and ate in addition to the complete collection of his precious belongings.

As part of Egypt’s efforts to return stolen and smuggled pieces, many of them will be showcased at the GEM. The Grand Egyptian Museum will allow Egypt to become a major worldwide hub for pharaonic history and a must-visit place for egyptologists.

The museum aims at taking grasp of the diversity of Egypt’s heritage of monuments and arts needed to be shown in one place in one location to maintain and preserve this huge legacy. he museum complex aims to furnish all its visitors with a uniquely enjoyable, educational, and cultural experience.

With its unique position on the cusp between the past and the present, the Grand Egyptian Museum will lie at the repository for ancient artifacts that creates an interactive experience for the visitor; it will build a bridge between the past and the future. The GEM is expected to be one of the largest museums in the entire world presenting a heritage devoted for a single civilization.

While waiting for the long-awaited opening of the GEM, we invite you to take advantage of the latest world tour of the exhibition “Tutankhamun, the Treasures of the Pharaoh”, visible from March 23 to September 15, 2019 at the Grande Halle de La Villette – Paris (France). More details on this exhibition here.

*For more information please visit the following links  :
→ “Tutankhamun, the Treasures of the Pharaoh”
→ Grand Egyptian Museum (GEM)
→ Ministry of Antiquities of Egypt

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If you seek for a private and personalized way to discover Africa’s nature in Kenya, then we may have found the perfect secret place for you to stay. Described as « the most beautiful house in Africa » by the senior editor at the UK CNN traveller, Peter Michael Browne.

Located on the Borana Conservancy in Laikipia, Kenya, few kilometers north of the equator, Arijiju is named after the hill upon which it stands and is the result of a decade of work. The owner of Arijiju house, a Nigeria-Born, London based, worked with the architecture firm Nicholas Plewman – Architects Associates. His aim was to create as both a family home and a luxury retreat for like minded guests. He also wanted his children to experience the freedom and the simplicity he enjoyed during his youth. And yes, Arijiju is an exceptional private house.

Nestled on a hillside and overlooking Mount Kenya in a reserve of more than 32,000 acres, known to be ideal for safaris, Arijiju is inspired by the ancient Earth architecture and the Monasteries of Ethiopia. This gives it an almost religious atmosphere, favourable to meditation and rest. A central vaulted cloister forms the centre of the house, connecting the main rooms and offering a luxurious private retreat in the heart of the wilderness. Few materials were used to build the house. Among the materials used were stone and wood, all local. Green roofs, including local plants and solar panels, ensure minimal environmental impact of the house. Arijiju is designed as a sanctuary, created to make space in the spirit, in the middle of a wild and authentic nature.

Interior designer Maira Koutsoudakis combined a blend of African-inspired rustic chic with natural colour palettes to create the project. The house features five luxurious suites and the main common areas include a dining room and lounge at the height of sophistication, a lounge bar, a gym, copper baths, indoor and outdoor showers and a spa with a hammam that communicates with outdoor terraces in levels. The most exciting is undoubtedly the extraordinary 20-metre overflow swimming corridor that overlooks the savannah and makes us want to dive immediately or simply relax nearby. We have also heard that sometimes the pool can be used as a watering hole for elephants. The simplicity of the property through the materials used and the luxurious spirit that emerges represents a striking contrast to a preserved and natural savannah. From the pool, you can see the wild olive trees and acacias. During the rainy season, the surrounding valley around which the house is located can reveal temporary rivers in the distance during the rainy season.

Equipped with a masseuse and an esthetician whose treatments are included in the rental rates. Yogis will do a session on the yoga terrace; the more active ones will be able to use the gym and the tennis and squash courts. With a staff of 14 people, including a butler, a ranger and chefs who prepare a healthy and light “Ottolenghi” style cuisine, you will have no trouble getting all your requests fulfilled.

The Arijiju house is the kind of place you’ll crave to stay  for your next retreat in the nature. The house itself is an attraction. An ode to the luxury modern African way of life.

The simplicity of the architectural lines, the meticulous attention paid to the interior design, the various amenities of the house and the exceptional natural surroundings, make this property a magical place. The reserve is full of wildlife, including Africa’s big five ( lion, leopard, rhinoceros, elephant and Cape buffalo), or wild dogs and cheetahs. 4×4 safaris are therefore a must, but Arijiju also encourages visitors to explore on foot, horseback riding, jogging or mountain biking.

However, if you wish to stay in Arijiju, count about 7 600€ per night for a maximum of 6 people and for a minimum of three nights. Please note, however, that the capacity of the villa is a maximum of 10 people.

