Jeanne Nel 2016013506

Oikos of Relational Encounters
An Eco-Tourist Visitor’s Centre and Extension to Twinstreams Environmental and Education 
Centre in the Umlalazi Nature Reserve



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EXAMINER’S COMMENTS



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ABSTRACT
This dissertation is submitted in partial fulfilment of the neccessary requirements for the Masters of Architecture (Professional) 
degree, (M.Arch. Prof) at the University of the Free State. All the work in this document is my own - unless stated otherwise. 

Department of Architecture | Faculty of Natural and Agricultural Sciences | University of the Free State.

Declaration of original authorship:

The work contained in this dissertation has not been previously submitted to meet requirements for an award at this or any 
other institution of higher education. To the best of my knowledge, this dissertation contains no material previously published or 
written by another person except where otherwise stated.

Signature
 

Supervisors: Dr. Hendrik Auret, Prof. Jan Smit, Petria Smit and Hein Raubenheimer.

Date of Submission: 15 October 2021

Acknowledgements: 

Dr. Hendrik Auret for his dedication and expertise throughout the process of this dissertation and for not giving up on me. 
My ever- supportive family. 
The orange-door cubicle inhabitants of 2021. 

This disseration would not have been possible without the abovementioned people. Thank you. 

JEANNE NEL | 2016013506 | jalidanel@gmail.com

In the time of the Anthropocene, we have reached a point as humans where we have 
removed ourselves from nature and, in turn, have idealized and romanticised views 
of our initial natural habitat. We have abandoned our initial biophilic relationship with 
nature. 

In the context of the Umlalazi Nature Reserve, the varying levels of our anthropocentric 
interventions are highly prevalent and serves as a metaphor of our relationship with 
the environment in the Anthropocene. The landscape is comprised of two prominent  
manmade forests- a eucalyptus plantation, as well as an indigenous forest that was 
planted years ago. This relationship, however, exists alongside a myriad of other 
relations, including spaces of liminality between manmade vehicular roads, a natural 
stream, a forest, as well as pathways and openings within the forests. It is evident that 
for our relations with nature to oppose the dominating forces of the Anthropocene, an 
awareness of the fragility of these relations needs to be stimulated.

Professor and philosopher, Timothy Morton’s notion of ‘Dark Ecology’ proposes that, in 
order for a new ‘ecological awareness’ to emerge, we must abandon the romantic 
ideals that we have of nature and our surrounding environment. Dark Ecology, alongside 
principles of biophilic design are investigated throughout this dissertation as a way to 
recast the romantic expectations we have evolved to possess and stimulate a new 
form of ‘ecological’ awareness through an ‘oikos’ of relational encounters. 

This project and dissertation illustrates how the implementation of a biophilic architectural 
approached, shaped by Dark Ecology, may recast the romantic expectations of nature 
and stimulate richer relational encounters between the flaneur in the forest within the 
Anthropocene and eco-tourism industry. 

Keywords: Anthropocene; Biophilia, Dark Ecology, Relations



This dissertation is comprised of three parts according to the grounding, making and reflection of the project. PART 1: GROUNDING aims 
to introduce the project themes and research question, alongside an understanding of the site and context of the new design proposal. 
Furthermore, the theoretical discourse of the project allows for an understanding of the design approach. 

STRUCTURE OF DOCUMENT

Prefix Site Analysis and 
Context

Theoretical Discourse Design ProcessTechnical Investigation Design Synthesis Conclusion

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Introduction

PART 2: MAKINGPART 1: GROUNDING PART 3: REFLECTION

Next, PART 2: MAKING aims to investigate the technical explorations and investigations pertaining to the project. This part also illustrates 
the various design influences and process of the making of the new design intervention. Lastly, PART 3: REFLECTION aims to conclude the 
dissertation by showing the outcome of the project. 

Examiner’s comments

Declaration of authorship + 
Acknowledgments

Abstract

Structure of document

Table of contents

Introduction

Research question + themes

Brief + Client

Introduction

Macro Analysis 

Meso Analysis

Micro Analysis

Initial observations

Conclusion

Introduction

From Biophilia towards the 
Anthropocene

Dark Ecology
 

Biophillic Design Priniciples and 
Dark Ecology

Design Applications

Conclusion

Introduction

Site + climatic considerations

CONSeption

Structural investigation

Accommodation List

Functionality + users

Materiality

Sewage Treatment: BIOROCK

Materiality

Vehicular Parking 

Conclusion

Introduction

Touchstone 

Concepts

Design Precedents

Design Development and 
Process

Conclusion

Introduction

Site plan

Floor plan

Sections

Elevations

Renders

Conclusion

Personal reflection

Bibliography 

Appendixes



CHAPTER 4: TECHNICAL INVESTIGATION

4.0 Introduction
4.1 Site + climatic considerations
 4.1.1 The sun
 4.1.2 Appropriate materials and construction techniques
 4.1.3 Thermal mass + insulation 
 4.1.4 Openings + Ventilation
 4.1.6 Palmyra House as a climatic precedent
4.2 CONSeption
4.3 Structural investigation of canopies + suspension
4.4 Screens and louvres
4.5 Accommodation List
4.6 Functionality + users
4.7 Materiality
4.8 Sewage Treatment: BIOROCK
4.9 Materiality
4.10 Vehicular Parking 
4.11 Conclusion

CHAPTER 5: DESIGN PROCESS

5.0 Introduction
5.1 Touchstone 
5.2 Concept 1: Fragmentation through transformation
5.3 Concept 2: Biodegradation
5.4 Concept 3: Flaneur in the forest
5.5 Concept 4: Suspension
5.6 Design Precedents
 5.6.1 Arjuzanx National Reserve
 5.6.2 Wooden Chapel
 5.6.3 Making a forest

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TABLE OF CONTENTS

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PART 2: MAKING
CHAPTER 5: DESIGN PROCESS

5.7 Design Developments
 5.7.1 Development 1 + 2: Initial investigations
 5.7.2 Development 3: Emphasis on relations
 5.7.3 Development 4: Canopies + relations
 5.7.4 Development 5: Spaces + functions
 5.7.5 Development 6: Towards EXR 3
 5.7.6 Development 7: Verticality + Forest vs Plantation

5.8 Conclusion

CHAPTER 6: DESIGN SYNTHESIS

6.0 Introduction + Locality Plan
6.1 Site plan 
6.2 Ground floor plan
6.3 Sections 
6.4 Elevations
6.5 Renders
6.6 Model

PART 3: REFLECTION
 
CHAPTER 7: CONCLUSION

7.1 Conclusion 
7.2 Reflection
7.3 Bibliography
7.4 Appendix 1- Turnitin Report
7.5 Appendix 2- Locality Plan
7.6 Appendix 3- Site Plan
7.7 Appendix 4- Ground Floor Plan
7.8 Appendix 5- Elevations
7.9 Appendix 6- Sections + Details

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PART 1: GROUNDING

PREFIX
examiner’s comments
declaration of authorship + acknowledgments
abstract
structure of document
table of contents

CHAPTER 1: INTRODUCTION

1.0 Introduction
1.1 Research question + themes
1.2 Brief + client

CHAPTER 2: SITE ANALYSIS + CONTEXT

2.0 Introduction
2.1 Macro Analysis 
 2.1.1 Relations on a macro scale
 2.1.2 Mtunzini
 2.1.3 Climatic Conditions
2.2 Meso Analysis
 2.2.1 Interview with Raymond Ngubane
 2.2.2 Photographs of Twinstreams
 2.2.3 The forest + reserve
2.3 Micro Analysis
 2.3.1 Site sections
 2.3.2 Industry vs nature
2.4 Initial observations + response
2.5 Conclusion

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CHAPTER 3: THEORETICAL DISCOURSE

3.0 Introduction
3.1 Background: From Biophillia towards the Anthropocene
 3.1.1 Biophilia as an initial relation between human and nature
 3.1.2 The Anthropocene and the human’s loss of awareness
3.2 Dark Ecology
 3.2.1 Questioning the romantic ideals of nature
  3.2.2.1 ‘Extensions’ by Jeanne Simmons
 3.2.2 Loops, Ecognosis and ‘weird coexistences’
  3.2.2.1 The Site, Relations, Loops and Weird Coexistences 
  3.2.2.2 Linear Axes
  3.2.2.3 Beginning + Ends of Axes as Ecognosis
  3.2.2.4 Canopies and Materiality 
 3.2.3 Biophillic Design Principles and Dark Ecology
  3.2.3.1 Direct Experience 
  3.2.3.2 Indirect Experience
  3.2.3.3 Experience of place + space
  3.2.3.4 ‘Suspended Forest’ by Kengo Kuma
  3.2.3.5 Pacific Flora Main Gate by Kengo Kuma 
  3.2.3.6 Towers + Verticality
3.3 Conclusion

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PART 1: GROUNDING

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CHAPTER 1: INTRODUCTION

1.0 Introduction
1.1 Research Questions and Themes
1.2 Brief + Client  

CHAPTER 2: SITE ANALYSIS + CONTEXT
CHAPTER 3: THEORETICAL DISCOURSE
CHAPTER 4: TECHNICAL INVESTIGATION
CHAPTER 5: DESIGN PROCESS
CHAPTER 6: DESIGN SYNTHESIS
CHAPTER 7: CONCLUSION

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1.1 RESEARCH QUESTION + THEMES
Research Question:

How may a biophilic architectural approach, shaped by the notion of dark ecology as a way to recast romantic 
expectations of nature, stimulate richer relational encounters between flaneur and forest in the Anthropocene and eco-
tourism industry?

Leading Theme: 
The leading theme for this dissertation is that of relational encounters - with emphasis on how awareness of the relationship between 
humans and nature can be stimulated, recast and nurtured.

Sub-themes:
Shifting from the Anthropocene towards biophilia
Transformation from the romantic ideals of nature towards dark ecology
Eco- Tourism 
Relational encounters

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1.0 INTRODUCTION 1.2 BRIEF + CLIENT

With the idea of an ‘Oikos of Relational 
Encounters’ in mind, the program of the 
project will consist of two parts with interwoven 
elements. Firstly, a visitor’s center with exhibition 
spaces and a restaurant is to be incorporated 
into the design in order enhance the 
relationship between flaneur and site through 
the appreciation and education thereof. 
Next, the eco-tourist as the reflective dweller 
on the site will be accommodated through 
gathering spaces for conferring with each 
other to enhance human relations, as well as 
individual reflective spaces. This also enables a 
relation to and expansion of the functions from 
the existing Twinstreams Environmental and 
Education Centre in the proximity. 

As the current inhabitants of the site, the 
Wildlife Environment Society of South Africa 
aims to support and initiate high-impact 
conservational and environmental projects to 
raise awareness and ‘promote participation in 
caring for the earth’ and its relations (WESSA, 
2021: online) (see figure 2). 

Proposed Client:

Figure 2: Wessa Logo. (WESSA, 2021: online)

The Brief:
Figure 1: Diagram of proposed functions (author,2021)

Lastly, in terms  of relational encounters and 
the intention of creating a conversation 
and dialogue about eco-awareness may 
be achieved through a functional program 
consisting of educational spaces (see figure 1). 

