Dark window frames cut a sharp line through the white walls, while wood slats soften the volume where the eye meets the garden. The result is a modern house with large glass that reads in layers rather than as one closed block. On a typical Dutch plot, the main volume sits deep on the site, with a single-storey extension running along the side and rear. That arrangement leaves room for glazing, a covered terrace and a direct line of sight from the house into the garden.

Large glazed rear elevation

At the back, glass takes over. The ground floor and the upper level are both set with full-height glass, so the rear facade opens toward the garden instead of stopping at the wall line. Light reaches deep into the living space, but just as important is the view: the glazing keeps the terrace and garden in frame from inside. In this modern home with glazing, the rear elevation is not a flat backdrop. It works as a wide opening that ties the living room to the outdoor side of the plot.

A central brick chimney breaks that glass plane and gives the rear facade a fixed point. It sits visibly in the middle of the living room and continues outside as a connecting element in the elevation. That move is modest, but it changes the reading of the whole composition. The chimney marks the center without closing the space, and it gives the long glazed rear a vertical anchor against the horizontal run of windows and terrace edges.

Full-height glass at garden level

The full-height glass is not limited to one opening. It appears across several parts of the rear and side zones, so the house keeps contact with the garden from more than one angle. From the terrace, the glazing frames the living area like a series of large panels. From inside, the proportion of glass makes the outside feel immediate. The view is broad, but the detailing stays restrained: slim dark frames, clear panes and a wall surface that gives way where the opening needs to be widest.

Covered garden terrace and the room beyond it

The covered garden terrace sits as a sheltered strip along the house, directly in front of the glazing. It is not a separate outdoor room placed at a distance from the architecture. The terrace belongs to the rear sequence, with the glass behind it and the garden beyond. That position makes it useful in a practical sense, but it also sharpens the spatial rhythm: terrace, glass, interior, then the deeper green of the plot. The overhang gives the transition its own depth.

Seen from the garden, the terrace edge and the broad openings create a long horizontal band at the base of the house. The lines stay clean. Wood appears in the floor and in the facade accents, while the surrounding white surfaces keep the composition measured. This is where the modern home with glazing becomes most legible: outside space is not added on as decoration, but read as part of the rear sequence that connects living, sitting and looking outward.

Wood cladding against the brick volume

Wood cladding appears in slats and facade accents, set against brick and glass. The material shift is visible even in small details: a timber field beside a large pane, a line of vertical boards near the entrance, a wooden surface that catches daylight differently from the masonry. Those changes keep the house from becoming a single white box. They also give the sides and rear edges a finer scale, especially where the darker frames and the wood meet.

The material palette stays limited: masonry, wood and glass, with dark window frames holding the openings in place. That restraint makes the cubist house design easy to read. Volumes step out from one another, but nothing feels overworked. The house relies on proportion and surface change rather than ornament. In that sense, the wood cladding facade is less about contrast for its own sake and more about giving each part of the mass its own surface, shadow and weight.

Vertical slats and dark frames

One of the clearest details is the combination of wooden slats and a large dark-framed window. The slats run as a facade accent, while the frame draws a precise rectangle into the wall plane. Together they create a small pause in the composition. The eye stops at the join between material and opening, then moves on to the larger glazed areas. This is a controlled way of working: the materials do not compete, but they each keep their own edge.

A cubist house design built from clear volumes

The house is composed as a set of plain volumes rather than as one expressive gesture. The main building sits centrally on the plot, and the single-storey extension along the side and rear extends the plan without upsetting the compact profile. From several viewpoints, the rooflines and wall planes remain calm and direct. That makes the glazed areas stand out even more, because the openings are set into a form that is otherwise sober and compact. The overall impression is of a cubist house design that trusts geometry to carry the image.

The entrance side follows the same logic. A glazed door, adjacent timber slats and a broad window opening give that face a lighter rhythm than the brick volume might suggest at first glance. Nothing is overstated. The house works through measured shifts: solid to open, masonry to timber, opaque to transparent. Those shifts repeat across the exterior, which is why the project reads clearly from the garden, the terrace and the approach alike.

Materials that keep the rear elevation moving

From the back, the house is strongest when seen as a sequence of materials rather than a single facade. Brick holds the chimney and the main mass. Wood marks the edges and the accent zones. Glass cuts through both levels and extends the living space outward. A modest water surface appears in the garden beside the terrace, adding another reflective plane near the ground, but the architecture does not depend on it. The main story stays with the rear facade with chimney and the way the house opens to the plot.

That openness is what makes this project memorable as a modern house with large glass. The rear elevation is wide, but it is not blank. The chimney gives it a center, the terrace gives it a threshold and the wood cladding breaks the masonry into readable parts. Together those elements create a house that is easy to trace from outside: volume, opening, shelter, garden. Nothing is hidden, but nothing is exaggerated either.

Where the architecture meets the garden

The garden side shows how the house handles distance. Large panes hold the view, the covered terrace softens the edge, and the open ground beyond remains visible as part of the composition. From inside, the exterior does not appear as a distant backdrop. It stays close, with the glazing and terrace pulling the eye outward. That direct relationship is the strongest thread in the project, and it is what gives the house its clarity on a standard plot shape.

Seen together, the brick chimney, the wood cladding facade and the generous glazing form a quiet but precise composition. The project never leans on decoration to make its point. Instead, it relies on volume, opening and material change. For viewers looking for a modern home with glazing that also holds onto a clear, grounded structure, this house offers a well-judged example of how a compact cubist form can still feel open to the garden.