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ARIJIJU by Nicholas Plewman Architect & Associates
LIFE – Interior Architecture and strategic design
ARIJIJU – for booking enquires

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he Johannesburg home of an international businessman has been perfectly expressed to suit his passion for African art and his love of entertaining. Designed by local architecture firm Cimato Moroldo Architects, its interiors were brought to life by leading Cape Town-based interior studio ARRCC, with contemporary furniture and objets d’art by design studio OKHA.

Says ARRCC director Mark Rielly, “This house had to be as multi-functional as possible, so that it could adapt to family holidays, feasts with friends, and more formal moments when hosting executive guests.” Mark and his team achieved this by maintaining an uncluttered thread throughout the five-bedroom home, while linking spaces that could be used simultaneously.

The double-volume entrance, reached by way of a concrete bridge placed over a welcoming water feature, is encased in dark grey walls on the exterior, providing a cocoon-like enclosure to lead one into the glass-fronted doorway. Once inside, the stark contrast of white surfaces and light-filled spaces offers a switch in perception. “The move from dark walls to expansive, open spaces created an indoor environment that allowed us to give breathing space to the owner’s impressive art collection and introduce very specific furniture pieces that have their own voice within this space,” Mark explains. “The home is almost gallery-like, while still maintaining the casual comfort of a living environment.”

The simple, graphic wooden screen that runs along the entrance hall, offers a peek into the living areas beyond, with the ground floor holding the dining room, bar, cinema, formal lounge, family room and kitchen. Pops of greenery from the garden and patio beyond can be appreciated from this entrance, the screen being both a separation and a link to the open-plan home. “It was inspired by the work of Japanese architect Kengo Kuma,” explains Mark of the screen, “and adheres to the interior’s philosophy of natural, simple, bold elegance.”

The brass-clad Solar Mirror designed by Adam Court of OKHA greets one in this space. Its reference to the cosmos that connects the universe adds to the welcoming visual language.

In the formal lounge, OKHA’s clean-line, pure-form furniture pieces create an environment of easy-living elegance that epitomises African luxury. Two large-canvas artworks hold the room together, accenting its lines and forms. Charged with poetic mystery, the subtly coloured triptych by South African Penny Siopis offers an element of movement in the otherwise formal space, while the stronger lines in the work by Burundi-born Serge Alain Nitegeka offer a dynamically bold and overtly graphic attraction. “The tension between these two works enlivens the room,” says Mark.

More casual in its function, the family room is nevertheless carefully considered, with coffee tables custom designed by OKHA. Powder-coated steel legs with acid-etched and sand-blasted marble tops come together as two separate yet connected circular spheres that allow the contoured sofa to mimic their fluid edges. Maintaining the muted colour palette of the home, each item of furniture is expressed as an artwork of high quality refinement – a nod to OKHA’s respect for traditional craftsmanship and material, says the design studio’s director, Adam Court. The kitchen adjacent to this family room is replete with monochromatic, functional design, with only the necessary equipment in sight, as all peripheral elements are cleverly tucked away through careful design considerations.

The upstairs landing further conveys the artistic bend of this interior, a Big Shadow standing lamp by Marcel Wanders for Cappellini and collage artwork by Asha Zero filling the volume that leads to the bedrooms.

These en-suite bedrooms offer individualised comfort, each one furnished with a different accent colour. In the master suite, a painting by Conrad Botes brings brightness to the predominantly grey room.

Textures of wood, marble, wool and ceramic further enliven the bedroom. “Besides being a space for entertaining, this is a house in which to lie back, relax and just enjoy being home,” says Mark.

 

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Art House
Johannesburg, South Africa
Interior Design: ARRCC
Interior Decor: OKHA
Architects: Cimato Moroldo Architects

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From three acres of land, the house is placed in the area situated between the sea entrance in the coral cliffs and the back part of the mangrove. Thus, the house opens to the  Indian Ocean on the upper floor and coincides with the mangrove on the ground floor. This position between the entrance of the sea and the back of the mangrove, ensures natural ventilation in this Kenyan coast with a humid and warm weather.

The project idea begins on following the original topography from the low level, where the entrance of the house matches the mangrove, to the platform situated on the high level, matching the cliff. In this part of the topography you have the horizon view of the Indian Ocean, framed by the cliff entrance. The transit from the bottom of the top is made by a staircase of 9.90 meters wide, a journey made by nature before building the house.

The seas entrance in the cliff determinate the width of the stairs and the width of the house courtyard. This courtyard has a small sweet water pool and connects the ground floor and the upper floor. There is no other communication between both floors but this stairs. So in this way we can say we have two overlapping idea houses in one; the courtyard-house downstairs and the platform-house upstairs. The common areas are established on the ground floor; the living and dining room, the kitchen and the guest rooms. On the top floor we can find three small apartments withe a little kitchen and bathroom in each of them.