In the time of the Anthropocene, it is evident that a loss of awareness and initial biophilic relationship with nature has changed dramatically. Nature is 
seen as something outside of us and we designate spaces for it to co-exist with us - albeit elsewhere. 

We are living in a time where ‘eco-awareness’ is integral to the understanding of our place within the environment. The term ‘eco’ derives from the 
Greek word ‘oikos’, which translates to ‘house’, as well as ‘any dwelling place of the human body.’ (Smith, 1998: online). It also possesses meaning 
pertaining to kin (family), home (place), house (belongings) and denotes the environment in which these happenings occur (Messer, 2019: online). In 
turn, the term, ‘eco’ automatically has relevance to the relationships between these entities- the living body, the relationships between living bodies, 
and the relationship between the living body and its environment. Relations play a key role within this investigation, and everything is observed through 
the lens of dark ecology. 

Philosopher and professor, Timothy Morton, coined the term ‘Dark Ecology’ which is the paradoxical idea that where, for the human to save its environment, 
the romantic idea that we have about nature should first be abandoned and that we should confront the ecological devastation we have created 
without seeing it as perversion of nature, but rather as a syntax error and a problem of the system.

Through site analyses, a theoretical discourse, a technical investigation and design process- it becomes possible for a new design proposal within the 
natural landscape which allows for eco-awareness in the context of the Anthropocene.



PART 1: GROUNDING

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CHAPTER 1: INTRODUCTION

CHAPTER 2: SITE ANALYSIS + CONTEXT

2.0 Introduction
2.1 Macro Analysis 
 2.1.1 Relations on a macro scale
 2.1.2 Mtunzini
 2.1.3 Climatic Conditions
2.2 Meso Analysis
 2.2.1 Interview with Raymond Ngubane
 2.2.2 Photographs of Twinstreams
 2.2.3 The forest + reserve
2.3 Micro Analysis
 2.3.1 Site sections
 2.3.2 Industry vs nature
2.4 Initial observations + response
2.5 Conclusion

CHAPTER 3: THEORETICAL DISCOURSE
CHAPTER 4: TECHNICAL INVESTIGATION
CHAPTER 5: DESIGN PROCESS
CHAPTER 6: DESIGN SYNTHESIS
CHAPTER 7: CONCLUSION

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2.0 INTRODUCTION
Chapter 1: Site Analysis and Context

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CHAPTER 1: VISUAL STUDY OF CONTEXT aims to investigate and analyses 
the site in a myriad of ways in order to orientate the reader as to where 
the site is located and gain an understanding of the rich context and 
history that lies within. It is evident that the site possesses many varying 
forms and relations in terms of its macro, meso and micro context. 

On a macro scale, the context of the nearby village (Mtunzini), the 
prevalent industries in the vicinity, and the forest of the Umlalazi Nature 
Reserve  are investigated in terms of the history of the varying levels and 
relations of anthropocentric intervention and development within the 
area. The climatic conditions of the uMlalazi Municipality in Kwa-Zulu 
Natal are also investigated. Photographs of Mtunzini are included with 
personal experiences and observations of the village.

On a meso scale, Twinstreams Environmental and Education Centre 
towards the east of the site is explored, which allows for the initial 
formation of a project brief and deeper understanding of the relations on 
the site after an interview with Raymond Ngubane (the current manager 
of Twinstreams Environmental and Education Centre). Photographs 
of Twinstreams and the surrounding forest are included with personal 
observations to allow the reader an understanding of the area. 

On a micro scale, the site itself is explored in terms of the relations between 
the two ‘manmade forests’ (the plantation and the planted forest of 
the Umlalazi Nature Reserve) and the significance of this relationship. 
The stream, footpaths, openings in the forest and the different forms of 
vehicular roads are also explored. Photographs portraying the existing 
co-existence of opposites pertaining to industry and nature are also 
included. 

2.1 MACRO ANALYSIS
Village, Industry and the Forest

Figure 3: Context in South Africa
(author,2021)

Context within South Africa
The site is located on the east coast of South 
Africa within the province of KwaZulu-Natal (see 
figure 3). Sugarcane (as an integral agricultural 
crop for the country) is also farmed along the 
coast of KwaZulu-Natal. Eucalyptus and pine 
plantations (for the production of raw materials 
and paper) are also prominent due to the climate 
(Britannica, 2020: online).  It is also noted that the 
mining industry operates within the vicinity and 
creates tense relationships between the mining 
industry and the local inhabitants of Mtunzini.

Within its immediate macro context, the site is located to the south of the village of ‘Mtunzini’, which 
is approximately 140km north along the coast from Durban. Although the area is not equipped 
for commercial tourism, people flock there to experience the wild forests, beach, and the many 
outdoor activities it has to offer. To the west of the site is the Tronox Fairbreeze mine- where titanium 
dioxide is extrapolated. Also, to the north-east and south- west of the site are Eucalyptus plantations. 
Running alongside the coast and on the site itself is the Umlalazi Nature Reserve which consists of 
a dense forest (see figure 4). Although, it is later noted that the forest was planted by humans and 
that (from the perspective of dark ecology) the romantic ideal of planting a forest is not necessarily 
the only way to enhance the relationship between man and nature. However, the area still serves 
as prime example and precedent to many in search of rehabilitating nature effectively (Ngubane, 
2021: personal interview). While the forest appears ‘natural’ and conforms to romantic notions of 
preservation, it is actually manmade. 

The site + context 
Figure 4: Site in macro context (author,2021)

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Figure 6: Industrial relationships within the context (author,2021)

Figure #: Site in macro context (author,2021)

Figure 7:Natural relationships within the context (author,2021) Figure 8: Relations between anthropocene elements and natural elements (author,2021)

There are many existing systems and relationships prevalent within the 
site context which are maintaining themselves and interacting with other 
systems and relationships (see figure 5). It is evident that commercial 
and industry driven corporations are present as one form of relationship 
within the context where harsh interventions and incisions are being 
implemented by humans in the pursuit of economic gain. For example, 
MONDI’s Eucalyptus plantations, and the Tronox Fairbreeze mine (see 
figure 6). The natural relationships within the site context emerges mainly 
from the ocean - which pumps water into the stream, as well the prevalent 
ecologies existing harmoniously within the Umlalazi Nature Reserve (see 
figure 7). It is noted that the reserve also serves as a form of romantic idyllic  
relationship between human and nature where we have designated a 
certain boundary for nature to thrive. There are also constant and direct 
relationships present and occurring between humans and nature. The 
village of Mtunzini towards the north serves as a structured dwelling 
place for humans next to the coast, and all the industrial relationships 
(the mine and plantations) are influenced by the human’s will and need 
for economic gain (see figure 8). These relationships are in constant flux 
and flow with one another and cannot be ignored within the context of 
the forests of KwaZulu- Natal. 

Figure 5: Diagram portraying the ‘messiness’ of relationships within the context (author,2021)

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2.1.1 RELATIONS ON A MACRO SCALE 2.1.2 MTUNZINI

No matter where one finds oneself in this 
beautifully diverse country, there will always 
be a stone-built church within the axis of 
the main street. It is evident that when these 
churches were built, the climate was not taken 
in to consideration and general methods and 
materials were used and applied all throughout 
South Africa (even on the coast of Natal) (see 
figure 9). 

There are architectural elements within the 
village allowing for ventilation through openings 
within brick walls (see figure 10). The newest 
commercial structure in the village houses a new 
shopping center, where the roof of the structure 
allows for polycarbonate sheeting and timber 
structures to emphasize the entry of light within 
the courtyards (see figures 11). 

The village of Mtunzini boasts extraordinary views 
through the trees and out on to the abandoned 
railway (see figure 12).

Figure 9: Stone church
(author, 2021)

Figure 10: Brick structure
(author, 2021)

Figure 11: Shopping centre
(author, 2021)

Figure 12: View out on to the railroad
(author, 2021)

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2.1.3 CLIMATIC CONDITIONS
uMlalazi Municipality, KZN

SUMMERS and WINTERS
This coastal area is generally frost-free and remains warm throughout the year with hot summers, and warm, sunny and dry winters which allows this 
coastline to become a prominent destination for holidaymakers in the country. North-easterly winds are prevalent in the summer alongside high tem-
peratures and humidity levels. 

(See figure 13). 

HUMIDITY
High humidity averaging 75% in the summer months and lower humidity in the winter months dropping to 67%.

RAINFALL
Annual yearly precipitation of 1045mm, with the most rainfall in the month of January, and the least in winter months.

Figure 13: Climate Table (climate.org, adapted by author,2021)

GENERAL
The climate in this region varies from subtropical to temperate.

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2.2 MESO ANALYSIS
Twinstreams Environmental + Education Centre, the Stream and Plantations
Within the area, site possibilities are investigated 
which inhabit varying degrees of thresholds 
and levels of Anthropocentric intervention. The 
two site possibilities (see figure 14) both house 
elements including Eucalyptus plantations, the 
forest, and the stream running within the area 
from the Mlazi river. There are existing trails and 
footpaths used by cyclists, hikers and joggers 
within the area as well. 

Also within the area is the Twinstreams 
Environmental and Education Centre (see 
figure 15- 16). This center was the first of its 
kind within Africa and was established by 
the Garland family in 1952 with the goal 
of educating the population about the 
human’s relationship with nature. The MONDI 
corporation bought the land from the Garland 
family in 1987 to use for their Eucalyptus 
plantations, or ‘working forests’.

Currently, they are functioning as an 
adventure-camp for school children in order 
to teach them about the environment, as 
well as housing professional functions and 
conferences on occasion. The centre lacks 
capital (when compared to the MONDI 
corporation) and accommodation, and 
facilities need to be added to aid their mission 
(Ngubane, 2021: personal interview). 

Thus, educational facilities are to be added 
within the new design intervention which can 
be adapted and used by the Twinstreams 
Environmental Centre facility.

Figure 14: Mezzo analysis and site possibilites
(author,2021)

Figure 15: Twinstreams Environmental Centre (author,2021) Figure 16: Twinstreams Environmental Centre office/reception (author,2021)

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On the 22nd of April 2021, I had the privilege of meeting with WESSA Twinstreams Environmental 
and Education Centre’s manager, Mr Raymond Ngubane, at the Twinstreams Environmental and 
Education Centre (see figure 17). Mr. Ngubane’s passion for the environment gleams through his 
charming personality and he is one of the few people I have met who puts his ideologies in to action 
and truly lives for his goal of educating people about the environment. He has been running the 
centre for the last 15 years and is very informed about the site’s history and the conservation and 
educational efforts implemented in the area. Our conversation can be summarised as follows: 

Firstly, Mr Ngubane explained that all of the land in the surrounding area was owned by Mr Garland 
(who was a sugar cane farmer) and that the forest was non-existent at this time. Mr Garland had a 
deep sense of biophilia towards nature and mainly wanted to study butterflies. He had the goal of 
attracting wildlife back in to the area, and arranged for 80 000 indigenous plants and trees to be 
planted in the area in an attempt to rehabilitate the land and invite wildlife to inhabit it. When he 
sold the land to the MONDI corporation (who specialises in plantation developments for industrial 
purposes), it was stated in the title deed that conservation efforts need to be implemented, and that 
the Twinstreams Education Centre may not be touched and should be allowed to keep running.

