White plastered volumes sit against dark window frames, while narrow bands of natural stone cut through the elevation and mark the corners. The result is a cubist house with a measured contrast: smooth stucco, rougher stone, timber details, and clear glass openings that pull the eye toward the terrace. The composition reads in layers, not decoration. Each material has a visible role, and the black windows sharpen the geometry instead of softening it.

Stone, plaster, and black frames in one composition

The outside shell is built from natural stone masonry, plastered facades, woodwork, and glass. That mix gives the house its rhythm. A vertical stone element rises beside the white cubic volumes, and black frames set off the openings with a dark outline. The surfaces are restrained, but they are not flat. Stone edges, recessed glass, and timber accents break the mass into smaller parts, which keeps the overall form crisp and readable.

Seen from the approach, the house holds close to a modern villa language without losing the bluntness of its cubist shape. The white walls carry the largest surface area, yet the stone inserts do the visual work. They anchor the corners and connect the house to its wooded setting. The black windows repeat across the elevation, tying the different volumes together and giving the glazing a clear graphic line.

Large sliding glazing facing the terrace

At the rear, large sliding glazing opens the living space toward the terrace. The glass panels are wide enough to read as a continuous opening, and the black frames make that opening stand out even more. Outside, the terrace runs directly into a partly floating veranda, so the line between house and garden is kept low and horizontal. A paved surface, gravel strips, and lawn sit in front of the glass, adding texture without crowding the view.

The veranda does not sit as a heavy add-on. Its partly cantilevered form gives it a lighter edge, which suits the strong rectangular volumes above it. Wooden louvers fixed to the outside of the frame add another layer in front of the glass. They filter light and make the facade more legible, especially where the terrace and openings meet. It is a small intervention, but it changes how the rear elevation reads from outside and from within.

Stone details that carry the outdoor fire zone

One of the clearest details is the outdoor fireplace, built into natural stone. The stone surround gives the fire zone a solid edge and brings the material language of the exterior down to a usable point in the terrace. It sits close to the paving rather than apart from it, so the feature feels embedded in the outdoor space. The stone does the visual framing, while the opening at its center keeps the detail direct and functional.

That same restraint is visible in the way the terrace is finished. Large pavers sit beside gravel and lawn, with no elaborate transitions or decorative excess. The outdoor space is shaped by line and level. The fireplace, the veranda, and the sliding glazing form a sequence that is easy to read. Each element remains distinct, which suits the clear geometry of the house itself.

Flat roof solar panels kept out of sight

Above the cubic mass, solar panels are mounted on the flat roof and kept out of view. The roofline stays clean, which matters on a house built from strong horizontal and vertical lines. Instead of interrupting the profile, the panels sit behind it. This is a practical move, but it also protects the silhouette of the building. The house keeps its compact outline while using the roof surface for solar panels on a flat roof.

The hidden placement avoids visual clutter around the upper edge of the house. That matters because the lower parts already carry enough material contrast: stone, stucco, timber, and glass. By keeping the roof equipment back from view, the upper volume remains calm and compact, letting the black windows and white walls stay central in the composition.

Inside, light wood flooring softens the sharp outline

Inside, the mood shifts without abandoning the project’s clear lines. Light wood flooring runs beneath white walls and ceilings, and the contrast with the black frames remains visible through the glazing. The floor has enough grain to stop the rooms from feeling hard, but it does not compete with the architecture. It simply stretches the space and keeps the interior bright. This is where the minimal interior becomes most visible: in the few materials that are allowed to stay in view.

A stone fireplace detail appears here as well, echoing the outdoor fire zone. The interior keeps the same discipline as the facade. There is no excess trimming or busy layering. Instead, the rooms rely on floor, wall, frame, and glass to set the tone. The result is a clear reading of space, where the daylight, the wooden floor, and the dark window lines do most of the work.

Black windows as the thread between inside and out

The black windows are the constant element. Outside they frame the elevations and make the openings precise; inside they outline the view and sharpen the junction between white wall and glass. In the kitchen area, a large opening looks toward the terrace, so the dark frame becomes part of the room’s structure rather than just a finish. The same applies in the hall, where the light floor and pale ceiling leave the window lines as the strongest contrast.

That repetition gives the house a clear visual thread from front to back. Stone appears in the exterior wall, returns in the fireplace, and is answered by wood and glass in the interior. The project does not rely on gestures. It uses a few materials with enough confidence that every part of the house can stay readable, from the cubist massing to the terrace edge and the quiet interior surfaces.

The project also includes a recorded client review, but the architecture itself already shows what was built: a measured house with natural stone accents, black window frames, large sliding glazing, a partly cantilevered veranda, and a concealed solar roof. The strongest impression comes from the way those parts are held together. Nothing is overstated. Each surface stays close to its purpose, and that clarity is what gives the house its presence.