Harel Mallac Limited (HML.mu) listed on the Stock Exchange of Mauritius under the Industrial holding sector has released it’s 2016 interim results for the first quarter.For more information about Harel Mallac Limited (HML.mu) reports, abridged reports, interim earnings results and earnings presentations, visit the Harel Mallac Limited (HML.mu) company page on AfricanFinancials.Document: Harel Mallac Limited (HML.mu) 2016 interim results for the first quarter.Company ProfileHarel Mallac and Co. Limited is involved in the manufacturing and trading, business service as well as asset management businesses. The company operates through investment, corporate and property business services and manufacturing and trading segments. Harel Mallac and Co. Limited also engages in the blending, trading, and selling of chemicals, fertilizers, and general goods, the provision of agro industrial, engineering, refrigeration, and electrical products, as well as air conditioning and fire protection, and waterproofing activities. Harel Mallac and Co. Limited has operations in Mauritius, Burundi, Madagascar, Rwanda, Tanzania, and Zambia. The company is based in Port Louis, Mauritius. Harel Mallac and Co. Limited is a subsidiary of Société de Lerca. Harel Mallac and Co. Limited is listed on the Stock Exchange of Mauritius
Simon Hardy, one of the world’s top throwing specialists, explains the hooker’s chief craft LATEST RUGBY WORLD MAGAZINE SUBSCRIPTION DEALS “Getting your hands right is the No 1 rule for throwing in,” says Simon Hardy, a World Cup-winning coach with England who now works with the likes of Bath, Harlequins and Pau on a consultancy basis. “Each player is different, so find what works for you.” Here are his top tips for throwing into a lineout…1. GET YOUR HANDS RIGHT“For a right-hander, have ‘Gilbert’ on top (seam at 2, 4, 6 and 8 o’clock). Right hand towards back of ball, fingers over top of seam, thumb relaxed. Left hand slightly forward of right, fingers relaxed, thumb under ball. To throw, snap elbows and roll hands out. Hands are together, pointing at the target.”Right place: Getting your hands in the correct position is key. Photo: Getty Images2. SIT ON A STABILITY BALL“The aim here is to isolate your upper body, using your core, arms and hands to throw. Technique: sit tall, chest up, hips up. Chin off your chest. Snap your elbows and roll the hands out. For a progression (adding difficulty), use a heavy ball or use only one foot to stabilise yourself.”3. LIE ON A STABILITY BALL“Aim: general use of all muscle groups and coordination of throwing action. Technique: hips up, pull through the abs, release ball above the head. Lift chest up after throw. In a game a throw isn’t an isolated action so for the progression, throw and stand to catch the ball.”Having a ball: Tom Youngs works on his technique in front of Simon Hardy. Photo: Getty Images 4. INTRODUCE A WOBBLE BOARD England hooker Jamie George throws in during England training. Photo: Getty Images WHAT YOU COULD DOThe 95% rule. Spend 95% of your time on practice. On average there are 15 throws in a game, so players should make 285 throws a week.Copycat. Watch good throwers who have a similar style to you (whether at your club or on TV).World Cup winner: Simon Hardy was part of England’s 2003 back-room team. Photo: Getty ImagesFact not feel. Record your best throws in a ‘confidence diary’ or on a phone, so you can see your improvement. In his first season at Bath, Tom Dunn recorded 6,000 throws in an exercise book.Ask yourself the right questions. Why was that a good throw? How did it feel? Don’t analyse a bad throw, just bin it. It’s about positive reinforcement.Use consequence drills to perform under pressure. Eg, hit the target ten times in a row before you finish.This article first appeared in the April 2017 issue of Rugby World magazine. For the latest subscription offers, click here. “Now stand and throw from a wobble board. Aim: to develop good posture and keep weight on the balls of your feet. Technique: stay tall, lift hips and chest up, flex your knees (don’t bend them), push hips forward. Progression: once you’re staying on the board, throw longer and faster.” 5. STANDING THROW TO TARGET“Aim: to develop understanding of release points and speed and shape of the throw. Technique: feet square, hips and chest up, chin off chest. Knees relaxed, weight on balls of feet. Hands up, step forward after throw. Progression: smaller targets or throw through a hoop between you and target.”Target practice: New Zealand work on their lineout drills. Photo: Getty Images 6. THROW INTO A LINEOUT“Aim: to develop understanding of speed of jumpers into the air to improve timing of throw. A. SPEAK to yourself as you come to touchline. B. Set up half a step behind line and SEE your throw. C. SHOOT. Use a trigger word to focus attention. Progression: add opposition, time constraints, noise, etc.”