However, Mr Ngubane continues explaining that ever since the Eucalyptus plantations (derived from 
Australia) were introduced and the Faribreeze mine (for the extrapolation of titanium dioxide) was 
built in the area, the level of the streams have dropped by 3 meters and the fish have disappeared 
due to waste from the mine leaking in to the stream. 

These two anthropocentric interventions throughout history (the rehabilitation of the forest, and the 
implementation of industrial exploitation of nature) are prime examples of two different ways in 
which we approach nature, with two very different results. The one poses a situation of awareness 
which in turn allows for a harmonius relationship motivated by biophilia, whereas the other poses a 
threatening relationship where we ignore the consequences and see nature as something ‘other’ 
than us. 

It was a pleasure meeting Mr. Ngubane and learning about the history of the site and the various 
relationships inhabiting it. With the knowledge of the surroundings of the site, it becomes possible to 
investigate it on a micro- scale. 

Figure 17: Mr Raymond Ngubane at Twinstreams Environmental and Education 
Centre on April 22nd at 16:30pm (author,2021)

2.2.1 INTERVIEW WITH MR. RAYMOND NGUBANE OF WESSA TWINSTREAMS

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The existing Twinstreams Environmental and 
Education Centre serves to educate the 
population about the environment and our 
relationship with it. Walking through the site, one 
notices light structures within the openings of the 
forest which creates an instinctual urge to gather 
in that space, away from what lies hidden within 
the forest (see figure 18).

The stream houses remnants of the past when 
activity was more prominent, and the stream 
use to be more filled-up before the perpetuary 
Eucalyptus plants have taken away from it (see 
figure 19). Memories of locals all contain stories 
of childhood play in the forest and the stream, 
and one can only imagine what it must have 
been like growing up in this area and having it as 
a personal playground. 

Figure18: Twinstreams Environenmental + Education Centre gathering point  (author, 2021)

Figure 19: Activity Remnants on the Stream (author, 2021) Figure 20: Structures in TEC (author, 2021) Figure 21: Structures in TEC (author, 2021)

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2.2.2 PHOTOGRAPHS OF TWINSTREAMS



The area invites one to rise early in the morning  
with the impending promise of experiencing the 
transformative beauty of the rehabilitated forest 
and views it has to offer. It is welcoming by nature 
with the fresh morning air breeze from the ocean 
calling out to you, and the sun in the distance 
slowly rising and beaming out its yellow hues 
and in turn nurturing and feeding the elements 
and systems within the landscape to allow for 
growth and prosperity (see figure 22). Eagerness 
sets in with mental preparation in anticipation for 
adventure and possible discoveries that awaits 
within the landscape on this day. 
A mere half-hour after the first encounter, the 
blue hues of the sky and the river start to emerge, 
as the sun continues to rise (see figure 23). The 
rhythmic ripples in the river create a sense of 
peace, but also uneasiness paired with the 
knowledge that crocodiles reside within it.

Figure 22: Umlalazi Nature Reserve, 23 April, 06:34am  (author, 2021)

Figure 23: Umlalazi Nature Reserve, 23 April, 07:04am  (author, 2021))

2.2.3 PHOTOGRAPHS OF THE SURROUNDING FOREST AND RESERVE

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The light starts to shine through the mangrove 
trail (see figure 24), and one is forced to take 
off one’s shoes and explore the terrain with 
one’s feet which only leaves behind a footprint 
which will fade with the passage of time. Moving 
towards the forest, one is able to observe the 
various different plant-species, with subtle 
markers placed on them to educate the user 
about the different types. It is evident that some 
of these trees have been here longer than 
others and serve as ‘mother trees’ who nurture 
their offspring and keep the system alive and 
growing into prosperity. On some of the trees, 
various relations can be noted and the growth 
of different kinds of funghi can be observed 
living off both living and dead trees (see figure 
26). One can’t help but wonder which of these 
would be safe to ingest? Also, another prevalent 
experience on the site, is the presence of the red-
horned spider’s large-spanned webs obstructing 
the footpaths (see figure 25). One has to tread 
and observe carefully as to not walk face-first in 
to them. This also serves as a reminder  (on a small 
scale) that nature will still take its course long after 
humans are gone. When the footpaths remain 
untrodden on for a while, the spiders flourish and 
the webs only increase.  

Figure 24: Riverside mangroves  (author, 2021) Figure 25: Red-horned spider  (author, 2021)

Figure 26: Fungi growth (author, 2021) Figure 27: Natal Fig tree in the forest (author, 2021)

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2.3 MICRO ANALYSIS
Eucalyptus plantations, Raphia Palm Forests, Clearings and Roads

Figure 28: Initial Site Exploration + Impressions (author, 2021)

On a micro scale, the site which was eventually 
chosen mainly consists of the Eucalyptus 
plantation, the forest, and the stream- with 
existing roads and footpaths within and 
around the area (see figure 28). All of these 
elements are in relation with one another, 
although they may function separately. The 
prominence of the man-made elements on 
the site is evident. 
The site can be seen as a form of organic 
syntheticism due to every element having 
been planted by humans (excluding the 
stream). All of these elements are natural, 
but are only there due the different forms 
of  relationships between humans and the 
landscape. The plantations were planted 
for economic purposes, which, in turn, has 
an effect on the stream. Also, the forest was 
planted by humans which has allowed for a 
greater diversity of plant and animal species 
to thrive and live in relation with one another 
through their various eco-systems. 
The vehicular roads present themselves as 
the way that humans have evolved to move 
within the landscape in cars. The openings 
in the forest and the footpaths are another 
form of relation existing between the human/
animals and the landscape where clearings 
within the forest emerge. These footpaths, 
clearings, and less-dense areas within the 
forest are integral to be noted so that the 
proposal of an architectural intervention 
may not super-impose on the landscape, but 
rather for it to be guided by these clearings 
and openings to cause as little damage to 
the landscape as possible. 

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Figure 29: Micro Site Investigation (author, 2021). 

Figure 30: Relational Elements on the site (author, 2021).

The eucalyptus plantation trees are noted to have been planted 
in a 3m x 3m grid. These trees represent temporal rhythms within the 
landscape, for they will be cut down eventually and used for another 
purpose. Leaving behind the stumps of the cut down trees, a new seed 
will be planted right next to each stump in order for the next tree to be 
able to grow. 
The vehicular dirt road presents itself as a definitive threshold separating 
the rigid plantation and the free-flowing forest which is ordered 
organically through sunlight, soil conditions and availability of water. 
The trees and vegetation within the forest represent the new life and 
growth that was stimulated when they were initially planted. However, 
it is noted that the plantation is also a form of ‘living’ forest but lacks in 
diversity and can be seen as bio-monotone.  The pathways within the 
plantation for cyclists and hikers stretch out into the forest (see figure 
29). 

The main elements from which relations occur on the site are thus the 
openings on the site (portraying the relationships between the human 
and the animal within its landscape, and shows where the natural points 
of gathering occur within it). The vehicular roads are also prominent 
(which are seen as thresholds, but also symbolise the way in which the 
human moves within their landscape in the Anthropocene). There are 
also  footpaths (which are seen as elements of path within the landscape 
and are in relation to the landscape, showing the relation between the 
human and their urge to move within the natural landscape in the time 
of the Anthropocene). Lastly, there is the stream (which is in relation to 
the larger context connecting to the ocean- but also serves as the main 
form of sustenance for the forest and plantation trees) (see figure 30).

18



2.3.1 SITE SECTIONS
Slope + Progression between plantation and stream

Figure 31: Section from plantation to stream (author, 2021).

Figure 32: Section from forest to plantation to forest (author, 2021).

When looking at the site on section, it is evident 
that the biodiversity within the plantation is 
non- existent when compared to the forest with 
various different plant and animal species. The 
site is monotonous yet rhythmic in the plantation, 
and then slopes gently towards the stream 
amidst forests (see figure 31). The plantation 
appears odd and stands in stark contrast to the 
forest (see figure 32), and the forest is very diverse 
(see figure 33). 

Again, it is noted that both of these forests were 
created by humans with different intentions in 
mind and relationships driving their creation.Figure 33: Section in forest (author, 2021).

19

One cannot escape the most distinct relationship 
between human and nature within this area. 
However, the added nuance of a dialogue on 
site between two kinds of ‘man-made forest’ is 
crucial to the position of this thesis, as informed 
by the tenets of dark ecology and biophilia. 
The threshold between the plantations and the 
forest forces one to confront the issue, where the 
diversity of the forest can be seen on one side 
(but poses a false and romantic sense of certainty 
and eternity), and the temporal rhythms of only 
one species on the other (see figure 34 + 35). 

Whilst walking along the footpaths and dirt roads 
within the area, the titanium dioxide mine can 
be seen from afar, with the red-steel coloration 
mimicking the contents of the red pigmentation 
of the elements it exploits, as well as sitting in stark 
contrast with the green hues of the surrounding 
landscape (see figure 36).

Figure 34: Threshold between plantation and forest
(author, 2021)

Figure 36: Tronox Febreeze Mine
(author, 2021)

Figure 35: Plantation
(author, 2021)

20

2.3.2 INDUSTRY VS NATURE
Plantation, forest and the mine



21

2.4 INITIAL OBSERVATIONS AND RESPONSE
Towards a discourse

The initial response towards an intervention allows for the narrative of the tourist (arrival, oriention,
educating, conferring, reflecting and gathering) to find specific places within the site (see figure
37). There was also a consideration to transfer the dirt road deeper in to the plantation, however, it
becomes clear that the dirt road is a significant threshold between the forest and plantation and
also serves as a relationship in itself and is to be kept. Various thresholds on the site are identified,
for example, where crossovers of footpaths occur and in-between spaces present themselves as
opportunities for relational encounters (see figure 38).Figure 37: Initial site exploration + narrative of the tourist on site (author, 2021)

Figure 38: Initial site exploration of thresholds towards a response (author, 2021)

22

2.5 CONCLUSION
Chapter 1: Site Analysis and Context

In conclusion, CHAPTER 2: VISUAL STUDY OF CONTEXT aimed to investigate and 
analyse the site in order to orientate the reader of its context and history. It is 
evident that there is a rich history of relations and encounters between human 
and nature within the area which are integral to understanding the way forward 
towards a design intervention. 

Through taking the relations in the macro, meso, and micro context of the site into 
account, alongside a personal interpretation and understanding of the context, it 
becomes possible to formulate a theoretical discourse moving forward.

The following chapter, CHAPTER 3: THEORETICAL DISCOURSE, explores the themes 
relating to the research question. Themes pertaining to the Anthropocene, 
biophilia, and dark ecology are explored and applications towards a design 
discourse emerge. 



