The garden shapes the first impression here. At the end of a dead-end road, the entrance is approached from the front, while the house opens toward garden space on both sides. Seating areas sit in front and behind the building, so the route through the plot is never one-sided. That double-sided garden is not treated as a leftover strip of land; it is part of how the house is read from outside and from inside.

Garden space on both sides of the house

The most visible idea is the double-sided garden. Front and back both carry seating, which means the house is framed by usable outdoor space rather than a single rear terrace. From the front, the entrance is clearly directed; from the back, the glazing and garden views pull the eye outward again. The project uses that shift between arrival and retreat to give the plot a clear sequence, with the garden acting as a layer around the building on both sides.

This same logic returns in the openings. Large windows with garden view connect the interior to the outside on more than one side, so the house never feels locked to one orientation. Even the way the terraces sit against the walls helps to read the plan: one side collects the entrance route, the other side opens toward a more private sitting area. The result is a house with a double-sided garden that uses every edge of the site.

A gabled roof overhang carried by timber

Above the walls sits a gabled roof overhang that gives the house its strongest profile. On one side, the roof continues into the side wall in a more contemporary move, which makes the volume feel stretched rather than closed. A wooden roof structure supports that overhang and keeps the upper edge visually readable. The timber is not hidden; it sits in the composition as a clear structural layer beneath the roof line.

The roof form also ties the elevations together. Instead of separating the house into front and back faces, the overhang runs along the volume and gives the building a consistent silhouette. A brick chimney is set into this composition as a solid vertical element, interrupting the roof line just enough to anchor it. In the context of the house with a double-sided garden, the roof becomes a frame that holds the outdoor spaces together.

Brick, white plaster and dark frames in one surface

The exterior wall surfaces are built from masonry blocks and white plaster, with dark window frames cutting through the lighter parts. That combination gives the house a measured contrast without overloading the elevation. Brick reads as the heavier base, while the plaster areas soften the mass and make the window openings stand out. The dark frames sharpen those openings further, especially where the glass reaches high or wide across the facade.

What makes the composition interesting is the way material and opening are kept in balance. The masonry blocks do not form a decorative pattern; they give the wall depth and weight. The white plaster works as a clear field around the glazing. Seen together, the white plaster and brick facade keeps the house grounded, while the dark window frames and larger panes bring light into the interior and connect the rooms to the garden.

Small shifts that give the elevations depth

Along the edges, the timber elements near the window zones add another layer to the surface. They sit beside the glazing rather than competing with it, and they make the transition between wall and opening more legible. The entrance paving and planting at the front also help to stage the approach, while the rear garden uses lawn and terrace to set the house against a softer ground plane. Those details are modest, but they keep the elevations from reading as flat planes.

A gallery stair between kitchen and sitting room

Inside, the plan turns on a gallery stair that separates two different parts of the living area. Toward the rear is the open plan living kitchen, and toward the front is a more intimate sitting room. The stair works as a threshold rather than a closed wall. It marks the change in use while keeping sightlines open between the rooms, so the ground floor still feels connected through light, movement and view.

That spatial split is easy to read in the images. The stair zone rises in the middle of the house with wooden treads and a dark railing, while daylight comes in from the large windows around it. Because the stair is open, it also acts as a pause point in the interior sequence. From here, the eye can move toward the kitchen at the back or toward the seating area at the front without losing the sense of a shared living floor.

Light, wood and open views in the living kitchen

The rear living kitchen is arranged as a bright, open room with a wooden kitchen island at its center. Its surfaces are light and restrained, which lets the wood fronts and the island define the space. Large windows with garden view bring in the surrounding green, and the room takes on its shape from those openings as much as from the cabinetry. The kitchen is not isolated from the rest of the house; it sits in the flow of the ground floor.

Seen from the dining side, the hanging lamps and table mark the eating zone without closing it off. The open plan living kitchen reads as one long room with different stations, each defined by furniture and light rather than by heavy partitions. The wooden kitchen island gives the room a clear working edge, while the wide glazing keeps the back garden present throughout the day. That link between cooking space and garden is one of the project’s most direct gestures.

What the house reveals from front to back

The strength of the project lies in the way the outside and inside keep answering each other. The entrance at the front, the seating areas on both sides, the roof overhang, the white plaster and brick facade, and the dark frames all point to a house that is organized by clear moves rather than by decoration. Inside, the gallery stair, sitting room and open plan living kitchen keep that order visible. The garden is never background here; it is part of the layout, the view and the circulation.

From the front approach to the rear glass, the house stays legible. You can read where you arrive, where you stop, where you turn and where you look out. That is what gives the house with a double-sided garden its character: not an added gesture, but a sequence of spaces, materials and openings that keep the front and back equally present.