The Anatomy of Fear By Arash Javanbakht and Linda Saab, and originally published in conversation.com Free webinar for job seekers on best interview answers, hosted by Goodwill June 11 Please enter your comment! Support conservation and fish with NEW Florida specialty license plate LEAVE A REPLY Cancel reply You have entered an incorrect email address! Please enter your email address here Fear may be as old as life on Earth. It is a fundamental, deeply wired reaction, evolved over the history of biology, to protect organisms against perceived threat to their integrity or existence. Fear may be as simple as a cringe of an antenna in a snail that is touched, or as complex as existential anxiety in a human.Whether we love or hate to experience fear, it’s hard to deny that we certainly revere it – devoting an entire holiday to the celebration of fear.Thinking about the circuitry of the brain and human psychology, some of the main chemicals that contribute to the “fight or flight” response are also involved in other positive emotional states, such as happiness and excitement. So, it makes sense that the high arousal state we experience during a scare may also be experienced in a more positive light. But what makes the difference between getting a “rush” and feeling completely terrorized?We are psychiatrists who treat fear and study its neurobiology. Our studies and clinical interactions, as well as those of others, suggest that a major factor in how we experience fear has to do with the context. When our “thinking” brain gives feedback to our “emotional” brain and we perceive ourselves as being in a safe space, we can then quickly shift the way we experience that high arousal state, going from one of fear to one of enjoyment or excitement.When you enter a haunted house during Halloween season, for example, anticipating a ghoul jumping out at you and knowing it isn’t really a threat, you are able to quickly relabel the experience. In contrast, if you were walking in a dark alley at night and a stranger began chasing you, both your emotional and thinking areas of the brain would be in agreement that the situation is dangerous, and it’s time to flee!But how does your brain do this?How do we experience fear?Fear reaction starts in the brain and spreads through the body to make adjustments for the best defense, or flight reaction. The fear response starts in a region of the brain called the amygdala. This almond-shaped set of nuclei in the temporal lobe of the brain is dedicated to detecting the emotional salience of the stimuli – how much something stands out to us.For example, the amygdala activates whenever we see a human face with an emotion. This reaction is more pronounced with anger and fear. A threat stimulus, such as the sight of a predator, triggers a fear response in the amygdala, which activates areas involved in preparation for motor functions involved in fight or flight. It also triggers release of stress hormones and sympathetic nervous system.This leads to bodily changes that prepare us to be more efficient in a danger: The brain becomes hyperalert, pupils dilate, the bronchi dilate and breathing accelerates. Heart rate and blood pressure rise. Blood flow and stream of glucose to the skeletal muscles increase. Organs not vital in survival such as the gastrointestinal system slow down.A part of the brain called the hippocampus is closely connected with the amygdala. The hippocampus and prefrontal cortex help the brain interpret the perceived threat. They are involved in a higher-level processing of context, which helps a person know whether a perceived threat is real.A lion in the wild can make us fearful. Chadofski/Shutterstock.comFor instance, seeing a lion in the wild can trigger a strong fear reaction, but the response to a view of the same lion at a zoo is more of curiosity and thinking that the lion is cute. This is because the hippocampus and the frontal cortex process contextual information, and inhibitory pathways dampen the amygdala fear response and its downstream results. Basically, our “thinking” circuitry of brain reassures our “emotional” areas that we are, in fact, OK.How do we learn the difference?Being attacked by a dog or seeing someone else attacked by a dog triggers fear. Jaromir Chalabala/Shutterstock.comSimilar to other animals, we very often learn fear through personal experiences, such as being attacked by an aggressive dog, or observing other humans being attacked by an