Architects: Malan Vorster Architecture Interior Design
Area: 117 m²
Year: 2016
Photographs: Adam Letch, Mickey Hoyle
Manufacturers: western red cedar, COR-TEN, Hakwood
Structural Engineer:Henry Fagan & Partners
Quantity Surveyors:DA Quantity Surveyors
Landscape Designer:Mary Maurel Gardens
Main Contractor:Theunis Naude
Specialist Cabinetry:Versfeld Custom Furniture
Specialist Metalwork:Link Engineering
建築師：Malan Vorster建築室內設計
面積：117平方米
年份：2016
攝影：Adam Letch，Mickey Hoyle
製造商：西部紅柏，COR-TEN，Hakwood
結構工程師：Henry Fagan＆Partners
工料測量師：DA工料測量師
景觀設計師：瑪麗·莫雷爾花園
總承包商：Theunis Naude
專業櫥櫃：Versfeld定製家具
專業金屬加工：鏈接工程
The architects have been involved with previous projects on this tree-rich property, and were commissioned to design a small contemporary house to compliment the existing collection of buildings – spatially organised around a modern interpretation of the Cape Werf.
建築師參與了這個樹木繁茂的物業的先前項目，並受委託設計一棟小型現代房屋，以補充現有的建築群-在空間上圍繞對Cape Werf的現代詮釋進行組織。
Inspired by the trees on the estate, the client requested a cabin-like, one bedroomed hide-away resembling a tree house. The structure is located in a small clearing amongst forest-like gardens, and respond similarly to the verticality of the surrounding trees in order to maximise views from the highest portion of the site.
受莊園裡樹木的啟發，客戶要求一間類似樹屋的小屋式，一間臥室的藏身之處。 該結構位於森林般的花園中的一個小空地中，並且對周圍樹木的垂直度也有類似的反應，以便最大程度地欣賞場地的最高景觀。
Inspiration was drawn from the timber cabins of Horace Gifford and Kengo Kuma’s notions of working with the void or in-between space, while Louis Kahn’s mastery of pure form and the detailing ethic of Carlo Scarpa informed a process of geometric restraint and handcrafted manufacturing.
靈感來自霍勒斯·吉福德（Horace Gifford）的木屋以及肯戈·庫瑪（Kengo Kuma）關於在空間或中間空間工作的觀念，而路易斯·卡恩（Louis Kahn）對純淨形式的掌握以及卡洛·斯卡帕（Carlo Scarpa）的細心道德則為幾何約束和手工製造工藝提供了靈感。
The organisational diagramme of the structure explores the pure geometry of a square, with each side divided into three modules and where two of these modules determine the diameter of a circle on each of the four sides of the square – resulting in a pin-wheel plan layout.
該結構的組織結構圖探索了正方形的純幾何形狀，每側分為三個模塊，其中兩個模塊確定了正方形四個側面上每個圓的直徑-從而得出了風車平面圖 佈局。
A square is directional and a circle not – the square relates to the North/South site geometry and the four circles to the organic and natural surroundings. Each circle’s centre is the location for a column, and circular rings, supporting the floor beams above, are connected to the columns by means of branch-like arms. Each ring circumscribes a half-round space ancillary to the main square living space on that level.
正方形是方向性的，不是圓形-正方形與北/南場地的幾何形狀有關，而四個圓圈與自然和自然環境有關。 每個圓的中心是圓柱的位置，支撐上方地板樑的圓環通過分支狀臂連接到圓柱。 每個環在該水平上限制了附屬於主廣場居住空間的半圓形空間。
The building becomes a vertically arranged “clearing in the forest”, with living space on level one, a bedroom on level two and a roof deck on the third. A plant room is located at ground level below the building. The half round bays accommodate a patio, dining alcove and stair on the living level, a bathroom on the bedroom level and a built-in seat on the roof deck level – the pure geometries provide articulation to the spaces. The building lightly touches the ground, and entry is by means of a suspended timber and Corten steel ramp.
該建築物成為垂直排列的“森林中的空地”，第一層為居住空間，第二層為臥室，第三層為屋頂平台。 機房位於建築物下方的地面上。 半圓形的海灣在起居樓層可容納露台，餐廳凹室和樓梯，在臥室可容納一間浴室，在屋頂甲板可容納一個內置座椅-純淨的幾何形狀為空間提供了清晰度。 建築物輕輕接觸地面，然後通過懸浮的木材和Corten鋼坡道進入。
The columns, arms and rings are constructed from laser-cut and folded Corten steel plate, and each column is divided into four ‘trunks’ in the interest of transparency, slenderness and to allow floor beams and windows to pass through the centre points of the rings. The steel trees support timber floors beams, facade glazing and a western red cedar building envelope. The connections between steel and timber are expressed by means of hand-turned brass components. All materials are left untreated, and will express the passing of time as they weather naturally with the surrounding trees.
柱子，臂和環由激光切割和折疊的Corten鋼板製成，每根柱子都分為四個“樹幹”，以保持透明，細長，並允許地板橫樑和窗戶穿過玻璃的中心點。 戒指。 鋼樹支撐木地板橫梁，立面玻璃和西部紅柏建築圍護結構。 鋼材和木材之間的連接通過手工旋轉的黃銅組件來表示。 所有材料均未經處理，它們會隨著周圍樹木自然風化而表達時間的流逝。
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