The building is a fine example of art deco architecture and design, and it has many interesting internal features such as the banking hall, assembly room, directors' board room; external features include a dramatic ziggurat structure, prismoid (triangular) windows, and one of the longest carved stone friezes in the world.
[2] Old Mutual is now an international business with offices all over the world, and its portfolio of financial services continues to evolve to meet market needs.
At the same time it was to epitomise the values of the business: "Strength, Security and Confidence in the Future"; this demanded a combination of traditional and contemporary design.
However, the building is embellished with features in other styles (such as neo-classicist in the case of the banking hall) intended to reinforce the long-standing and traditional values of the Old Mutual business.
[6] The name of the building was changed by the developers to Mutual Heights, a decision that did not find favour with all owners and residents involved in the new community.
[7] Despite scepticism about the name, it is generally agreed that the conversion was the first in a series of projects that re-invigorated the central business district of Cape Town.
[8] In February 2012, the large "Old Mutual" sign on the east side of the building was removed, leaving little external evidence of the commercial origins of the building; in 2015 Old Mutual Properties finally disposed of the remaining portions of the interior that had not been sold previously, including the banking hall, the directors suite and the fresco room.
At first sight, the building is a striking example of the Art Deco style and many of its features epitomize this genre - however, some interior features deviate from true Art Deco and probably reflect the desire of the company to demonstrate solidity and traditional values at the same time as contemporaneous, forward-looking values.
This generous spacing between floors was intended to achieve the greatest possible overall height for the building without exceeding the city planning limitation of 10 storeys, and it was allowed only in view of the "set back" design of the exterior structure.
[1] The original design of the building is attributed to Louw & Louw (Cape Town architects), working with Fred Glennie (best known at the time as a mentor to architectural students) – Mr Glennie is personally credited with most of the detailed work[9] but Ivan Mitford-Barberton[10] was also involved with some internal details as well as with the external granite decorations.
The original light fittings in the "public" areas are largely still intact, and in most parts of the building there are beautiful block-wood (parquet) floors.
Black, gold-veined onyx is used in the Darling Street foyer, the ceiling of which is over 15 metres high and finished with gold leaf, laid by Italian workmen.
Visitors must climb 17 steps to gain access to the banking hall, and towards the top they are met by the original "pill box" where security staff can observe who (and what) is entering and leaving the building.
Between the columns of the banking hall the coats of arms are presented for each of the many provinces and countries within Southern Africa in which the South African Mutual Life Assurance Society had a presence.
Each door has an etched representation of an indigenous bird or animal from South Africa, with significant plants as additional decoration, or in some cases the corporate logo of the time.
Freschi considers that ".. in contemporary terms, Le Roux's work was seen to be distinctly progressive and very much in keeping with the ostensibly liberal party line of Jan Smuts' coalition government".
[1] The curtains are notable, being hand woven in a workshop in Eswatini (also known as Swaziland), by Coral Stephens Handweaving, a company established in the 1940s.
The granite cladding of the building was hewn from a single boulder on the Paarl Mountain, north east of the city of Cape Town.
[1] The cladding incorporates decorative baboon, elephant and tribal heads that project from the upper facades of the Darling Street elevation (the front of the building).
It has recently come to light that, in the course of the work, Lorenzi's team of masons were incarcerated when the Second World War broke out in 1939, being Italian and therefore regarded as "the enemy" at that time.