The white masonry reads as a single, clear volume, set on a dark plinth and capped by an overhanging roof line that throws a thin band of shadow across the top of the house. In this modern outbuilding house, the details stay restrained from the street side, while the rear opens up with a shifted white disc that slides against the main mass and changes the composition as soon as you move around it. The contrast is plain, but it does the work of the design: one side holds back, the other reaches toward the garden.

A quiet front, then a shift at the rear

The front elevation keeps its gestures small. White painted masonry, dark accents at the base, and dark window frames give the façade a measured rhythm, with the roof overhang drawing a sharp horizontal line above it. That same clarity continues at the back, where the white disc sits partly in front of the volume like a second plane. It breaks the box without adding noise. Seen together, the two moves explain the whole house: one part is disciplined, the other slightly playful.

Large windows to garden level soften the boundary between inside and outside. The glass sits low in the wall and stretches across the rear, so the patio, the lawn and the interior are read almost in one glance. Under the roof edge, the covered terrace picks up the same structure of lines and light. The result is not a dramatic gesture, but a sequence of openings that lets the garden become part of the daily route through the house.

White masonry and a roof that carries the profile

The white masonry is the steady surface here, but it never feels flat. Against the dark plinth, the wall reads as lifted and more compact at the same time. The roof overhang reinforces that effect. It projects far enough to mark the edge of the volume and to cast a darker band above the openings, which makes the house look even clearer in profile. On the exterior, the material palette stays limited to white, dark and glass, with small shifts in tone doing the visual work.

Along the glazed side, the dark frames and the repeated openings create a measured strip of transparency. The glass does not sit as a single showroom gesture; it is broken into parts that follow the house and the covered terrace. That makes the rear more legible. You can see where the sheltered zone ends and where the house opens fully to the garden. Even the paving beside the terrace plays into that reading, because the hard surface runs directly against the edge of the glazing.

The double-height atrium and the cluster of hanging lights

Inside, the scale changes immediately. The double-height atrium hanging lights become the most visible element in the room, not because they decorate the space, but because they occupy the vertical volume in layers. A cluster of suspended lights hangs into the vide, pulling the eye upward and making the height of the room impossible to ignore. The white walls and light ceiling surfaces give those points of light enough space to stand out without overwhelming the interior.

The open-plan atrium kitchen sits below that vertical space, so the kitchen is never isolated from the rest of the room. Instead, it is framed by the void above and by the surrounding windows that look back into the space. The effect is one of room and height at the same time: a kitchen that feels anchored by the dark cabinetry and worktop, but expanded by the volume around it. The atrium is not a background element. It shapes how the kitchen is read from every angle.

Light, not decoration, does the spatial work

The hanging lights are repeated across the double height, which gives the interior a clear vertical cadence. They sit between the upper void and the kitchen zone, where their reflections and shadows move across the surfaces below. Around them, the windows with blinds and the vertical panelled surfaces introduce a quieter texture. These elements do not compete with the lights; they hold the room in place. The result is a space that feels open because of proportion, not because of excess.

In the dining area, the table and chairs occupy the same volume as the kitchen, so the whole ground floor reads as one continuous room. The furniture stays low under the atrium, while the upper edges of the space remain active with openings and light points. That vertical difference is what gives the room its presence. It is especially clear when the hanging lights are seen against the dark kitchen fronts and the pale surrounding walls. The room gathers around that contrast.

Glass lines that keep the garden in view

From the interior, large windows to garden level keep the rear elevation present at all times. The glazing does more than bring in daylight; it sets up long views through the house and out to the terrace. In the covered outdoor zone, the ceiling spots continue the line of the roof edge, so the transition from room to patio feels continuous without becoming visually bland. The garden remains visible through the glazing, but the house keeps enough structure to frame it properly.

The glazing also explains why the house feels larger than its compact mass suggests. When the rear wall opens in wide sections, the boundaries of the room recede and the double-height atrium can be read together with the outside surfaces. The white disc at the back reinforces this by creating an extra layer in the composition, one that can be seen from both inside and outside. It gives the house a second face, but without changing the plain, direct language of the first.

A kitchen defined by volume

The open-plan atrium kitchen gains its character from the space above it as much as from its own finishes. The dark kitchen block and island sit under the vide, while the hanging lights create a suspended field over the work area and dining table. Because the room rises so high above the eye line, even simple surfaces take on more presence. The kitchen does not need ornament; the atrium provides the scale, and the windows provide the view.

That relationship between kitchen, atrium and garden is what defines the project. The house begins with a white masonry shell and a dark base, shifts at the rear with a white disc, and then opens inside into a room of height, glass and suspended light. Each part is clearly stated. Together they make a modern outbuilding house that is easy to read from the outside and unexpectedly expansive once you step inside.