Pieter-Ernst Mare's ever-evolving home in Sandton
Posted: 14 August 2017
In his Sandton home in Johannesburg, architect Pieter-Ernst Mare’s black-and-white colour scheme makes it easy to layer and edit art, furnishings and objets. Around the table in the dining area are Masters chairs by Philippe Starck and Eugeni Quitllet for Kartell and a pair of French Bistro armchairs. The pendant light is from Con Amore.Architect Pieter-Ernst Mare’s Johannesburg apartment might be in the heart of Sandton’s CBD, surrounded by the massive reflective glass forms of the corporate headquarters, hotels and shopping centres that characterise Africa’s richest square mile, but you’d never guess it. It’s not in a residential skyscraper, but rather an artefact of the past – one of 25 double-storey units surrounding a private park that somehow persists in the heart of the glass-and-iron jungle. ‘It doesn’t feel like Sandton,’ says Pieter-Ernst. In fact, once you’re through the front door, leafy trees screen off the looming towers all around and you could be anywhere.
In the dining-cum-living space, an artwork by Luke Batha leans against a painting by Riaan Bosch that was specially commissioned to conceal the street-facing window.The gracefully old-world bones of the apartment lend themselves to what Pieter-Ernst calls a ‘classic eclectic mix’. He says he’s deliberately kept the walls white and his furnishings dark. ‘Small spaces are tricky to furnish,’ he says. Not only does a uniform dark furniture palette mean the apartment ‘doesn’t feel too cluttered’, but ‘by keeping it a neutral colour, it’s also easy to bring in new stuff and take away the old.’
The living room is a perfect illustration of Pieter-Ernst’s ‘classic eclectic’ mix: a French wardrobe and Louis XV-style armchairs rub shoulders with a Persian rug, a zebra skin and an artwork by Diane Victor. On the coffee table from Block & Chisel, a pair of Nigerian figurines keep company with a West African chieftain’s necklace. The nested sidetables are from Weylandts.Pieter-Ernst has never shopped simply to decorate, but rather has collected individual pieces he loves, brought them together and then thought about how to combine them. For example, his original Eames lounge chair (a favourite) is more functional art than furniture – and it’s not even that functional. The original swivel mechanism on the base included felt-tipped rods that have worn out, but he can’t bring himself to replace it and detract from its iconic originality.
An artwork by Lemon presides over a box work by Peter Mammes (left) and an illustration by Willie Sayman (right). The light grey Boss couch by Dark Horse contrasts beautifully with graphic pieces by Thokozani Mthiyane that sit atop two dark-wood Chinese cabinets. Most of the contemporary South African artworks in Pieter-Ernst’s collection are from Art Eye Gallery.Given the range of Pieter-Ernst’s interests, it’s remarkable how resolved his home feels. In the living room, there’s an antique Indian table, Asian antiques, a classic French wardrobe and a contemporary South African sofa by Dark Horse. ‘I play around constantly,’ he says. ‘I’m big on telling clients to live with a neutral palette, then add layers.’ Among those layers of ‘smalls’, as Pieter-Ernst calls them, are objets and artworks that he collects on his travels, from the Nigerian sculptures on the coffee table to the zebra skin from Zeerust spread over a rug, and horn motifs on carvings mounted on the walls. ‘They have such strong form and sculptural value that you can’t help but love them,’ he says.
Another work by Peter Mammes hangs above the bed in the main bedroom. Crisp white linen, walls and curtains offset the room’s black accents.One project Pieter-Ernst worked on involved sourcing historical photographs of Johannesburg and enlarging them. ‘This is the first shot of post coming to Joburg,’ he notes of one he kept for himself. Its presence is a little like the complex his apartment is in: a reminder of a time when Sandton (and greater Johannesburg) was a different place. It is this which makes Pieter-Ernst’s eclectic, layered approach to the interior seem appropriate: with its constantly shifting collection, it is less about a look and more about a detailed story that is continually being written.