aggressive dog.However, an evolutionarily unique and fascinating way of learning in humans is through instruction – we learn from the spoken words or written notes! If a sign says the dog is dangerous, proximity to the dog will trigger a fear response.The author and his Great Pyreness, Jasper. Arash, CC BYWe learn safety in a similar fashion: experiencing a domesticated dog, observing other people safely interact with that dog or reading a sign that the dog is friendly.Why do some people enjoy being scared?Fear creates distraction, which can be a positive experience. When something scary happens, in that moment, we are on high alert and not preoccupied with other things that might be on our mind (getting in trouble at work, worrying about a big test the next day), which brings us to the here and now.Furthermore, when we experience these frightening things with the people in our lives, we often find that emotions can be contagious in a positive way. We are social creatures, able to learn from one another. So, when you look over to your friend at the haunted house and she’s quickly gone from screaming to laughing, socially you’re able to pick up on her emotional state, which can positively influence your own.While each of these factors – context, distraction, social learning – have potential to influence the way we experience fear, a common theme that connects all of them is our sense of control. When we are able to recognize what is and isn’t a real threat, relabel an experience and enjoy the thrill of that moment, we are ultimately at a place where we feel in control. That perception of control is vital to how we experience and respond to fear. When we overcome the initial “fight or flight” rush, we are often left feeling satisfied, reassured of our safety and more confident in our ability to confront the things that initially scared us.It is important to keep in mind that everyone is different, with a unique sense of what we find scary or enjoyable. This raises yet another question: While many can enjoy a good fright, why might others downright hate it?Why do some people not enjoy being scared?Any imbalance between excitement caused by fear in the animal brain and the sense of control in the contextual human brain may cause too much, or not enough, excitement. If the individual perceives the experience as “too real,” an extreme fear response can overcome the sense of control over the situation.This may happen even in those who do love scary experiences: They may enjoy Freddy Krueger movies but be too terrified by “The Exorcist,” as it feels too real, and fear response is not modulated by the cortical brain.On the other hand, if the experience is not triggering enough to the emotional brain, or if is too unreal to the thinking cognitive brain, the experience can end up feeling boring. A biologist who cannot tune down her cognitive brain from analyzing all the bodily things that are realistically impossible in a zombie movie may not be able to enjoy “The Walking Dead” as much as another person.So if the emotional brain is too terrified and the cognitive brain helpless, or if the emotional brain is bored and the cognitive brain is too suppressing, scary movies and experiences may not be as fun.What are disorders of fear?All fun aside, abnormal levels of fear and anxiety can lead to significant distress and dysfunction and limit a person’s ability for success and joy of life. Nearly one in four people experiences a form of anxiety disorder during their lives, and nearly 8 percent experience post-traumatic stress disorder (PTSD).Disorders of anxiety and fear include phobias, social phobia, generalized anxiety disorder, separation anxiety, PTSD and obsessive compulsive disorder. These conditions usually begin at a young age, and without appropriate treatment can become chronic and debilitating and affect a person’s life trajectory. The good news is that we have effective treatments that work in a relatively short time period, in the form of psychotherapy and medications.Arash Javanbakht and Linda Saab are Assistant Professors of Psychiatry at Wayne State University TAGSconversation.comFearHalloweenWright State University Previous articleMy first cat: Part OneNext articleIn case you missed it: The Apopka news week in review Denise Connell RELATED ARTICLESMORE FROM AUTHOR Share on Facebook Tweet on Twitter Please enter your name here Save my name, email, and website in this browser for the next time I comment.