PART 1: GROUNDING

23 24

CHAPTER 1: INTRODUCTION
CHAPTER 2: SITE ANALYSIS + CONTEXT

CHAPTER 3: THEORETICAL DISCOURSE

3.0 Introduction
3.1 Background: From Biophilia towards the Anthropocene
 3.1.1 Biophilia as an initial relation between human and nature
 3.1.2 The Anthropocene and the human’s loss of awareness
3.2 Dark Ecology
 3.2.1 Questioning the romantic ideals of nature
  3.2.2.1 ‘Extensions’ by Jeanne Simmons
 3.2.2 Loops, Ecognosis and ‘weird coexistences’
  3.2.2.1 The Site, Relations, Loops and Weird Coexistences 
  3.2.2.2 Linear Axes
  3.2.2.3 Beginning + Ends of Axes as Ecognosis
  3.2.2.4 Canopies and Materiality 
 3.2.3 Biophillic Design Priniciples and Dark Ecology
  3.2.3.1 Direct Experience 
  3.2.3.2 Indirect Experience
  3.2.3.3 Experience of place + space
  3.2.3.4 ‘Suspended Forest’ by Kengo Kuma
  3.2.3.5 Pacific Flora Main Gate by Kengo Kuma 
  3.2.3.6 Towers + Verticality
3.3 Conclusion

CHAPTER 4: TECHNICAL INVESTIGATION
CHAPTER 5: DESIGN PROCESS
CHAPTER 6: DESIGN SYNTHESIS
CHAPTER 7: CONCLUSION

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How may a biophilic architectural approach, shaped by the notion of dark ecology as a way to recast romantic expectations of nature, 
stimulate richer relational encounters between flaneur and forest in the Anthropocene and eco-tourism industry?

3.0 INTRODUCTION: Chapter 2: Theoretical Discourse

25

Within the last century, it is evident that there has been a global and mental shift pertaining to the 
human’s relationship with nature and the subsequent relations emerging from it. We have moved from 
a time of biophilia,- where we directly inhabited nature and formed a part of it, towards the time of the 
Anthropocene where we dominate nature for industrial evolution and monetary gain. We see nature as 
something other than ourselves and romantic ideals regarding nature has emerged where we reserve 
specific places for nature in our daily lives instead of living harmoniously with it. 

For a new design proposal in an ironically anthropocentric site and to make the human aware of their 
relationship to nature again, Timothy Morton’s views on ‘dark ecology’ as a form of biophilia is investigated 
in order to abandon the romantic ideals we have about our natural surroundings, and return to the idea 
that we, and everything we have created as a human force, is still a part of nature. Only when this harsh 
fact is recognized it becomes possible to accept the consequences of what we have done, live within 
the dualities that emerge, and realize that we need to take care of nature (because it is a part of us) 
for an improved relationship to occur. When applied to the project site, it is integral to investigate the 
relations within it and for one to notice the various levels of anthropocentric and natural elements and 
their relation to one another in order to intervene accordingly. 

Next, the loops, ecognosis and ‘weird coexistences’ of dark ecology are investigated in terms of 
ironic inverses of experiences. When applied to the new project proposal, inverses occur between the 
beginnings and ends of axes, materiality and the spatial implications of the relations on the site and 
project axes. 

Lastly, biophilic design principles, alongside the revelations dark ecology provide various applications in 
terms of designing for the relationship between the human and nature with regards to direct experiences, 
indirect experiences and the experience of place and space on the site. Through studying precedents 
by Kengo Kuma, ways of experiencing the relational encounters are investigated in terms of suspension 
and hovering between heaven and earth between the earth and sky in an ironic duality. 

3.1 Background: From Biophilia towards the Anthropocene

26

3.1.1 Biophilia as an initial relation between human and 
nature

Within the natural world in which humans have been emplaced, we have 
had no choice but to reside alongside and within nature- implying that 
there has and always will be an existing relationship between humans 
and nature. 

The term ‘biophilia,’ originates from the Greek word ‘philia’ and translates 
to ‘love of life or living things’ (Planteria, 2021: online). It is used to describe 
the affinity that humans have towards nature and means that humans 
have an inherent love for their natural surroundings. Biophilia is noted to be 
a quality and characteristic of the human mind and is evident throughout 
history. This inherent fondness of nature has been expressed by humans 
throughout most cultures and in most time-periods, for example, nature 
portrayed in early cave paintings (see figure 39), plant pots and vases 
throughout history (see figure 40). Even today, most people will claim that 
they feel less stressed and at peace when they are within the natural 
environment (Planteria, 2021: online). 

Biophilia can be seen as the initial relation between human and nature 
always had the natural urge to mimic it, portray it, and make it a part 
of our lives. However, ironically, in post-industrial times, we have realized 
that not all conditions are ideal or appropriate within nature and have 
evolved to manipulate the natural environment and create synthetic 
ones within the limits that nature provides. This has led to various new 
environments that differ in terms of geography, climate, differing needs 
of intellectual infrastructure, and the human’s different perspectives and 
definitions of what the relationship between nature and humans entail. In 
turn, our agricultural revolution and post- industrialized state has enforced 
an unbalanced relationship between the two, and we have adopted 
a parasitic, consumerist attitude towards nature where we exploit all it 
has to offer. There is thus a lack of understanding of the human’s real 
needs within contemporary times, and it is evident that humans, through 
removing themselves as one from nature, have dominated their natural 
surroundings, albeit unintentional.

It is evident that a loss of awareness to our inherent biophilic relationship 
with nature has emerged over the last century, and the time of the 
Anthropocene has emerged.

Figure 39: Early cave painting of animals (Sardi, 2019: online

 Figure 40: Vase from 1899 (Ellison, 2013: online). 



27

3.1.2 The Anthropocene and The Human’s Loss of Awareness 
to their inherent biophilic relationship with nature 

The Anthropocene can be defined as the geological epoch in which 
we as humans have become capable of physically altering the planet’s 
chemical, geological and biological composition (Kuittinen, 2020: 16). 
For example, moving double the amount of soil and earth than all 
seas, oceans, lakes and rivers combined (Torres-Campos, 2016: online). 
Furthermore, it holds more power than purely manmade destruction, but 
can also be interpreted as a moment in time of ‘blinking self-awareness’ 
in the sense that humans have become conscious of themselves as this 
dominating planetary force. We have become aware of our impact and 
ecological destruction (Blasdel, 2017: online).

We have transformed and evolved from the natural surroundings being 
our habitat towards industrialism and reserved/designated places for our 
original, natural environment. For example, the allocation of botanical 
gardens amidst bustling industrial cities such as the Durban Botanic 
Gardens (see figure 41). In turn, a romanticized view of nature and our 
surrounding ecology has emerged where we see ourselves and humanity 
as something separate from it in the time of the Anthropocene. 

With regards to the project site, this becomes apparent in the history of 
the site and the commonalities and differences between the differing 
forests. 

It can be argued that the level of awareness of ourselves as a planetary 
force and what we have done in the Anthropocene, along with 
the awareness of the environment and its significance, are equally 
important. The one implying a sense of responsibility and care that we 
are to approach the environment and landscape with, and the other 
pertaining to an appreciation that we are to have for the earth and its 
resources.

We need a more involved and immediate engagement/relationship 
with nature, where the romantic ideals about ‘framing’ nature are 
abandoned, and we rather recognize our ‘true’ place within it. Through 
research on biophilic design, it becomes evident that it is equally 
beneficial for the human and nature for us to give in to our inherent 
feelings of biophilia, and strategically implement its principles within our 
lives and built environment in order to achieve a synthesis with it once 
more.  With added benefits for the human such as improved cognitive 
performance, well-being, psychological health and physical health (al-
Rhodesly, 2019: 17), a biophilic design approach and application in the 
forests of KwaZulu Natal is appropriate in terms of design and reconciling 
the relationship between human and nature through the mediation of an 
architectural intervention. 

However, to further understand the relationship between human and 
nature in the Anthropocene, professor and philosopher Timothy Morton’s 
notion on ‘dark ecology,’ and it’s ‘weird coexistences’ and ecognosis, 
are investigated. 

Figure 41: Durban Botanical Gardens amidst the city (maps, 2021: online, adapted by author).

28

3.2 Dark Ecology
3.2.1 Questioning the Romantic Ideals of Nature 

In the era of the Anthropocene, it is noted that we as humans feel 
alienated from nature and that there is a general feeling of having lost 
touch with it. We have been indoctrinated to think about nature in the 
way that the historical Romantics did, where they intended to bridge the 
relationship between man and the natural world (the subject + object 
division). This, in turn, implies that nature is something separate from us 
and nature is ‘aesthetically framed’ and there for our pleasure at our 
disposal. This creates a distancing psychological barrier which is inevitably 
counterintuitive towards any efforts of improving the planetary conditions 
we have created. There is the recurring theme of human activity being 
seen as a perversion of nature, where we forget that we are a part of that 
nature and that it IS us.

Philosopher and professor, Timothy Morton, coined the term ‘Dark 
Ecology’ which is the paradoxical idea that where, for the human to save 
its environment, the romantic idea that we have about nature should first 
be abandoned and that we should confront the ecological devastation 
we have created without seeing it as perversion of nature, but rather as a 
syntax error and a problem of the system. When organic matter is boiled 
down to its purest elements, the romantic idea that we have about it 
is oppressed and the mechanical structure of technology starts to be 
unveiled. This makes the distinction between the natural and unnatural 
blurry, and we struggle to frame it as something outside of us. Through an 
abstract materialism where the landfill is seen as just as natural as a tree, a 
subject synthesis begins to occur. Morton suggests that we must confront 
our guilt (which arises from the realization that we are both perpetrator 
and victim) and sit with our discomfort as a way to move forward and 
take action (Guppy, 2017: video). 

Within the site of the newly proposed project, it is evident that a romantic 
ideal of nature is present. This is neither a positive nor a negative romantic 
ideal, but it is present in the duality between the two differing forests.  
The site, which used to be a sugar-cane farms, was planted by humans 
due to the initial biophilia they had for the nature. When taken over by 
the Mondi Corporation in later years, the industry took over and has 
started infiltrating the land. There is now a clear divide between the 
diversity of the naturally planted forest, and the monotonous plantation 
for monetary gain. These two ‘manmade’ forests are seen as two entirely 
differing entities, but in essence, they are the same in the eyes of dark 
ecology when the romantic ideals of the planted forest are abandoned 
(see figure 42). 

Figure 42: Dark Ecology and the manmade forests (author, 2021).



In ‘Extensions,’ a model’s hair is made one 
with a grassy hillside. The hair is seen as an 
extension of one’s own nervous system. The 
feeling is expressed that we are extensions 
of the natural world and, in turn, the natural 
world is an extension of us as a human species. 
This unbreakable bond between the natural 
world and humans is provocatively expressed 
in this land art (see figures 43-45). 

