The house is conceived as a sequence of spatial layers arranged along the depth of the plot. Rather than presenting itself as a single open volume, the architecture moves gradually between enclosure and exposure: from the more controlled street-facing edge, through circulation and transitional spaces, toward the increasingly open relationship with the garden and pool. This progression establishes privacy without disconnecting the interior from landscape.
The composition is built from a series of shifted and overlapping volumes. Light-colored outer frames define the overall geometry, while darker recessed surfaces, large glazed openings and warm-toned planes create depth within them. The upper floor is not read simply as a volume placed above the ground floor; its setbacks, projections and terraces produce a layered section in which mass and void continually alternate. From different viewpoints, the house therefore changes between a more solid, protected presence and a lighter, more transparent one.
On the ground floor, the main living areas are positioned in direct dialogue with the rear garden. Wide openings extend the interior toward the terrace and pool, allowing the outdoor space to operate as a continuation of everyday living rather than as a separate zone at the edge of the house. The paved surface, seating areas, water and planting form a second inhabitable layer around the building. At the same time, vegetation is repeatedly framed from within, so landscape becomes part of the interior field of view rather than remaining only beyond the facade.

Movement through the house plays an important architectural role. The corridor is treated not simply as circulation between rooms, but as a continuous spatial element that connects different parts of the house while maintaining relationships with exterior space and planting. Together with the internal staircase, it creates a vertical and horizontal spine through the project. The stair marks the transition between the more open character of the main level and the more private organization above, while also allowing the different levels to be understood as parts of one spatial sequence.
Openings are composed as depth rather than as isolated windows. Large glazed surfaces are combined with recessed planes, projecting frames and horizontal louvers, producing varying degrees of transparency throughout the house. The louvers are especially significant: they mediate between view and privacy, filter direct light and introduce a repeated horizontal rhythm across both levels. As daylight changes, these elements cast moving lines of shadow across the facade and interior, giving the envelope a changing expression rather than a fixed one.

The contrast between the street and garden elevations reinforces this strategy. Toward the public edge, the architecture relies on layering, screening and controlled openings, with the boundary wall itself contributing to the gradual transition from street to house. Toward the rear, the building becomes substantially more open. Large areas of glazing establish long visual connections between interior, terrace, planting and water, while the upper level maintains privacy through a combination of solid surfaces, recessed openings and screens. Openness and privacy are therefore not treated as opposing conditions, but as different degrees of the same architectural system.
Materiality strengthens this reading of the volumes. The renderings suggest a restrained palette in which pale textured surfaces are set against dark recessed elements, glass and warmer-toned cladding. Rather than using material variation decoratively, the different finishes correspond to changes in depth and architectural hierarchy: the light surfaces emphasize the primary frames, the darker planes recede, and the warmer elements introduce a more tactile scale at points of approach and occupation. Together with planting, filtered light and the reflective surface of the pool, these layers soften the clarity of the geometry and give the house a balance between precision and warmth.

The interior is conceived as a continuous architectural language rather than a sequence of individually styled rooms. Across the living area, kitchen and bathrooms, the same principles return in different forms: dark full-height joinery, expressive stone surfaces, fine linear detailing and lighting integrated directly into the architecture. The palette is deliberately restrained, allowing proportion, texture and the junction between materials to become the primary means of expression.
Fixed elements play a central role in organizing the interior. In the living room, the media wall is developed as a complete architectural elevation, combining storage, technology, stone and concealed lighting within a single composition. In the kitchen, cabinetry extends from floor to ceiling and absorbs appliances and storage into a continuous dark volume. The working area is carved out of this mass as a recessed niche, while the island establishes a separate horizontal plane for cooking, seating and everyday interaction.
This relationship between solid volumes and carefully defined recesses appears repeatedly throughout the project. Large surfaces remain visually quiet, while selected moments are given greater depth and material emphasis. In the kitchen, the dark stone working niche is framed by cabinetry; in the living room, a pale stone strip is recessed beneath the timber media volume; and in the bathrooms, mirrors, basins and joinery are set against strongly textured stone backgrounds. The result is a consistent rhythm between background and foreground, enclosure and opening.