LEAVE A REPLY Cancel reply Free webinar for job seekers on best interview answers, hosted by Goodwill June 11 Share on Facebook Tweet on Twitter TAGSBlack JackCasinoFlorida LegislaturegamblingGovernor Ron DeSantisNegotiationsSeminole Tribe of FloridaState RevenueThe Center Square Previous articleGas prices rise again; now above $2.90/gallon in Florida, with Apopka at $2.85/gallon averageNext articleFL-DOH in Orange Co. booked almost 7,000 COVID vaccine appointments in 13 minutes when 40+ age opened on Monday Denise Connell RELATED ARTICLESMORE FROM AUTHOR Please enter your comment! Two years of behind-the-scenes negotiations between state lawmakers and the Seminole Tribe of Florida has produced little of substance in securing a new gaming compact.And while that remains true today, Gov. Ron DeSantis and Senate President Wilton Simpson, R-Trilby, both confirmed last week – without disclosing details – that the stalemate could end soon.“We will probably know one way or the other within the next week or so whether we have a path to agreement or whether that agreement may remain elusive going forward,” DeSantis told reporters after he met with 20 Florida pari-mutuel industry leaders representing casinos, cardrooms, horse tracks and jai-alai frontons.Simpson said a bill could be filed by this week spelling out a proposed Seminole gaming deal. “We would certainly like to get a compact finished,” he said.The Seminoles’ $350 million annual pact with the state expired in May 2019. Lawmakers and the tribe have since failed to agree on a slate of issues, including “designated player” or “banked” card games – a blackjack-poker hybrid – offered at many Florida pari-mutuel businesses.The Seminoles successfully claimed in court the state’s failure to install “a mechanism to shut down the illegal banked card games” violated the compact, negating its renewal in 2019. The tribe is demanding exclusive ability to offer blackjack.Complicating negotiations is uncertainty over control of online gaming and discord over newly-legal sports wagering in the context of November 2018’s passage of Amendment 3, largely bankrolled by Disney and the Seminoles, which requires any “expansion of gambling” be approved by voters.That Seminoles maintain the state’s taking control of online and sports wagering is illegal under Amendment 3 without a voter referendum.Senate leaders, led by former Senate President Bill Galvano, R-Sarasota, and now Simpson, have negotiated tentative deals the last two years, including one in which the Seminoles’ seven casinos operate online sports betting “hubs” in exchange for resuming $700-to-$750 million annual payments to the state.Some lawmakers do not want the state to cede control of online gaming and sports wagering and over the last three sessions have filed bills proposing to implement a state regulatory scheme.Sen. Jeff Brandes, R-St. Petersburg, has filed three bills to allow the state’s lottery department issue licenses and oversee legal sports wagering with revenues dedicated to education beginning Oct. 1, 2021.Brandes’ Senate Bill 392 authorizes the state’s lottery to operate a sports wagering program and lays out the parameters of how it would operate. SB 394 imposes a 15% tax on revenues and SB 396 establishes $100,000 application and renewal fees for licenses.The bills are essentially prods to spur urgency in gaming compact talks, but DeSantis said Thursday with revenues exceeding projections and nearly $10 billion in federal aid negating projected two-year revenue shortfalls, Florida can negotiate from a position of strength.“If it’s something that benefits the state, we obviously have an obligation to work to do that,” he said. “But at the same time, we are not in a position where we’re desperately needing additional revenue – and I think that that’s a good position to be in.”That had to be good news for the pari-mutuel operators the governor had just met with. For hood measure, he added any new gaming compact must benefit the operators of race tracks, cardrooms and jai-alai frontons.“Ultimately, I don’t represent the Seminoles,” he said. “I represent Florida businesses and employees. We want to make sure those folks do well under whatever arrangement may be reached between the state of Florida and the nation of the Seminole Indian Tribe.” “If it’s something that benefits the state, we obviously have an obligation to work to do that. But at the same time, we are not in a position where we’re desperately needing additional revenue – and I think that that’s a good position to be in.” – Governor DeSantisBy John Haughey | The Center Square Please enter your name here Photo by Macau Photo Agency The Anatomy of Fear Support conservation and fish with NEW Florida specialty license plate You have entered an incorrect email address! Please enter your email address here Save my name, email, and website in this browser for the next time I comment.
ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/464640/house-unimog-fabian-evers-architecture-wezel-architektur Clipboard Architects: Fabian Evers Architecture, Wezel Architektur Area Area of this architecture project Area: 120 m² Area: 120 m² Year Completion year of this architecture project Workshop Year: 2012 ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/464640/house-unimog-fabian-evers-architecture-wezel-architektur Clipboard ArchDaily House Unimog / Fabian Evers Architecture, Wezel ArchitekturSave this projectSaveHouse Unimog / Fabian Evers Architecture, Wezel Architektur House Unimog / Fabian Evers Architecture, Wezel Architektur 2012 photographs: Sebastian Berger, Michael SchnabelPhotographs: Sebastian Berger, Michael SchnabelEngineer:Ströbel Bilger Mildner IngenieureArchitect In Charge:Fabian Evers Architecture, Wezel ArchitekturMore SpecsLess SpecsSave this picture!© Michael SchnabelText description provided by the architects. The unusual task and the difficult building site was at one hand a big challenge but on the other a big potential. The owner requested a workshop for his Unimog and a small residential unit. The site is located directly next to a street with havy traffic and is surrounded by small private houses and farm buildings. A crucial parameter was the very tight cost frame.Save this picture!© Sebastian BergerThe concept was to stack the two different uses on top of each other in order to minimize the footprint on the site and to orient the living rooms from the street towards the landscape. The result is a vertically developed house. The variation of the two different uses reflects itself through the facade: The lower part of the workshop is cladded with translucend polycarbonate elements. Save this picture!© Michael SchnabelThe workspace is filled with filtered natural light during the daytime, and turns at night into a light box which glows into the neighborhood. The living space presents itself with its anthracite facade as a monolithic volume. Precice set windows and a generous south oriented loggia enables beautiful views into the surrounding landscape. Save this picture!© Sebastian BergerThe chosen materials for the facade and inside the building underlines the pragmatic and reduced design concept: a house which is rather located in the typologie of a rational farmhouse or of a workshop than a classical residential house. Save this picture!ScantlingProject gallerySee allShow less361° Conference 2014: Architecture and IdentityEventHanjie Wanda Square / UNStudioSelected Projects Share Copy• “COPY” “COPY” Photographs Year: Save this picture!© Sebastian Berger+ 25 Share Projects CopyAbout this officeFabian Evers Architecture OfficeFollowWezel Architektur OfficeFollowProductsWoodSteelPlastic#TagsProjectsBuilt ProjectsSelected ProjectsIndustrial ArchitectureWorkshopResidential ArchitectureHousesIndustrial ArchitectureHousesPublished on January 08, 2014Cite: “House Unimog / Fabian Evers Architecture, Wezel Architektur ” 08 Jan 2014. ArchDaily. Accessed 11 Jun 2021.
ArchDaily Architects: Cadence Area Area of this architecture project Year: India 2013 Save this picture!© Anand Jaju+ 16 Share Photographs photographs: Anand JajuPhotographs: Anand JajuSave this picture!© Anand JajuRecommended ProductsWindowsJansenWindows – Janisol PrimoWindowsFAKRORoof Windows – FPP-V preSelect MAXEnclosures / Double Skin FacadesFranken-SchotterFacade System – LINEAWindowspanoramah!®ah!38 – FlexibilityText description provided by the architects. Placed in a residential context, the site is located at a corner and is abutted by roads on two sides. The context didn’t allow for too much interaction, hence the design required us to create a dynamic interaction between the spaces within the house. Transitional areas between the public and private spaces help separate functions and enables intermingling of spatial volumes.Save this picture!© Anand JajuAn introverted plan enabled us to have minimalist surfaces on the exterior. As per the client’s requirements, all private spaces were to be on one floor. Public spaces were at the first floor, with services and a car park on the ground level. Owing to the constraints of the small size of the site, it was crucial to maximise spaces allocated to various functions. This was achieved by playing with volumes. A double height living room gave a sense of expanse and it provided a visual connect from the second level. In order to break the monotony of the built versus un-built, a courtyard was introduced on the first level. To compliment the double height volumes on the inside, the courtyard was also made double height and accessible at the second level, thereby internalising it and it acts as an extension of the private spaces. With the introduction of the double height courtyard, the facade appears hollowed out and fitted with a play of planes and materials.Save this picture!© Anand JajuThe next challenge was to add functional spaces to the terrace level without adding to the height of the building. A truss roof, which sloped upwards, gives the perception that the roof is diminishing. The terrace has a deck which interacts with the external landscape and acts as a public space for the residents. Use of complimenting materials and surface finishes from the ground level to the terrace; add to the design of the house. Rough concrete finishes contrast with smooth plastered surfaces, wooden panelling in contrast to dressed stone tiles helps balance out the raw minimalist feel of the house.Save this picture!© Anand JajuProject gallerySee allShow lessMola Structural Kit: A New Way to Learn About StructuresArchitecture NewsHouse in Fukuchiyama / arakawa Architects & AssociatesSelected Projects Share “COPY” Year: Area: 2200 ft² Area: 2200 ft² Year Completion year of this architecture project CopyHouses•Bengaluru, India ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/545669/bagrecha-residence-cadence Clipboard 2013 Bagrecha Residence / Cadence ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/545669/bagrecha-residence-cadence Clipboard CopyAbout this officeCadenceOfficeFollowProductsWoodGlassConcrete#TagsProjectsBuilt ProjectsSelected ProjectsResidential ArchitectureHousesBengaluruHousesIndiaPublished on September 10, 2014Cite: “Bagrecha Residence / Cadence” 10 Sep 2014. ArchDaily. Accessed 11 Jun 2021.