The artist expresses that we as humans are 
incapable of escaping this relationship and 
that it is not possible for us to ‘be’ without this 
relationship. The model was physically bound 
to the earth through her hair illustrating this 
concept. 

In terms of Dark Ecology where a synthesis 
between subject and object (man and 
nature) needs to be established in order to 
move forward in a positive manner, this piece 
of land art aims to emphasize this connection 
and the idea that nature is us, and we are 
nature. The connection between the grass 
and the model’s hair is symbolic of the strange 
coexistence between the human and the 
landscape, and allows one to think of the 
two as one entity although they are entirely 
different. 

Morton states that dark ecology is a form of 
ecological awareness. ‘Dark-depressing’, 
‘dark-uncanny’ and ‘dark-sweet’. Dark 
ecology notices the loops and cycles of 
opposing concepts and encourages that we 
make peace with the discomfort within these 
relations.

3.2.2.1 ‘Extensions’ by Jeanne Simmons

Figure 43: ‘Extensions’ (Simmons, 2020: online) Figure 44: ‘Extensions’ (Simmons, 2020: online)

Figure 45: ‘Extensions’ (Simmons, 2020: online)

29

3.2.2 Loops, Ecognosis and ‘Weird Coexistences’ 
Morton states that all things, including ecological awareness, are strange 
in the sense that everything inhabits a twisted and looping form because 
there is ‘no limit to the scope of ecological beings (biosphere, Solar 
System)’. This means that we live in a world of finitude and fragility where 
objects exist in ‘hermeneutical clouds of unknowing’. He also coins the 
term ‘Ecognosis’, translating to the idea of ‘getting used to something 
strange’ and ‘slowly learning to know’. He argues that ecognosis is a 
weird loop:

Morton suggests that the dark-ecological loop is one of ecognosis 
and that ‘being and appearing, are deeply, inextricably intertwined, 
yet, different’ (Morton, 2015: online). The site can be seen as a form of 
dark-ecological ecognosis, where the plantation and forest differ from 
eachother dramatically, but are yet ‘inextricably intertwined’ due to 
both being examples of manmade forests (see figures 46-47). 

30

‘Ecognosis, a riddle. Ecognosis is like knowing, but more like  
letting-be-known. It is something like coexisting. It is like becoming  
accustomed to something strange, yet it is also becoming 
accustomed to strangeness that doesn’t become less strange 
through acclimation. Ecognosis is like a knowing that knows 
itself. Knowing in a loop; a weird knowing. Weird from the Old 
Norse, urth, meaning twisted, in a loop.’ (Morton, 2015: online), 

Figure 47: Collage of the forest and plantation appearing and being in a weird 
coexistence (author, 2021)

Figure 46: Ecognostic Intertwinement of the plantation and forest (author, 2021)



3.2.2.2 The Site, Relations, Loops and Weird Coexistences 

There are many coexistences and relations present on the site emerging 
between the various levels of anthropocentric interventions and other 
relations on the site. 

Moments of weird coexistences occur between commercial functions 
such as the plantations which are scattered all throughout the context 
in between the planted nature reserve, as well as the Tronox Fairbreeze 
mine located on the edge of the forest. Also, coexistences between the 
planted, rehabilitated forest and the thrivingly diverse ecologies and 
systems on the site emerge from the life and opportunity to ‘be’ they 
have been given due to biophilia and anthropocentric intervention. 
The coexistence and dark ecology lie within the liminality between 
these various aspects on the site. For example, the natural stream in the 
context merges with the planted forest (which comprises of varying other 
systems in relation to one another), the planted forest and the planted 
Eucalyptus plantation reside in coexistence with the emphasis on the dirt 
road between them (see figure 48) .

These elements are all in relation with one another and have relations 
functioning within them individually. The forest houses eco-systems and 
mother-trees which nurture their offspring. The natural openings on the site 
house memories of something moving through it- and over time- creating 
the opening/breathing space. The plantation is symbolic of the ritual and 
temporality of industry, and the stream houses eco-systems and feeds the 
plantations and other trees in the area as well. 

31
Figure 48: Weird coexistences on the site (author, 2021)

32

3.2.2.2 Linear Axes

The most prominent relation on the site is the distinction between the 
two manmade forests. Through the identification of the other relations 
on the site, it becomes possible for an axial, linear approach through the 
landscape in order to inhabit these moments of relational coexistences. 

For the implementation of a north-south axis, there is a clear existing grid 
within the Eucalyptus, and the axis may start within it. The grid generates 
a path towards the stream and allows the newly proposed design to 
inhabit various different relations on the site. It becomes evident that the 
mediative architectural intervention will be implemented in differing ways 
within each of these relations to allow for the emphasis and experience 
of the differing spaces. 

For the next axis, as the main entrance axis of the design mimics the flow 
of the river towards the north but urges the user to move in the opposite 
direction in an inverted way. 

Lastly, a third axis stretches towards an opening in the forest at an angle 
and pays tribute to the existing Twinstreams Environmental Education 
Centre towards the east (see figure 49).

In terms of dark ecology and the project site, it is possible to identify 
these ‘loops’ in the landscape and moments of ecognosis and weird 
coexistences in the relations within it.  Through investigating these 
elements and architecturally inhabiting a series of ‘weirdly coexistent’ 
moments in the landscape, new ways of thought may be stimulated and 
the romantic ideals we have about nature become challenged when 
face to face with these relations on the site. 

The project site exists in the form of many differing elements where both of 
the manmade forests exist in a coexistence with one another. However, 
the planted natural forest appears to be something that it is not (one 
would not know that it was planted), whereas the plantation reveals the 
truth about what it is from the get-go. Dark ecology asks of us to see 
the two as the same, with both in a constant state of ‘appearing’ and 
‘being’ in a weird coexistence with each other.

Figure 49: Three proposed axes on the site (author, 2021)



Beginning + Ends of Axes as Ecognosis

The beginning and ends of the newly created axes allow for opposite ends 
of relational encounters at each end. The axis is in relation to itself and 
allows for a user experience between the two. For the newly implemented 
north-south axis, the south side extends into the plantation in the form of a 
viewing platform for the immersive, individual and reflective experience 
of the plantation. The north extends as an exhibition space within the 
forest with gathering spaces, which allows for group spaces standing in 
contrast to the individualistic nature of the south (see figure 50). 

The west to east axis serves as the entrance within the plantation and 
extends into the plantation ending with an indigenous tree planted within 
the plantation to emphasise the duality between the vegetation of the 
landscape. Also, a new, synthetic version of both the contradictory forests 
can be implemented within the main axis of the structure serving as an 
inverse of the forest (see figure 51). 

The north-east to south-west axis aims to allow for the learning centre 
functions (focusing on groups). In the plantation, a simple platform 
is installed, allowing for the feeling of openness in the plantation, only 
concealed by the silhouette of the Eucalyptus trees. On the north east in 
the forest, an intimate field chapel stands in contrast with the elements of 
gathering from the plantation platform (see figure 52). 

Each of these axial beginnings and ends allow for relational functions 
to occur at each end but differ in character depending on whether it 
is placed within the forest or plantation, whether it is a private or public 
function, as well as the irony of the new forest in the plantation within the 
main entrance axis. 

33

Canopies + Materiality

With the two distinct parts of the site investigated (the Eucalyptus 
plantation and the planted indigenous forest), it becomes evident that 
a binding element is needed to allow for continuity in the linear design 
proposal. Traditionally, canopy structures are used in tropical locations to 
allow for optimal ventilation. The roof structure of the linear design is to 
function as a binding element in the form of canopy structures mimicking 
the surrounding canopies of vegetation (see figure 53). 

For example, polycarbonate sheeting is an extreme form of a ‘manmade’ 
material comprising out of human engineered plastics. On the other 
hand, timber as a material is noted to emerge from the earth and is a 
more ‘natural and alive’ material than the plastic- but in the end they are 
both used as construction materials. There is thus an ecognosis between 
the two materials. 

On the site, the canopies of the axes within the plantation are sheeted 
with translucent polycarbonate, and the canopies within the forest 
are comprised of timber. The functions underneath them allow for the 
application of inversed material cladding with lightweight steel as the 
constant between the two. An inverse ecognostic loop of materials is 
thus implemented on the site. 

Furthermore, the materiality differences between the two canopies 
and  suspended elements could allow inverse versions of one another 
between plantation and forest which further enhances the ecognostic 
relationship between the two parts of the site which are in strong relation 
with one another (see figure 54). 

34

Figure 50: North - south
(author, 2021)

Figure 51: West - east
(author, 2021)

Figure 52: South-west - north east
(author, 2021)

Figure 53: Canopies as binding element (author, 2021)

Figure 54: Materiality as inverses of each other (author, 2021)



3.2.3 Biophilic Design Priniciples and Dark Ecology

Through the application of biophilic design principles within the moments 
of weird coexistences on site, a coexistent and ecognostic cycle of 
biophilia, dark ecology and ecological awareness may emerge. The 
human’s inherent ‘love of life’ can be translated and interpreted within 
the realm of the built environment. In essence, it could be argued that 
biophilic design pertains to the relationship between humans and nature 
but includes the mediation of the built environment between the two. In 
the context of the site, the relations may be experienced through these 
dark ecological moments of an architectural intervention. 

It is noted that there are two ways in which biophilic design can be 
approached, namely, 
1. an organic approach and 
2. a place-based approach (al-Rhodesly, 2019: 14). 

For a ‘place- based’ biophilic approach - in order to establish a 
relationship with the specific place and the celebrate the abovenamed 
coexistent relations- there are 3 main ways in which biophilia may be 
applied and experienced within an architectural intervention. All these 
ways in which the human interacts with their environment can be seen 
as a form of relationship and emphasizes a different kind of relationship 
within a moment of ecognosis on the site. 

1. Direct Experience of Nature (Light, air, water, plants, animals, weather, 
natural landscapes and ecosystems, fire (Calabrese, 2015: 10)) (see figure 55). 

2. Indirect Experience of Nature (Images of nature, natural materials, natural 
colors, simulating natural light and air, naturalistic shapes and forms, evoking 
nature, information richness, age+ change, and the patina of time, natural 
geometries, biomimicry (Calabrese, 2015: 10)) (see figure 56). 

3. Experience of Place or Space (Prospect and refuge, organized complexity, 
integration of parts to wholes, transitional spaces, mobility and wayfinding, cultural 
and ecological attachment to place (Calabrese, 2015: 10)) (see figure 57).

Figure 55: Direct experience visually and physically with nature (author, 2021).

Figure 56: Indirect experience of nature through tranferring natural materials in to 
building materials (author, 2021).

Figure 57: Experience of place and space in the plantation, prospect and refuge + an 
organisational complexity (author, 2021).35

3.2.3.1 Direct Experience + Dark Ecology

The physical contact between the environmental features of ‘place’ in 
the built environment and the human is a direct form of experiencing 
nature, usually in the visual sense. This direct relation can be investigated 
in terms of the user/ human entity as a tourist/eco-tourist experiencing an 
‘Oikos’ of relational encounters within the landscape. However, through 
physical interventions with biophilic properties, it becomes possible for the 
design of further coexistences in the design proposal in order to create 
dark ecological moments of ecognosis. 