Material continuity is particularly important to the character of the house. Dark timber and similarly toned cabinetry establish visual weight, while stone introduces variation through veining, aggregate and natural irregularity. The bathrooms intensify this approach: stone becomes the dominant surface, extending across walls and countertops, while black fittings and dark cabinetry recede into the composition. Vertical grooves and narrow linear profiles add another recurring layer, appearing as a fine architectural texture rather than applied decoration.
Lighting is used to reveal these material relationships. Linear ceiling fixtures emphasize direction and proportion in the public spaces, while concealed lighting defines recessed surfaces and highlights transitions between stone and joinery. In the bathrooms, softer localized illumination creates depth across the textured stone and reinforces the contrast between the dark fittings and the mineral background. Light is therefore treated less as an object and more as a tool for shaping surfaces, edges and atmosphere.

The project also balances precision with softness. In the living area, full-height curtains, textured upholstery and the large rug temper the rigidity of the built elements. In the kitchen, upholstered stools soften an otherwise highly controlled composition of dark cabinetry and stone. Even in the bathrooms, where the material language becomes more monolithic, the rounded geometry of the basin and mirror interrupts the orthogonal framework and introduces a quieter counterpoint.
What gives the interior its identity is the repetition of a few carefully controlled ideas across very different functions. Dark architectural volumes, expressive stone, vertical lines, integrated lighting and precise junctions form a common vocabulary that shifts in scale and intensity from room to room. The result is an interior that feels minimal without becoming neutral: controlled and refined, but still tactile, warm and materially present.

This house was conceived as a continuous relationship between architecture, landscape, light, and movement. Rather than treating the garden as a separate element surrounding the building, the design allows greenery and outdoor views to become part of the everyday experience of the interior. From the moment of entry, the house unfolds gradually through a sequence of spaces, framed views, and changing degrees of openness, eventually leading toward the rear garden and pool.
A central idea in the plan is the experience of movement through the house. The circulation is not designed merely as a functional passage between rooms; it becomes an architectural space in itself. Along the corridor, openings on both sides create visual connections to the landscape and allow natural light and vegetation to accompany the movement through the house. These moments blur the conventional distinction between interior and exterior, transforming transitional spaces into places that remain connected to nature.
At the rear of the house, the public area is conceived as one continuous and open living environment. The kitchen, dining area, and living room form a connected space that opens toward the garden, extending the interior visually and physically into the outdoor living areas. Large glazed openings strengthen this relationship, allowing daylight to penetrate deep into the space while establishing a direct connection between daily life inside the house and the changing qualities of the landscape outside. The garden and pool therefore become an extension of the main living space rather than a separate destination.

The relationship between the different levels of the house was also an important part of the design. The staircase, vertical openings, and overlapping views create a dialogue between floors and allow the house to be perceived as a connected spatial composition rather than a series of isolated levels. Movement through the house reveals changing perspectives — toward the garden, through the circulation spaces, and between one floor and another — creating a sense of depth and continuity.
Materiality reinforces the same idea of contrast and balance. Exposed concrete gives the architecture a strong and precise presence, while large areas of glazing introduce transparency and lightness. Sliding wood-like louver screens form an additional layer around the facades, providing privacy and solar control while constantly changing the appearance of the house throughout the day. Their warmer texture softens the exposed concrete and creates a dialogue between raw mineral surfaces, filtered light, and vegetation. As the sun moves, the screens and architectural elements produce shifting patterns of light and shadow, giving the facades and interior spaces a more dynamic character.
Ultimately, the project is shaped by a balance between mass and transparency, openness and privacy, architecture and landscape. The planting is not used simply as decoration around the house; it is integrated into the spatial experience, appearing alongside circulation routes, outside large openings, and within framed views. Together, concrete, glass, louvers, light, and vegetation create a house that feels both structured and open — a home in which architecture and nature remain in constant dialogue.

