The first thing you notice is the width of the house. Living spaces open toward both the street and the garden, so the plan never feels pinned to one side. That broad layout gives the timeless modern villa a clear presence on a street lined with 1930s homes, while the dark roof tiles, white plastered walls, and black framing keep the composition measured and restrained.

Black and white surfaces under a pitched roof

The exterior is built from contrasts you can read at once: white wall planes, darker clad sections, and a pitched roof finished with dark tiles. Large windows sit deep in the facade, with dark frames that sharpen the openings. The entrance is set into a rectangular opening rather than a decorative porch, which keeps the front elevation calm. From the street, the house reads as a modern villa with 1930s details, not as a literal copy of those neighboring homes.

That reference to the surrounding houses is handled through proportion and roofline rather than ornament. The composition stays low and broad, and the black-and-white facade villa takes advantage of that width. It gives room to the windows, to the transition between wall and roof, and to the way the house meets the garden side. The result is a plan that feels deliberate in section and in silhouette, with each part set out clearly.

Rooms that look out in both directions

The decision to design the house broadly changes how the rooms work. Views do not stop at one side of the plot; they move between the street and the garden. That makes the living areas feel connected to the full depth of the site, not only to the back terrace. The arrangement suits a family that wanted more space than the earlier dwelling offered, and it explains why the layout became central to the project rather than a secondary practical choice.

The plot itself had already seen several lives. An old farm was demolished in 1990, and a later house was built on the site, but the rooms never felt right and were simply too small. Instead of adjusting that structure again, the owners chose a new build. That change gave the project its direction: a house with larger rooms, a clearer plan, and an interior that could be shaped together with the architecture from the start.

Inside and out drawn as one project

The interior was designed alongside the exterior, including the building-related layout and the custom elements. That matters here because the shell and the rooms are tied together by the same horizontal logic. Window positions, wall lengths, and the width of the plan set the rhythm inside. A custom interior can then follow those dimensions instead of fighting them, which is especially noticeable in the open views through the house and toward the garden.

Rather than treating the inside as a separate layer, the project keeps the same restraint in both directions. The broad villa design supports long sightlines, and the interior work reinforces that by giving the rooms clear edges and built-in elements that belong to the architecture. It is the sort of house where the structure and the furnishing concept are read together, one helping to explain the other.

Large openings and dark frames

The glazing is generous but not showy. Dark frames outline the openings and give the white surfaces a sharper edge. On the garden side, the glass pulls in the terrace and pool, while on the street side it connects the rooms to the authentic setting outside. This is where the project’s modern villa identity becomes most visible: through light, proportion, and the way the openings are placed across the width of the house.

A covered terrace with a skylight above

At the back, the terrace becomes a second living zone under cover. A skylight above the terrace brings light into the sheltered part of the outdoor space, so the roof does more than provide shade. It also keeps the area visually open, with transparent parts and dark supports framing the view toward the garden. The covered terrace feels linked to the house rather than added afterward, which is important in a plan that already works across broad horizontals.

The pool sits just beyond this covered zone, giving the outdoor area a clear sequence: house, terrace, then water and planting. The pool with canopy reads as part of the same composition, not as a separate feature dropped into the garden. From the covered area, the eye moves easily between the glass, the terrace edge, and the water surface. It is a simple route, but a carefully drawn one.

Garden lines that answer the architecture

The garden design follows the house without copying it. Curved planting beds soften the harder lines of the terrace edge, while the planting itself settles the outdoor room around the pool. That balance is visible in the photographs: clipped shapes, low borders, and the straight line of the terrace meet the broader volume of the villa. The garden was designed and installed by external specialists, and the result sits naturally with the architecture.

Seen from the terrace, the garden does more than fill space around the house. It extends the broad layout outward and gives each room a view that feels purposeful. The planting around the pool breaks up the hard surfaces, and the dark window frames echo the garden’s stronger lines. The setting lets the house hold onto its clear geometry while still opening onto softer ground and seasonal greenery.

A house that finally feels settled

The move from the earlier dwelling to this new build was not just about size. It was about making a place that finally suited the family’s use of the plot. The old arrangement had left gaps in daily life, with rooms that were too small and a feeling that never fully came together. Here, the broad plan, the designed interior, and the outdoor sequence around the terrace and pool answer that earlier mismatch in a direct way.

What remains after the first glance is the clarity of the whole. Dark roof tiles, white wall surfaces, broad windows, a skylight above the terrace, and the pool set into the garden each play a defined role. Together they make the timeless modern villa read as one composed project, from the street-facing side to the garden edge, with the interior carrying the same measured line throughout.