Projects Casa U / MATERIA Photographs: Onnis LuqueDesign Team:Karla Uribe, Hugo BlancasArchitects In Charge:Gustavo Carmona, Lisa BeltránCity:Mexico CityCountry:MexicoMore SpecsLess SpecsSave this picture!© Onnis LuqueRecommended ProductsSystems / Prefabricated PanelsKalwall®Pre-engineered StructuresSystems / Prefabricated PanelsSwisspearlPerforated & Engraved PanelsSystems / Prefabricated PanelsInvestwoodCement-Bonded Particle Board – Viroc NaturePorcelain StonewareApavisaBetonText description provided by the architects. Casa U is located in the suburbs of Mexico City in a very steep and hilly site overlooking the Valley of Mexico. The pronounced slope generated a sitting that emphasizes the intimate relationship between the spaces of the house with the site´s topography.Save this picture!© Onnis LuqueThe parti questioned the typical sequence of a house, having its access in its roof to then descend into the private and social spaces of the house. A large number of trees served for tracing, framing the house and giving it more privacy.Save this picture!© Onnis LuqueThe exterior facade is sober and simple, hiding the house beyond and making evident the relationship between slope and horizon. After an entry portal, a bridge extends the transition from the street and becomes an observatory. By stepping away from the slope, the house reduces its footing and frees up the most of green surface.Save this picture!© Onnis LuqueThe stair becomes the core of the project, acting as the material axis and a threshold of light. It distributes to all levels and spaces making use of landings with framed views, bringing the landscape into the interior at different scales. The steps are strategically longer in some sections to slow down the person and allow for amore conscious act of transitioning between levels. Save this picture!SectionThe top level holds the garage and access vestibule, being the next level down occupied by two bedrooms, two bathrooms, a master bedroom with private bathroom, a terrace and a studio, followed by the living room, dining and kitchen floor, and lastly a semi-buried level with a playroom and access to the lower garden.Save this picture!© Onnis LuqueThe materiality responds to the function of the spaces. The highest volumes containing the bedrooms reach the clarity of the sky. The social level, the one with access to the gardens is expressed with a heavier nature using black stone rhythmically divided by small ridges that provide a continuous play of light and shadow mimicking the volcanic local stone. This two make the volume look embedded into the soil. Finally, an in between concrete is used for all of the volumes that contain service spaces.Save this picture!© Onnis LuqueProject gallerySee allShow lessMaterial Focus: The Great Wall of WA by Luigi RosselliArticlesInside Las Pozas, Edward James’ Surrealist Garden in the Mexican JungleArticles Share Save this picture!© Onnis Luque+ 25 Share ArchDaily 2015 ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/790336/casa-u-materia Clipboard ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/790336/casa-u-materia Clipboard Year: CopyHouses•Mexico City, Mexico Area: 590 m² Year Completion year of this architecture project Photographs Casa U / MATERIASave this projectSaveCasa U / MATERIA Architects: MATERIA Area Area of this architecture project Mexico “COPY” Houses “COPY” CopyAbout this officeMATERIAOfficeFollowProductsStoneConcrete#TagsProjectsBuilt ProjectsSelected ProjectsResidential ArchitectureHousesMexico CityMexicoPublished on June 29, 2016Cite: “Casa U / MATERIA” 29 Jun 2016. ArchDaily. Accessed 11 Jun 2021.
