An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

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An elegantly floating dune house like crafted box floats on top of tree tops. The term “peace” could easily have found. Its origin between the Outeniqua forest and the long open Atlantic ocean.

Both of which are an integral part of this holiday home. An elegantly crafted box floats on top of tree tops. Towards the north and sensitively touches the sand dune on the south.

A single level building with a large open living / dining area. Separates the private en-suite guest rooms to the east and the main bedroom suite to the west. An elegantly floating dune house like crafted box floats on top of tree tops.

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops Capture Nature’s Elements

An elegantly floating dune house like crafted box floats on top of tree tops capture nature’s elements. All rooms capture nature’s elements. And reminds of a contemporary Knysna log cabin, with engineered wood fitted to the majority of the interior.

The slow life enters upon a sea breeze, through large sliding doors from the South and retires on an Outenique hill to the North. An elegantly floating dune house like crafted box floats on top of tree tops.

These large sliding glass and shutter panels regulates light and ventilation, but simultaneously extends the interior to the exterior. Finishes are simple, natural and in touch with this sea town’s context.

The house becomes a veranda. When it is completely open with windows and shutters stacked, away allowing for inside outside holiday living.

The house is also designed to protect from the ever-present sea breeze. Depending on the direction of the wind the house allows for open living on the lee side.

An elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops. Our objective and brief was to keep our footprint as small as possible to retain the indigenous dune vegetation.

The house was placed on the South boundary. And the entrance drive done on fill left on the site by an insensitive neighbor.

The indigenous dune forest garden to the South was protected. During the building process and numerous Candlewood and Milkwood. As well as, other dune species endemic to the area were planted.

Capture nature’s elements. The core of this holiday home will always be in harmony with nature. An elegantly floating dune house like crafted box floats on top of tree tops.

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

An Elegantly Floating Dune House Like Crafted Box Floats On Top Of Tree Tops

 

 

 

 

 

 

 

 

 

 

 

 

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Sonia E. Barrett 的雕塑將古董書桌與非洲面具的翻轉融合

Sonia E. Barrett 的雕塑將古董書桌與非洲面具的翻轉融合

    這些古董書桌與那段充斥著貪婪、暴力以及通常片面的歷史敘述的漫長文化衝突時代有著切實的聯繫。翻轉融合「這些是那個時代的筆記型電腦,」“他們用這些書桌‘書寫非洲’,寫下家書、日記和報告,如今 Sonia E. Barrett 的雕塑將古董書桌與非洲面具的翻轉融合歐洲關於非洲的檔案。   當我們思考歐洲對非洲的殖民時,我們首先想到的是19世紀中後期被稱為「瓜分非洲」的時期。當時,英國、法國、西班牙和葡萄牙等國家已經控制了沿海地區的社區。正是在這一時期,內陸地區因其資源開採和進一步經濟利益的前景而變得越來越有吸引力。但所謂的「瓜分非洲」遠未開始。 到19世紀70年代,歐洲人控制了非洲大陸十分之一的土地,主要集中在北部、地中海沿岸和遙遠的南部。荷蘭東印度公司於1652年在開普敦建立了第一個歐洲非洲定居點。但跨大西洋奴隸貿易已經活躍了近一個世紀,並持續了近兩個世紀,在此期間,有1250萬甚至更多的人被送上船——其中大部分是前往新大陸。     當時,殖民者們用手書寫和傳遞所有訊息。小型便攜的木質書桌讓信件幾乎可以從任何地方寄送,書桌表面可折疊,覆以皮革,並設有存放筆、筆尖和墨水的儲物空間。 對藝術家索尼婭·E·巴雷特(Sonia E. Barrett)來說,這些古董書桌與那段充斥著貪婪、暴力以及通常片面的歷史敘述的漫長文化衝突時代有著切實的聯繫。 「這些是那個時代的筆記型電腦,」巴雷特談到她創作的「書桌」系列便攜式工具時說道。 “他們用這些書桌‘書寫非洲’,寫下家書、日記和報告,如今這些記錄構成了翻轉歐洲關於非洲的檔案。” 除了愛德華時代留下的書寫板外,巴雷特還運用回收的木材、皮革、天鵝絨、鋼筆、墨水和柳條,為雕塑賦予了富有表現力的面孔,令人聯想到非洲儀式面具。 “我認為(這些桌子)可以成為一種超越存檔信件的方式,與帝國對話。” 自古以來,非洲大陸不同地區和文化都創造了反映其信仰和傳統的獨特面具,而歐洲收藏這些物品的風潮則催生了延續至今的商業產業。與皮革或天鵝絨包裹的木桌類似,雕刻的非洲面具由木材削製而成,並以皮革裝飾。用於製作寫字台的桃花心木在熱帶氣候中成熟,“運輸方式與我們當時的運輸方式大致相同”,藝術家說道,他指的是當時的國際非洲奴隸貿易。     巴雷特在書桌底座上添加了柳條結構,象徵肩膀和身體,也可以像穿著禮服一樣寬鬆地穿著。從某種意義上說,這些作品就像管道或形而上學的傳送器。 「這些頭像可以與非洲僑民的身體連接,讓我們能夠追溯過去,就像它們曾經引導我們的祖先一樣,」藝術家說道。

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