The house is built from the cheapest local materials. Thus, the structure-columns and slabs are built in concrete, and the space in between the structure is filled with small coral stones acquired in the nearest local quarry. The finish of floors, walls stairs, etc. are made in stucco, called Lamu finish by the native people, a very clean, soft and resistant finish. All carpentry, doors and windows are made of mahogany two inches thick. They are carved following a geometric pattern of the mosaics from the Alhambra Palace of Granada, Spain. This pattern has had an important influence in some Muslim buildings of this Swahili area in Kenya.

The interior space is configured with screens or diaphragms to establish a continuous and compartmented space. This type of space is typical of the ancient Swahili architecture used in the Kenyan coast, as well as in the Muslim architecture of every part of the world.

→Alberto Morell Architecture 

For more Africa – inspired – Architectural stories join the Art Powerhouse !

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The Congregation of the Holy Spirit, a Catholic missionary society founded in France in 1703, has made Black Africa its main missionary land. From the 1840s onwards, the Spiritans spread throughout its territory, and more specifically in its equatorial zone (now Gabon and Congo). Its members live alongside people whose languages they learn and whose customs and rites they discover. They collect very rich information in the field for ethnologists and collect many artifacts: everyday objects, but also ritual sculptures associated with highly religious contexts.

These objects, gradually brought back to France and dispersed in the various houses of the Congregation, fed important groups of buildings until the 1930s, which were presented in small missionary museums or in exhibitions intended to serve missionary propaganda. A patient research and collection work initiated several years ago by the Congregation itself has made it possible to shed light on the history of the Spiritan collection and to draw up an inventory, thus allowing many unpublished objects to be discovered, including some masterpieces of classical African art.

Spiritanian collections are an exceptional testimony to the life, traditions, art and beliefs of the people of equatorial Africa at the end of the 19th century and the beginning of the 20th century. The vast majority of the works collected by the spiritualist missionaries come from Gabon, Congo Brazzaville and Congo Kinshasa. The range of artifacts preserved in the collections is wide and concerns both everyday life (tools, dishes, seats, weapons, ornaments, etc.) and the sacred (initiation rites, liturgy of initiatory societies, therapeutic or divinatory practices, etc.) with many masks and statues.

Aware of the need to protect this unique heritage and make it accessible to a wide public, the Congregation wished to bring all these objects together in a new museum adapted to modern standards of conservation and reception, which it entrusted to the NeM architectes agency, already renowned for the development of the new Pinault Foundation in Paris (Bourse de commerce) under the aegis of the Japanese architect Tadao Ando. The project is also a collaboration with Gernay architects.

The Congregation of the Holy Spirit’s collection of classical African art remains relatively unknown. This feeling of discovering a collection that has not been very well exhibited to date seems to have given the museum its architectural direction. The objective was threefold. The aim is to encourage meetings and exchanges of ideas on the themes of the exhibitions, to present and share the collection with the public, and finally to preserve and preserve the works.

From the small front door, the collection embraces itself with a glance, thus proposing crossed relationships between the works. The scenography proposes a superposition and a growing development of clay niches that evoke stacking, storage, classification: a spatial allegory of the act of collecting.

The maritime pine parquet flooring on bleached joists and the light plasters gently reflect the diffuse light, staging in a powdery atmosphere the discovery of a hitherto confidential collection. The works stand out on this white background, placed in the niches and protected by glass plates whose reflections catch the eye. As one moves freely forward, the proportions of the display cases gradually encourage the visitor to physically experience a changing view of the works, leaning first towards them, until he himself is enveloped in them.

The clay blocks develop to completely fill the room: at the limit of the reserve, the high windows confine the space, reduce the depth of field and reduce the acoustic atmosphere, offering a more intimate relationship to the most sacred works. At the bottom of the exhibition is the reserve, visible, but inaccessible to the public.

The arrangement of the display cases as a very strict digital suite (5-4-3-3-2-1) makes it possible both to crush the perception of depth from the entrance to support this vision of an ensemble and, paradoxically, to make available a flexible and undetermined scenography offering many combinations of relationships between artworks. Mobile display cases complete the system to define routes if necessary.

NeM Architectes
NeM / Niney et Marca Architectes
Lucie Niney et Thibault Marca, associés

Gernay architects.

Spiritan Museum of African Arts
Maison Saint-Joseph
4 Montée de la Butte
26400 Allex
FRANCE

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