ArchDaily Projects Houses Save this picture!© Joonhwan Yoon+ 33Curated by Fernanda Castro Share South Korea 2017 Save this picture!© Joonhwan YoonRecommended ProductsWoodAccoyaAccoya® Cladding, Siding & FacadesWood Boards / HPL PanelsInvestwoodWood Fiber Kitchens – ValchromatDoorsLinvisibileLinvisibile Curved Hinged Door | AlbaWoodLunawoodThermowood FacadesText description provided by the architects. A mountain village in Gangneung where the ice skating heats of the PyeongChang 2018 Winter Olympics are held, Gwaneum-ri was named after the Korean Buddhist term, Gwaneum-bosal, who embodies the compassion all buddhas and local people believed that she appeared a long time ago. This area is vulnerable to fire due to the dry wind from the mountain to the East Sea under the influence of local climate in Gangneung. The forest fire that occurred in May 2017 spread along with the spring wind from the west to the downtown of Gangneung, damaging many houses and forests. Amongst them, a house in Gwaneum-ri was also damaged that the couple and their daughter who were recovering after childbirth lost their shelter. On this heap of ashes, we had to build a new house as if to plant an apple tree of hope.Save this picture!© Joonhwan YoonSave this picture!Lower Floor PlanSave this picture!© Joonhwan YoonWhen we first visited the site, we could scarcely tell the remnants of the original house except for a little trace of ashes and the photograph of the lost little wooden house. The lost house was originally located at the center with much area of the northern triangular space left empty so as to have a narrower yard than expected. To overcome this drawback, we planned to utilize the rear triangular space properly for the newly built house, separating the trapezoidal mass into two spaces: one for the couple and the other for guests, around the central courtyard. The triangular in-between space was designed as a space for sharing and hope with an apple tree and the level difference utilized.Save this picture!© Joonhwan YoonAll approaches to the country house for the old couple were designed as ramps for easy access, while the right-side mass to accommodate guests connects with the central garden. The roof has a sloped form towards the central garden to make a natural flow from the left-side high hill, while the right-side wall of the guest room has a minimal window that blocks the noise from the road and provides a private space.Save this picture!© Joonhwan YoonSave this picture!Sections 1Save this picture!© Joonhwan YoonThe living room has a corner window that provides the view towards the southeastern landscape, and the vestibule serves as a separator between the kitchen and the living room. The central garden was designed to satisfy the needs of the couple who like to cook and grow flowers so that they can enjoy cooking with a view of the garden. The bedroom was placed at the back of the site to block the noise from the road, with the bathroom and the dressing room made in a series. Stairs were put at the dressing room through which one can go upstairs to the loft. The guest room, located along the roadside and approached from the vestibule through the small central garden, is at a little lower level than the couple’s room, and its mass was also designed to have a lower height considering the flow of landscape.Save this picture!© Joonhwan YoonProject gallerySee allShow lessAurus Sales Pavilion / Abin Design StudioSelected ProjectsFuzhou Cultural Exchange Center / MZA ArchitectureSelected Projects Share Lead Architect: CopyHouses•Gangneung, South Korea Area: 99 m² Year Completion year of this architecture project Architects: Architecture Studio YEIN Area Area of this architecture project Yesun Choi Gwaneum-Ri House / Architecture Studio YEINSave this projectSaveGwaneum-Ri House / Architecture Studio YEIN Year: Gwaneum-Ri House / Architecture Studio YEIN “COPY” ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/902518/gwaneum-ri-house-architecture-studio-yein Clipboard Photographs: Joonhwan Yoon Manufacturers Brands with products used in this architecture project “COPY” ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/902518/gwaneum-ri-house-architecture-studio-yein Clipboard Photographs Manufacturers: Dimension, Stucoflex, The spruce CopyAbout this officeArchitecture Studio YEINOfficeFollowProductsWoodConcreteBrick#TagsProjectsBuilt ProjectsSelected ProjectsResidential ArchitectureHousesGangneungSouth KoreaPublished on March 28, 2019Cite: “Gwaneum-Ri House / Architecture Studio YEIN” 27 Mar 2019. ArchDaily. Accessed 11 Jun 2021.