This is the first house in Singapore to win an award at the prestigious World Architecture Festival

“At the fringe of utopia, time moves at its own languid pace. Butterflies flit through sunbeams, and the air, heavy with the perfume of blossoms, resonates with the gentle hum of life. The chirping of birds harmonises with the rustling leaves in a natural symphony.”

This description of Touching Eden House on the website of Wallflower Architects aptly points to nature as the protagonist in this dwelling – organic, full of life and looked after by a whole army of daily collaborators.

So swaddled in greenery is the house that I missed it and drove right by. The architecture of the Good-Class-Bungalow (GCB) continues the verdant greenery of the Singapore Botanic Gardens across the road, separated only by a tree-lined road.

The house was developed by Meir Homes, a boutique developer helmed by Sebestian Soh. It was initially conceived as a family home for his father, David Soh. The elder Soh had founded Meir Homes’ predecessor DDS Development, which built and sold cookie-cutter landed homes.

When Sebestian realised there was a strong demand for – and corresponding dearth of – high quality, bespoke homes in the market, he evolved DDS Development in 2021 from a real estate developer to a real estate development managing and advisory firm, Meir Homes.

Having followed his father to house visits as a youth, Sebestian's knowledge of realising projects was honed early. “Eventually, when I read economics at Queen Mary University of London, I travelled frequently to learn about architecture from different periods, as well as the philosophy and essence of European craftsmanship,” said Sebestian.

Touching Eden was the first guinea pig in Meir Homes’ portfolio using a top architect to create an exceptional piece of architecture, fitted with the best materials, fixtures and furnishings, and built using workmanship of the highest standards.

“We wanted to build houses that are not just structures, but have soul; homes that we would live in ourselves,” said Sebestian. It took considerable foresight to reach the final product – from him, Robin and the current homeowner who purchased the house before it was completed. The central location made it attractive for many buyers who had wanted to buy the house midway without committing to Wallflower Architects' design. But Sebestian did not relent, dedicated to seeing this experiment to the finish.

It also took ample foresight to see beyond the inherent faults of the plot. Its length traced the busy road, exposing the house to both vehicular and pedestrian traffic. “But from the moment we arrived, we saw something different. The ‘forever view’ of this UNESCO World Heritage Site-listed forest presented a once-in-a-lifetime opportunity, far outweighing any difficulties. The site reminded me of highly sought-after homes facing London’s Hyde Park or New York’s Central Park,” recalled Robin Tan, the founder of Wallflower Architects. 

Many of these coveted homes simply frame nature as a backdrop. Robin had more ambitious ideas. “As architects, we have always approached conservation through restoration and preservation within an existing footprint. But standing there, we saw a chance to challenge that idea. What if we could actively engage with the forest instead of passively admiring it? What if conservation was not just about protecting what exists, but about expanding it?”

The solution, he expounded, was to view greenery not just as an afterthought. Landscape architecture studio Salad Dressing was brought into the project early to curate and reintroduce into the plot native plants found in the Singapore Botanic Gardens.

Having worked on more than 300 projects across 16 countries, the studio’s experience was indispensible. In its oeuvre are projects like the plant-filled Singapore Pavilion Expo 2020 in Dubai and the lush grounds of Enabling Village in Singapore.

For Touching Eden, Salad Dressing chose species such as the familiar Saraca Thaipingensis (Bunga Asoka or Ixora), matched with Shorea Roxburghii (White Meranti) and Cinnamomum Iners (Wild Cinnamom) to fill planters. Veraonia Elliptica (Lee Kuan Yew creepers) and Tristellateia Australasiae (Galphimia vine) drape from the building like a green lace curtain. On the first storey, Cratoxylum Formosum (Pink Mempat) Syzygium Gratum and Lagerstroemia Langkawiensis trees provide shade while screening the house from the road on one side and the neighbouring house on the other side.

Many of these plants have coloured flowers – for example, the Cratoxylum Formosum has Sakura-shade blooms and the Shorea Roxburghii, small white ones – that add a layer of chromatic patterning to the building’s green skin.

“The result was a seamless extension of the forest, allowing birds, bees and small animals to expand their habitat and cross-pollinate our plants. Much like the social act of paying it forward, this project has ‘planted it forward’,” Robin mused. “Now, even the immediate neighbour enjoys an extended forest view, reinforcing the idea that good design is not only about solving problems beautifully, but also about embracing opportunities.”