For example, the main entrance axis of the design mimics the flow of 
the river towards the north, but urges the user to move in the opposite 
direction. The main axis also allows for the intervention of indigenous plants 
within the plantation to create a weirdly coexistent axis mimicking the 
stream, and a moment of dark ecology within the plantation. This allows 
for the direct experience of the indigenous plants within the plantation, 
and ends the axis with a large tree/indigenous forest which emerges in 
stark contrast to the surrounding Eucalyptus trees (see figures 58-59). 

A direct experience of these elements thus occurs in a dark-ecological 
way within the plantation. In turn, the relationship between the forest and 
the plantation becomes enriched through the architectural intervention 
and the irony of the forest returning to the plantation makes itself present.  

Figure 58: Exploration (author, 2021)
Figure 59: Axis as the inverse of the river flow, and indigenous trees in the plantation as 
dark ecological ecognosis (author, 2021)

36



37

3.2.3.2 Indirect Experience + Dark Ecology

The contact with a representation of nature through the human’s many 
different senses, stimulating a mental reaction, can be seen as the 
indirect experience thereof. For example, scientific research has shown 
that the presence of nature alone has a positive effect on humans, but 
why is this so? These indirect experiences allow for evocative reactions 
within the human which is primarily based on their embodied experience 
of the natural world.  The indirect relations we have with nature (through 
our senses) can be explored in terms of Juhani Pallasmaa’s writings on 
embodiment of place within the thresholds that ‘place’ (the site) offers, 
and how we experience these varying relations with more than just 5 
senses.

In his essay, ‘Architecture and Biophilic Ethics’, Finnish architect and 
philosopher Juhani Pallasmaa, states that it is fundamental for humans to 
re-evaluate their thinking with regard to education and daily practices. 
He says that firstly, the embodied essence and historical essence of 
human experience, memory and cognition needs to be accepted by 
the human because architecture is inherently based on our ‘embodied 
way of being in the world’ and thus articulates this mode of being. This 
means that architecture deeply and unconsciously represents our own 
bodies and how we as humans view the world. Secondly, Pallasmaa 
states that we are ‘fundamentally sensory and sensual beings’ and that 
the built environment that we have created engages with more than 
the five Aristotelian senses. For example, studies have shown that there 
are over 33 different sensory systems which operate and pertain to our 
relationship with our surroundings. Pallasmaa argues that in architecture, 
the sense of self we perceive, alongside the existential sense, becomes 
integral in the way we experience space. Thirdly, creative acts such as 
thinking, memorizing and perception are based on neural and mental 
images (rather than a direct language or use of words). We thus maintain 
the world through our mental and sensory acts. He argues that the 
‘language of architecture’ emerges from the human’s ‘embodied and 
existential dialogue with our world’ (Pallasmaa, 2017: 66). Sensory input 
thus plays a key role in spatially emplotting the various weird moments of 
co-existence within the proposed design.

For example, a new, synthetic version of both the contradictory forests 
can be implemented within the main axis of the structure. Thresholds are 
created with differing heights and spatial implications for the dweller 
underneath (see figure 60), and in turn allows for different sensory 
experiences and feelings of spatial proximity within the thresholds (like 
one may experience in the two different forests). Through emphasizing 
the heights of the various vegetation on the site, indirect experiences 
allow for the user to experience the weird coexistence through a mental 
state. 

38

3.2.3.3 Experience of Place/Space + Dark Ecology

Lastly, the spatial characteristics influencing the experience of place 
within the natural environment pertain to this form of relation between 
human and nature. In terms of the site and biophilia, it can be argued 
that the notion of a treehouse – as simple as it may seem, embodies a built 
form with the underlying characteristics one might feel and experience 
within the relations of the site and context of the project. A treehouse also 
consists of ecognostic relationships and inhabits iconic dualities, allowing 
for a moment of suspension between heaven and earth at the center 
of the egonostic loop. Kengo Kuma’s suspended forest is analyzed as 
a precedent in terms of a contemporary interpretation of the simplicity, 
but complexity of the tree house structure, and how the rigidity of a tree-
like structure may allow for moments of suspended relational encounters 
within it. Also, Kengo Kuma’s Pacific Flora Main Gate is analyzed, with 
a different relation emerging from the structure and may pertain to the  
trees within the project site.

Firstly, the treehouse, which does not consist of a foundation and  is 
notrooted in this way can be compared to the situation of the tourist 
and user of the project. The tourist and user of the project are also not 
grounded in the sense that the Oikos they are visiting is temporary. Next, 
the tree ‘oikos’ swaying in the sky as an entity of ironic dualities is symbolic 
of the state of the tourist as well. It is grounded through the tree stump 
(nature) and represents freedom of the movement the tourist (human) 
experiences. A tree house is a simple structure with a relation to the nature 
it ‘clings’ on to. The feelings of domesticity (provided by the Oikos and 
feeding the human’s need for belonging) coincide contrastingly with the 
‘wild nature’ surrounding it. 

Through a newly generated awareness from ‘inhabiting a living space 
that reshapes your world’, the human’s choices may be shaped, and 
an appreciation may arise of and from the relationship they have with 
nature. The suspended nature of a treehouse can thus be seen as a dark 
ecological moment of awareness which embodies various dualities and 
contrasting notions. One physically experiences the relation between the 
earth and sky and hovers within its duality without choosing a site- but 
rather existing within the dark ecological moment of ecognosis between 
them. 

The notion of the treehouse and suspension leads to the investigation 
of suspended architectural structures by Kengo Kuma, which represent 
treehouses in the built form of the human and comprises of these dualistic 
qualities. In the site context, it is possible to implements moments where 
one experiences the path of relational encounters emerging from 
the ground, as well as the dark- ecological moment emerging from a 
suspended structure.

The newly proposed design may emerge from the ground in the form 
of paths, whilst the functions are suspended from above. A moment of 
transition and awareness is thus created in between the two (see figure 
61). 

Figure 61: Moment of transition and awareness between earth and sky  (author, 2021)

“A tree house is ironically a house without a foundation, that 
embraces a tree and is rooted to the ground only through that 
tree. The house literally sways in the sky representing freedom in 
modern life but is profoundly grounded as ironic duality. Designs 
may address this duality between sky and ground as well as other 
dualities such as adventure-security, entropy-stasis, domesticity and 
wild nature and the contradiction of inhabiting a living place that 
reshapes your world and in turn shapes your choices.”- Treehouse 
Park Competition Page (competition, 2020: online). 

suspended synthetic forest

Figure 60: Experience of thresholds and synthetic hanging forest within the plantation  
(author, 2021)



39

At the bottom of the Swiss Jura Mountains in 
Montricher, Switzerland, is a residency program 
open to writers who may stay within the complex 
for the duration of their various writing projects 
(Fondation, 2021: online). There are also functions 
which allow the public to attend exhibitions and 
cultural events. The complex barely touches the 
ground and allows for an architecture ‘between 
heaven and earth,’ with a large concrete canopy 
standing on pilotis (symbolic of the surrounding 
trees in the forest), and the majority of structures 
and functions hanging from the canopy. Each 
unit (designed by various architects) resembles 
a treehouse (Rogers, 2019: online). 

Fondation Jan Michalski (‘Suspended Forest’) by Kengo Kuma
Kengo Kuma and Associates designed another 
family house within the complex which was to be 
suspended from the existing concrete canopy 
(see figure 63). The house appears cocoon-
like, with a continuous and gradual space 
which connects all the interior functions through 
a corridor. A floating balcony connects the 
surrounding environment with the interior. The 
house and entrance-staircase is suspended and 
fixed to pre-defined points along the existing 
canopy. A rough, contemporary interpretation 
of traditional materiality is used to create a 
façade system and wooden roof, as well as 
smooth white-coated plywood panels to finish 
the interior spaces as an inverse of the exterior 
(Associates, 2019: online). 

Moments of suspended elements housing 
functions in the project allow for a series of 
floating structures within the Umlalazi Nature 
Reserve where one hovers between earth and 
sky in a dualistic moment of dark- ecology.  

An overriding canopy structure in the plantation 
and the forest is to be utilized and change in 
form depending on which part of the relation it 
resides in.

Figure 62: Kengo Kuma Design within Jan Michalsky Complex
(Kuma, 2019: adapted by author)

Figure 63: Suspension + Floatation
(Kuma, 2019: adapted by author)

40

In 2004, the Shizuoka International Garden 
and Horticulture Exhibition celebrated a new 
temporary exhibition space to offer the public a 
walk-through of 6000 plant species from all over 
the world. The entrance gate (see figure 64) 
design resulted in a vague boundary between 
the exterior and interior of the exhibition which 
used elegant, simplistic patterns of traditional 
Japanese architecture and natural materials. 
2328 pieces of suspended bamboo creates a 
veiled entrance in to the space and mimics the 
atmosphere of a forest (AV, 2021: online). 

Pacific Flora Main Gate by Kengo Kuma

The rigid form of the canopy structure overhead 
allows for a strict form of suspended elements 
underneath the structure where one moves 
through on ground level. 

There is a stark contrast of materiality between 
the overriding steel canopy structure and the 
tectonic wooden elements suspended from it 
and the two seem to coexist in a inverted duality. 

A rigid structural system allows for repetition and 
continuity throughout the design (see figure 66). 

Figure 64: Pacific Flora Main Gate by Kengo Kuma
(Ano, 2004: online)

Figure 65: Pacific Flora Main Gate by Kengo Kuma
(Ano, 2004: online- adapted by author)

Figure 66: Model of Structural System
(Steed, 2015: online- adapted by author)



Within the first example, the organic concrete canopy allows for the 
articulation of spaces underneath. Within the project, a canopy structure 
in the forest could allow for the articulation of vegetation and specific 
trees within the context through openings within it.

In the Pacific Flora example, a rigid canopy structure allows for the 
suspension of elements hanging from it underneath in order to establish 
a veiled threshold. In the plantation, a more rigid canopy structure could 
allow for the flexibility of spatial ordering underneath (see figure 67). 

41 42

TOWERS + VERTICALITY
Another form of experiencing the place/space (the site), pertains to the 
feelings of proximity one experiences and how they may be translated 
in terms of the design intervention. Through analysing the height of the 
surrounding trees and vegetative canopies, it becomes possible for this 
to be an indirect experience of nature, as well as a physical experience 
in terms of embodiment. 

Due to the dirt road on the site being the most prominent physical entity 
symbolising the relationship between the forest and plantation, the 
implementation of a towered exhibition space, as well as a look-out 
tower, may allow for a moment of verticality (mimicking the trees) as a 
transformative space between the two different materials and structures 
of the canopies (see figure 68). 

In turn, the physical experience of the verticality is made prevalent when 
moving through the spaces, and the surrounding elements of the forest 
and Eucalyptus plantation are both celebrated at the threshold between 
the ecognostic relationship. 