Set on a long, narrow plot, the house is organized as a gradual transition from a more controlled street edge to an increasingly open garden and pool landscape. Rather than forming a single continuous block, the building is composed as a low, horizontal base with a taller, more contained volume rising above it. This difference in scale allows the main level to remain closely connected to the ground and garden, while the upper floor acquires a stronger degree of enclosure. The same hierarchy is legible in plan, section and elevation, giving the house a clear spatial order without reducing it to a simple front-and-back arrangement.
At garden level, the principal living spaces form a broad and relatively open field oriented toward the rear terrace and pool. Large glazed openings extend the interior toward the exterior, while the garden-facing elevation is deliberately broken into separate volumes rather than treated as one continuous glazed plane. Between them, a narrow planted recess brings vegetation into the depth of the architecture. In the visualizations, this green interval can be read simultaneously from the rooms and from the terrace, allowing planting to operate as part of the interior visual landscape rather than remaining only at the perimeter of the site.

Circulation is treated as a spatial device in its own right. The internal route through the house acts as a connective spine between entrance, principal spaces, stair and exterior openings, and repeatedly comes into contact with planted pockets and side passages. The corridor therefore becomes more than a means of distribution: it structures a sequence of views and changing depths. The garden is not necessarily revealed in a single gesture; it appears through openings, glimpses of vegetation and longer visual axes as movement progresses through the house, making the relationship with the exterior part of the experience of circulation itself.
The interior stair is the vertical hinge of this system. The sections show it as a continuous element connecting the basement, main level and upper floor, keeping the different levels spatially related rather than treating them as independent layers. The below-grade level is also given contact with the exterior through recessed courts and light wells along its perimeter, while the upper floor gathers a more compartmentalized sequence of rooms around the same circulation zone. The result is a legible gradient between the more expansive spaces at garden level and the increasingly contained spaces above and below.

The envelope calibrates openness rather than applying it uniformly. Toward the garden, full-height glazing creates direct visual and physical continuity with the terrace, while the more closed elevations rely on solid surfaces, narrower openings and long horizontal bands. At the taller volume, the facade becomes layered: a pale outer frame holds a dense rhythm of dark vertical fins in front of the upper level. The screen maintains depth and permeability while moderating exposure, and in the renderings it also becomes an instrument for light — producing fine bands of shadow and giving the upper mass a changing degree of transparency over the course of the day.
The material language reinforces these spatial contrasts without relying on a large number of finishes. The visualizations suggest pale, finely textured surfaces set against dark frames and screens, with warmer tones appearing within the interior. A particularly distinctive detail is the changing direction of the facade texture: horizontal coursing stretches broad wall surfaces, while vertical striation is used to articulate selected frames and projecting elements. Together with the planted recesses, the shaded outdoor zone beside the pool and the restrained palette of the envelope, these elements create an architecture that moves deliberately between weight and transparency, enclosure and filtered openness — with movement, vegetation and warm material presence consistently used to connect the life of the house to its garden.

The house is conceived as a sequence of transitions between built mass, landscape and filtered light. Rather than treating the garden as a view beyond the architecture, the plan repeatedly draws exterior conditions into the house through large openings, planted pockets, shaded thresholds and a circulation route that remains in constant visual contact with the outdoors. The experience is therefore based less on a single moment of openness and more on a gradual alternation between enclosure, transparency and landscape.
The massing reinforces this idea through a clear contrast in scale and proportion. A long, predominantly horizontal volume establishes the main level and defines the edge of the pool garden, while a more compact upper volume rises behind it rather than reproducing the full footprint below. This keeps the garden elevation low and elongated, while the taller element gives the house a distinct sectional identity. Internally, the main level is organized around a broad, continuous public zone, contrasted with a denser band of more cellular and supporting spaces arranged alongside the circulation spine.