The approach of expanding garden views was also inspired by the East Asian garden philosophy of ‘borrowed scenery’. Robin said: “More than just a design principle, it led to an immersive experience, with layered views unfolding from the immediate surroundings to the distant landscape like a living cinematic screen.”

To immerse the architecture into the landscaping, he envisioned the house as a “pavilion in a garden”. The reference were the Victorian garden gazeboes in the Singapore Botanic Gardens, with their intricate latticework designed to support vines and climbers.

The screen is made from a metal frame and Accoya wood, a sustainable material, made through a modification process known as acetylation that makes raw timber more durable and water-resistant.

Continuing the garden pavilion precedent, rooms are enclosed by sliding glass doors, and alternated with courtyards, open-air terraces and rooftop gardens. This means that the house is well ventilated, and greenery can be viewed from multiple angles in each space.

Robin’s strategy was to “replace hard boundaries with living ones; with solid walls giving way to trees and foliage.” He added: “With a 180-degree viewing angle, much like an OMNI-Max theatre, the house teleports its occupants from the urban setting straight into the heart of the forest.”

The screen is not just aesthetic; it has multitudinous uses. Robin explained, “It supports creepers, provides shade from the intense east-west sun, and acts as a thermal barrier between the house and the external environment. The overhanging creepers further soften the building’s edges, reduces heat load and enhances privacy. This was the ultimate goal – engagement as nature that went beyond aesthetics.”

To maximise connectivity with nature, the plan follows the shape of the long plot. A single block runs down the centre, bordered by gardens. On the first storey, the living and dining areas as well as kitchen are aligned along the plan. Full-height glass sliding doors open up the interiors to the gardens while letting in breeze.

“When you enter the house, you don’t see everything immediately. The living and dining areas are separated by the staircase and lift core, so there are pockets of spaces where you can do your own activity without disturbing other people,” Sebestian highlighted.

At the same time, the free-flowing plan allows one to feel connected to the other activities happening. “Some guests can chat in the living area, others can be in the dining room, the kids can go swimming; there can be a barbecue outside. There are many possibilities. This house can host 100 people on the ground floor. Once you open the doors, you have 15,000-sq-ft of space to explore,” Sebestian elaborated on the house’s social potential.

The second storey houses three bedrooms and the master bedroom suite, connected with naturally ventilated terraces where one can hear birdsong and feel natural breeze. The same strategy is found in the attic, housing the study and gym.

On furnishing the house, Sebestian spared no expenses, filling it mainly with furniture pieces from high-end Italian brand Giorgetti. “I exceeded my budget, but the buyer loves it,” he said. He also chose lamps from MOOOI that are inspired by nature.

The current homeowner, who lives here with his wife and two young children, is happy with the way the house enables him to live unbridled with nature. For instance, he often steps out onto the open-air terraces for a breather from work at the study room.

On the house’s name, Robin explained: “It evokes a connection to a serene, almost paradise-like environment. ‘Eden’ symbolises a place of natural beauty, harmony with nature and tranquillity, while ‘Touching’ conveys a sense of gentle interaction, a moment of connection or an aspiration to reach the ideal state of paradise.”

Since completion, Touching Eden House has amassed both local and international accolades. Aside from winning a Merit Award at the Singapore Institute of Architects Architectural Design Awards 2024, it is also the first house in Singapore to receive a prize at the World Architecture Festival 2024 (Completed Building – House and Villa, Rural/ Coastal category).

“We were surprised that the house was shortlisted in the Rural/Coastal category. Fearing a mistake, we immediately informed the organiser that we had submitted under the Urban category,” shared Robin. The jury confirmed the category was correct.

“At that moment, we looked at one another and couldn’t be happier. It meant our vision had been realised,” said Robin. “We competed against houses in stunning rural and coastal landscapes worldwide. This house is just five minutes from the city centre, yet we had successfully convinced the jury that ‘rural’ is not just a geographical term, but a concept that can be intentionally created.”

He continued: “With the right approach and sensitive design, a rural experience can exist anywhere. It all started with a simple idea, not just to admire nature, but also to be a part of it. And in doing so, we didn’t just build a house, we expanded a forest.”