In conclusion to CHAPTER 3: THEORETICAL DISCOURSE, the design exploration is greatly supported by 
theoretical themes such as biophilia and the fact that we are living in the geological epoch of the 
Anthropocene. It is evident that a shift needs to occur from where we perceive nature as something 
outside of us in the Anthropocene, towards a mindset of dark ecology which allows for us to realize 
that we are nature as well.  

Morton argues that we need to embrace ourselves in the form of one of many species, and that we 
are then able to transform from a depressive state into a ‘dark sweetness’ of ecological awareness. 
Although dark ecology does not map out the political and ethical strategies it promises, an ecstatic 
attitude and the hope emerges towards the inevitable dark future of the Anthropocene- a future 
where nature and humans are weirdly coexistent (Peterson, 2017: online). 

The loops and cycles of ecognosis are investigated through the eyes of Dark Ecology and relations on 
the site are investigated. In turn, the inverses and contrasting elements of the site may be applied to 
the design proposal to enhance the awareness of the site’s relations. 

Dark Ecology is also investigated in terms of biophilic principles in order for relational and ecological 
awareness to occur on the site. Through biophilic approaches allowing for direct experiences, indirect 
experiences, and experiences of place/space, it becomes possible for these weird coexistences to 
emerge and stimulate ecological awareness within the context of the forests of Kwa-Zulu Natal. 

The next chapter, CHAPTER 4: TECHNICAL INVESTIGATION, serves as an exploration of the technicalities 
pertaining to the project. The climatic needs of a subtropical climate are investigated, and an initial 
structural response is explored in terms of a CONSeption design. Structural investigations of suspension 
, canopies and louvre systems are investigated alongside an accommodation list or requirements. The 
materiality, sewage treatment, circulation and parking within the project are also explored. 

3.3 CONCLUSION 

Figure 67: Opposing canopies within different landscapes (author,2021)
Figure 68: Vertical elements mimicking the plantation (author,2021)



PART 2: MAKING

43 44

CHAPTER 1: INTRODUCTION
CHAPTER 2: SITE ANALYSIS + CONTEXT
CHAPTER 3: THEORETICAL DISCOURSE

CHAPTER 4: TECHNICAL INVESTIGATION

4.0 Introduction
4.1 Site + climatic considerations
 4.1.1 The sun
 4.1.2 Appropriate materials and construction techniques
 4.1.3 Thermal mass + insulation 
 4.1.4 Openings + Ventilation
 4.1.6 Palmyra House as a climatic precedent
4.2 CONSeption
4.3 Structural investigation of canopies + suspension
4.4 Screens and louvres
4.5 Accommodation List
4.6 Functionality + users
4.7 Materiality
4.8 Sewage Treatment: BIOROCK
4.9 Materiality
4.10 Vehicular Parking 
4.11 Conclusion

CHAPTER 5: DESIGN PROCESS
CHAPTER 6: DESIGN SYNTHESIS
CHAPTER 7: CONCLUSION

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53
54
55
56
57
58
59

60



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4.0 INTRODUCTION

46

Building climatology is the scientific study of climates pertaining to the built environment. Buildings exist in varying 
geographical contexts with differing seasonalities, rainfall patterns, sunlight, humidity and wind. In order for 
a symphonic relationship between the environment and structure within the context of the Umlalazi Nature 
Reserve, is important to investigate and understand the context and its requirements (Mour, 2019: online)

It is noted that the building industry is responsible for 40% of energy consumption in Australia alone (Ahmed: 2014: 
1). It is thus integral for the reduction of energy consumption within the built environment. This can be achieved 
through simple techniques and methods, for example, passive systems which provide natural cooling and 
minimize heat gain. It is noted that passive cooling strategies are suitable for subtropical zones with warm winters 
and humid summers, as well as subtropical areas with mild winters and warm and humid summers (Ahmed: 2014: 
1). 

Firstly, the sun and heat gain from the sun may be designed for in terms of spatial layouts, orientation and forms 
of the structures. 

Next, appropriate materials are investigated for a subtropical climate. 

Furthermore, it is integral to understand thermal massing and the insulation of materials. 

Lastly, natural ventilation techniques are explored and investigated in terms of the new building proposal in the 
Umlalazi Nature Reserve. 

4.1 THE SITE AND CLIMATIC NEEDS

CHAPTER 4: TECHNICAL INVESTIGATION, serves as an exploration of the technicalities pertaining to the 
project. 

Firstly, the climatic needs of a subtropical climate are investigated in terms of the sun and heat gain, 
materiality, thermal massing and ventilation techniques for a passive design. 

Next, initial structural response is explored in terms of a CONSeption design. This is achieved by 
observing the existing structures of Twinstreams Environmental and Education Centre, as well as 
drawing inspiration from the many natural structures within and around the site, including the spider 
web of the red-horned spider. 

The structural notions and detailing of suspension, canopies and louvre systems are also investigated 
to allow for a secure structure within the landscape, as well as providing optimal ventilation in the 
subtropical climate. 

Materials are investigated in terms of the ecognosistic relationships on the site and the newly 
implemented axes including cross-laminated timber (to be re-purposed from the Eucalyptus plantation), 
and polycarbonate sheeting.  

Alternative sewage systems and treatments are explored to allow for sustainable and integrated waste 
removal, and the circulation and vehicular parking is explored. 



48

4.1.1 The Sun

Differing main spaces of a structure, namely internal spaces, external 
spaces, and light-sensitive spaces, have different needs in terms of the 
allowance of entry of sunlight. For example, museums with exhibitions 
should not allow direct sunlight onto exhibitions unless intended. Spaces 
need to be well planned in terms of the sunlight in the area as to not 
allow for harsh exposure to natural elements (Mour 2019: online).

In the site of the new design intervention, there is very little harsh sunlight 
due to the amount of vegetation on it. Factors such as depth, density 
and width of structures are  explored in terms of spatial organisation (see 
figures 69). The design intervention proposes a new canopy structure with 
enclosed functions suspended from it. This will allow only filtered light onto 
the main functional structures.  In the plantation, the canopy structure 
aims to allow light in through the use of polycarbonate sheeting (which is 
strongly UV resistant). In the forest, a wooden threaded canopy is utilised 
to provide the structures (with polycarbonate sheeting walls) maximum 
shade amongst the forest trees. It is noted that the forest also filters light 
and provides natural shading (see figure 70). 

Figure 69: Depth, width and density (author,2021) Figure 70: Light through the forest trees (author,2021)

4.1.2 Appropriate Materials and Construction Techniques

In humid, hot and tropical climates, lightweight construction/frames 
construction techniques utilising metal framing or timber are ideal. Mass 
walls are more suited to temperate climates, but due to the properties 
of lightweight constructed walls they are more efficient in maintaining 
cooler temperatures throughout the nighttime as well (architropics, 
2021: online). Typically, light gauge steel members are used where the 
frame is the main structural element (see figure 71). Cladding serves as 
a skin which covers the frame, and exterior claddings may comprise 
out of metal, wood, cement board sidings and vinyl. For the interior, 
plasterboard or drywall may be used (where contact with moisture can 
be avoided) (architropics, 2021: online). 

Within the new design proposal, it is possible to use lightweight steel 
construction frames which will allow for enclosed spaces, the design of 
openings, and sufficient thermal properties within the subtropical climate 
of the Umlalazi Nature Reserve. The lightweight steel frames allow for a 
mediative structure within the different parts of the site, which may be 
treated differently on the exteriors in the differing forests.  

4.1.3 Thermal Mass + Insulation

The response a material has to the application of heat on it is its thermal 
property. A wall’s thermal properties is a primary determining factor 
of how well it will cool the interior of a structure. In a tropical climate, 
the difference between night-time and day-time temperature is not 
incredibly different, so using lightweight steel construction with a low 
thermal mass is ideal. Walls with wooden cladding do not store a lot heat 
(architropics, 2021: online).

However, insulation is crucial due to the high levels of humidity and moisture 
which may cause rotting a mold which could destroy the structure of the 
wall. Continuous insulation will prevent the thermal bridging as well as 
reduce heat transfer (McCutcheon, 2018: online). 

Within the new design proposal, it is important to consider a thermal 
insulator within the lightweight steel frames. Cellulose is known for being 
an environmentally friendly insulator- comprised of boards made of 
crushed newspaper. For fire protection, aluminium sulphate or borates 
are added to the mixture (Allplan, 2017: online) (see figure 72).  

4.1.4 Openings + Ventilation

Openings within a building in a tropical climate are critical due to 
being the determining factor of the structure’s breathability amidst the 
humidity. Although openings are integral within this climate, it is also 
important to make sure that wind does not enter the structure over hot 
surfaces. Openings may be placed along wind channels, and trees 
may be used as buffers (Mour, 2019: online). Sun and breeze corridors 
between enclosed structures are vital in preventing damage to structure 
due to a lack of proper ventilation (Council, 2020: online). The use of 
elevated structures are integral within this climate to allow for breezes 
and ventilation underneath the structure (see figure 73). 

In the design, it is possible to allow ventilation space between structures 
by separating the spaces and functions and allowing for louvre systems 
to aid air flow (see figure 74). The structure should also be orientated 
for maximum exposure to cooling breezes and designed with cross-
ventilation in mind. Within the new design proposal, the openings are 
to be designed in terms of cross ventilation with the axes of the design 
allowing the prevailing winds from the ocean from the south-east to enter 
and flow through the building (see figure 75).  

47
Figure 71:  Steel structure investigation (author,2021)

Figure 72:  Exploration of cellulose insulation in frame (author,2021) Figure 74:  Exploration of ventilation on elevation (author,2021)

Figure 73:  Exploration of ventilation on elevation and elevated
structure (author,2021)

Figure 75:  Exploration of natural wind for 
ventilation (author,2021)



Figure 79: Palmyra House Staircase
and materiality (Binet, 2007: online)

49

Figure 76: Palmyra House (Binet, 2007: online)

4.1.5 Palmyra House by Studio Mumbai 
as a Climatic Precedent

Although this structure is presented on a smaller 
scale than the intended new project proposal, 
the climate in which it is built is like that of the 
forests in KwaZulu Natal and are both within 
a tropical, humid climate and suggests the 
need for an adaptable structure allowing for 
ventilation and climate control amidst the 
humidity. Palmyra House is situated just outside 
of Mumbai situated by the Arabian sea amidst 
a coconut plantation. It was built as a retreat 
within nature from the busy city life and is a 
300 meter-squared house consisting of two 
louvered structures made of wooden frames 
and in-fill paneling (archdaily, 2010: online).
Although the structure is anchored atop stone 
platforms, it is still elevated from the ground 
to allow cross ventilation (see figure 77). The 
structural framing consists out of local ‘ain’ 
hardwood and is constructed using traditional 
joinery systems of interlocking. The pieces 
of wood are shaped almost like a 3D puzzle 
piece, where they fit in to one another through 
exact sizes (see figure 78). The structure thus 
mainly consists out a light wooden structure, 
with in-fill wooden paneling where needed, 
and adaptable louvre systems – where the 
house may ‘breathe’ within and in in reaction 
to the tropical climate (see figure 83). The 
louvres are handcrafted from the exterior of 
the palmyra trunk (another local palm tree in 
the area) (archdaily, 2010: online). 
Also, emphasis is placed on the locally quarried 
black basalt in the area for the construction 
of aqueduct walls, pool plaza and stone 
plinths (see figure 79) (archdaily, 2010: online).  
(archdaily, 2010: online). 

Figure 77: Elevated structure
(Binet, 2007: adapted by author)

Figure 78: Interlocking wood
(Mumbai, 2007: adapted by author)

The circulation of the structure consists of 
horizontal circulation between the two main 
volumes on the exterior around the pool plaza 
in the centre, as well as linear circulation within 
the interior volumes which allows for branching 
out in to the closed spaces within the interior. 
Vertical circulation consisting of stairs are 
present in each of the two volumes (see figure 
82). 

50

Figure 83: Timber structure with in-fill louvres
(Mumbai, 2007: adapted by author)

Two volumes of structures are used to separate 
the varying functions with a linear pool running 
in between and offers views of the palms 
towards the east and the ocean towards the 
west (see figure 80). An aqueduct also sits 
within the site (archdaily, 2010: online). 

Lessons Learnt (see figure 84). 

Figure #: Circulation 
(Mumbai, 2007: adapted by author)

Figure 81: Materiality (Mumbai, 2007: adapted by author)

Figure 80: User requirements and landscaping
(Mumbai, 2007: adapted by author)

1. A light + adaptable structure with adaptable 
screens within a tropical climate (see figure 
83).
2. Spatial organization within an industrial 
plantation. 
3. The use of local materiality for structure and 
aesthetic purposes.
4. The elevation of structure to allow for cross-
ventilation underneath the building. 

Application in design:

Figure 84: Application in design  (author, 2021).



51

4.2 CONSeption
For the CONSeption/initial technical 
investigation, the existing structural elements 
within and around the site are analysed. 
Already- built structures are investigated, as 
well as the natural strucures on the site. 

Existing structures at Twinstreams Environmental 
+ Education Centre: 

Floor: The existing structures on the site are all 
elevated to allow for proper ventilation in the 
humid climate, as well as elevate the structure 
from the cyclical decay and growth on the 
ground, as well as compensate for possible 
movement within the ground. The structures 
are most likely rooted within pile foundations 
deep within the ground, and the floors consist 
mostly out of wooden decking. One of the 
structures, however, has a solid concrete plinth 
as the floor (see figure 85).

Wall: In some of the structures in the proximity 
of the site, the more public spaces do not have 
walls, apart from brick structures enclosing 
the services in the structure (for example, the 
dining hall area of Twinstreams Environmental 
and Education Centre). However, the buildings 
that do have walls are either enclosed with 
wooden frameworks and filled- in with wood, 
or bricks are used on the more plinth-like floors 
(see figure 86).  

Roofs: The curved zinc roofs used on the site 
are the most economic way of using materials, 
however, this is not necessarily practical for 
the sound reduction amidst sub-tropical 
thunderstorms and elevate the feeling of 
danger that man already experiences within 
the forest. The curve, however, mimics the

enclosure- like canopy one receives on the 
trails of the trees which curve over them 
over time, as well as the curved network of 
mangrove roots alongside the stream. Also, 
looking at roof structures of precedent studies 
in the sub-tropical region of KZN along the 
coast, it becomes evident that large roof 
structures are used in order to enclose the 
spaces, where pods of networked spaces are 
formed underneath one roof (see figures 87). 

Natural structures around the site: 

Knots + twists of trees and vines

Prevalent spider’s webs (tensile strength + 
suspension)

Centipede (adaptive with passive opening 
and enclosing methods)

Pierced mangrove leaves (nature’s shading 
device) 

Ever- changing sand dunes (adaptability) 
 

Figure 85: Floors 
(author, 2021)

Figure 86: Walls
(author, 2021)

Figure 87: Roofs
(author, 2021)

Figure 88: Twisted trunk
(author, 2021)

Figure 89: Red-horned spider
(author, 2021)

Figure 90: Centipede
(author, 2021)

Figure 91: Pierced leaves
(author, 2021)

52

Figure 93: Conceptual structural approach
(author, 2021)

Through the investigation of existing and 
natural elements around the site (see figures 
88-92), emphasis is placed on the tensile forces 
of the red-horned spider’s web (see figure 94) 
as well as the  adaptational centipede. An 
explorative structure is designed in terms of 
these different elements, with a main central 
structure (path), and suspended walkways 
and pods emerging from it (see figure 93). Also, 
a main structural frame is created and filled in 
to create adaptable panels which can open 
and close in response to the climate (see figure 
96). The entire structure is elevated and aims to 
‘touch the earth lightly in hermeneutic relation 
with the natural landscape (see figures 94-97).

Figure 94: Structure of the spider’s web (author, 2021)

Figure 96: Adaptability in facades (author, 2021) Figure 97: Minimal impact on ground + suspended platform (author, 2021)

Figure 95: Suspended structure (author, 2021)

Figure 92: Sand dunes
(author, 2021)



4.4 LOUVRE SYSTEMS4.3 STRUCTURAL INVESTIGATION OF CANOPY AND SUSPENSION

53 54

An overriding canopy structure is proposed to allow for an ordering of functions underneath within the subtropical climate of the Umlalazi Nature 
Reserve, where the sheeting of the canopy structure in the plantation is a polycarbonate material, and in the forest a wooden pergola sheeting is used. 

The observation of the spider and its suspended web between the trees in the forest, alongside the theoretical approach of biophilia and dark ecology 
through the creation of moments of ecognosis, allows for the investigation of suspended functions underneath the proposed canopy structures. 

Structures which are supported from higher points (for example, floors or a buildings which are hung from separate structures), are suspended structures 
(encyclopdia, 2019: online). Throughout history, suspended structures have  mainly been concerned with bridges. However, recent applications and 
developments in technology have allowed for light, single storey structures to be suspended as well. A strong structure may allow for the weight of a 
suspended structure to be transmitted to its core, or by means of a beam-action between two cores. Beams enable large spans to be suspended. (Rose, 
2015: online). 

Within the new design proposal, a canopy (column and beam structure) is used to suspend the functions underneath it. The detailing of the suspension 
elements are to allow for steel rods, attached to the beam structures of the canopy, which are attached to the lightweight steel constructed function. 

IMAGES FROM 98- 102!!!

To allow for adaptation within openings (which aid in ventilation and may be incorporated in to lightweight steel construction), louvre systems are 
investigated as an appropriate construction element in a subtropical climate. 

In tropical climates, louvres are one of the best types of openings for windows which allow for ventilation. Louvre systems have also been developed 
in terms of design, durability and performance over recent years (architropics, 2021: online) and there are many benefits to incorporating them in to a 
structure in this climate. For example: 

• Large ventilation opening
• Flexible sizes
• Keeping rain out
• Material options
• Controlling natural light
• Privacy
• Easy to clean
• Motorised options
• Security
• Less air leakage
• Hurricane resistant 

(architropics, 2021: online)

Within the new design proposal in the Umlalazi Nature Reserve, it is possible to incorporate a manually-operated louvre system in to the facades of the 
new lightweight steel constructed enclosed functions. 

In terms of materiality, it is possible to repurpose the cut-down Eucalyptus trees within the plantation for the louvre panel system. 

Figure 100: (author, 2021)

Figure 99: (author, 2021)

Figure 98: (author, 2021)



1. VISITOR CENTRE

Reception
Gift Shop
 Storage
 Shop space
Exhibiton Spaces

2. RESTAURANT

 Kitchen 
  Cold Storage
  Dry Storage
  Washing space
  Staff WC’s 
  Food Preparation space
  Service Yard
  Delivery Entrance
  Circulation
 Coffee Bar
 Seating 

3. ADMINISTRATION

 Meeting Room
 Offices
 Staff WC’s 
 Staff Changing Rooms
 Lounge Space 

55

4.5 ACCOMMODATION LIST 

165 m2

28.9
66.5
16.5
50
69.6

109.73 m2

50.93
5.23
2.8
3.6
6.3
5.3
6
2.5
19.2
5.3
53.5

98.73 m2

14.35
33.7
6.6
13.89
30.19

The accommodation list for the new design proposal includes functions pertaining to a Visitor Centre, Restaurant, Administration, Services (Ablution), 
Academic, Social and Individual. The following table lists the requirements of each of these spaces, as well as the m2 size of each in the new design 
proposal. 

56

1. FUNCTIONING OF BUILDING

1. Visitor Centre

The structure is to be used an eco-tourism destination to learn about the 
surrounding area and conservation efforts. Visitors may buy food from 
the deli and eat at certain spots on the site to experience the landscape. 
Also, it is possible for the design of a cellular application which is to be 
downloaded at the reception upon entry for visitors to be guided around 
the structure and landscape paths into the rest of the forest with extra 
information as it changes throughout time. 

2. Refuge for surrounding researchers/conservationists and academics

There are a lack of work facilities for researchers, conservationists and 
academics when they visit the area to do their work. In the administration 
part of the building, it becomes possible for a shared office space where 
students and professionals may work and do their research for the time 
they are in the area. 

3. Learning Centre to be used for lectures and conversations as an 
extension to Twinstreams Environmental and Education Centre

Twinstreams Environmental and Education Centre (towards the east of 
the site) lacks the capacity to function to their full potential. It becomes 
possible for the new design intervention to allow for bigger groups of 
students where information may be be presented. The structure may also 
serve as a base for students to return to after completing activities. 

4. Conservation lectures/small conferences

WESSA, who are the current owners and facilitators of Twinstreams 
Environmental and Education Centre, are known for hosting events and 
lectures pertaining to conservation efforts and hosting fundraising events. 
The structure may utilize lecture halls and break-away functions to aid 
with these functions. 

2. USERS

1. Visitors 

Visitors may come to the structure as an eco-tourism destination to learn 
about the Umlalazi Nature Reserve, the area, and the conservation efforts 
in place. A restaurant and gift shop allows for an income from the visitors. 

2. Staff

Receptionist: To orientate visitors

Curator: For running the exhibitions

Conservationists/Researchers: From Twinstreams Environmental and 
Education Centre may utilise the space in the offices, as well as the 
lecturing and educational facilities where they may present information 
to children and/or visitors. 

Retail: Management and running of the gift shop

Restaurant: Roughly two people to prepare food in the kitchen, and at 
least two food servers. 

Maintenance: For maintenance and cleaning purposes. 

3.Academic

Professionals seeking alternative conferencing space

Supervised children (School Adventure Camps) from the Twinstreams 
Environmental and Education Centre 

4.6 FUNCTIONALITY OF BUILDING + USERS

4. ABLUTION

 Public WC’s
 Staff WC’s 

5. ACADEMIC
 
 Break-away rooms
  Seating
  Projectors
 Lecture Hall
  Seating  space
  Projector/Screen

6.