Large panes of glass set the tone before the plan does. From the patio, the eye moves through reflective surfaces, past low planting beds, and toward a sequence of open and closed rooms that keep shifting the use of each threshold. The house is organized around modern villa indoor-outdoor living, but the idea is handled through concrete moves: a covered patio, a tower that cuts through floor and roof, and a round skylight opening that pulls daylight into the middle of the route.<\/p>\n
The ground is occupied all the way to the edge of the plot, and that decision shapes the whole composition. Instead of one continuous block, the house is broken into volumes with their own conditions: open or enclosed, covered or exposed, bright or shaded. That arrangement gives each room a specific relationship to the garden. Some parts sit behind glass, others are wrapped in opaque surfaces, and the shifts between them create a steady alternation between interior and exterior. The result is not a single reading of the house, but a series of spatial pauses that keep the eye moving.<\/p>\n
The plan works like a grid in which living functions and outdoor functions are placed side by side rather than stacked into familiar zones. The garden is not pushed to the perimeter as an afterthought; it is built into the experience of moving through the house. Because of that, indoor outdoor living becomes more than a visual effect. It is a way of using the site, where a corridor can feel like a terrace, and a sheltered edge can behave like part of the room.<\/p>\n
Seen from outside, the house reads as a pavilion stretched across the garden, held between two horizontal planes. The tower rises through both the floor and the roof, marking the composition with a vertical cut that interrupts the low profile. Where the pavilion and tower meet, the entrance is placed. That intersection gives the arrival route a clear point of orientation. It also ties together the different parts of the plan, so that the transition from threshold to room to outdoor space feels continuous rather than segmented.<\/p>\n
The tower is not a separate object sitting beside the house. It shares the same spatial logic as the rest of the volume, only turning it upright. The lower level contains the shared family rooms and the parents\u2019 areas, while the rooms in the tower are organized as a smaller self-contained world. In the middle, the covered patio becomes the hinge between these conditions, catching light and air while remaining connected to the glazed living zones around it. This is where the phrase covered patio villa becomes literal: the outdoor space is not detached, but folded into the daily route.<\/p>\n
The entrance sits exactly where the main pavilion crosses the tower, and that placement matters. It turns the first step inside into a moment of orientation, with views that run across glass, through open volumes, and back into the garden. Inside, the route is built from transitions rather than doors and corridors alone. One room opens directly to the patio; another is enclosed by a denser skin; another catches a different angle of light. The house keeps repeating that pattern without becoming repetitive, because the proportions and light conditions change from one volume to the next.<\/p>\n
Even the smaller rooms participate in the larger plan. The enclosed volumes are not treated as isolated boxes, but as parts of a bigger spatial field. That is why the overground connections feel so important: they let the house move between sheltered and exposed moments without a hard break. For a modern villa indoor-outdoor living concept, this is where the project is strongest. The experience depends less on a single spectacular opening than on a chain of measured shifts, each one visible in the way the plan bends around the garden.<\/p>\n
Glass dominates the more open parts of the house, and it does real work here. It dissolves the edge between inside and outside, but it also mirrors what is already present: the greenery, the sky, and the rooms behind it. The house changes with those reflections. At some moments the interior reads more clearly; at others the planting beds and surrounding trees take over the surface. That changing image gives the facade of the glass facade house its main character, not through ornament but through light and repetition.<\/p>\n
Four enclosed volumes are wrapped in materials with a natural origin, each used in an uncommon way. In the bathroom, stone slabs line the surfaces. Glazed tiles cover the walls in the bedroom and the office, catching light differently from the surrounding glass. A round storage volume is made in semi-transparent corrugated sheet, turning a practical room into a visible part of the composition. These choices make the enclosed parts legible at a glance, and they prevent the open plan from becoming visually flat.<\/p>\n
The tower is clad in polished aluminum, and the surface responds constantly to the weather, the trees, and the season. It does not hide in the landscape, but it borrows its tone from it. Against the more matte stone and tile, the metal reads almost like a moving skin. The effect is strongest when the light changes: a pale sky softens the surface, while darker branches sharpen it. Within the house, that reflection ties the upper volume back to the garden below and keeps the whole composition in dialogue with its setting.<\/p>\n
The industrial references stay restrained because they are handled through custom detailing. Rather than appearing raw or unfinished, the metal and corrugated elements are calibrated to the scale of a villa. That shift is important. It allows the house to keep the directness of an industrial material palette while still reading as a carefully composed dwelling. In practice, that means a hard edge at the tower, a softer surface in the stone-lined rooms, and a more translucent treatment in the storage volume, all working within one layout.<\/p>\n
The outdoor rooms are not just paved surfaces. Low courtyard planting beds cut into the concrete and soften the straight edges of the plan. They create pockets of green at the level of the patio, close enough to the glass to be read as part of the interior scene. From the living areas, those beds frame the view; from outside, they organize the route around the house. The landscape does not arrive as a backdrop. It is placed inside the daily circulation, right beside the open and covered zones.<\/p>\n
Above, the round skylight opening brings another layer of orientation. It breaks the ceiling plane and lets daylight fall directly into the center of the covered area. In the photos, the opening reads like a circular cut-out that reveals the sky or the canopy above, depending on the angle. That detail matters because it gives the patio a vertical connection as well as a horizontal one. Combined with the glass walls, it makes the sheltered space feel open without making it exposed. For a modern villa indoor-outdoor living scheme, this single opening does as much as a whole facade of glazing.<\/p>\n
At night, the building changes again. Indirect light traces the edges of the overhangs and catches the glass in thin lines, while the darker exterior volumes sit back against the lit interior. The patio remains readable as a room, even when the garden recedes into shadow. That continuity between day and evening is not produced by decorative lighting, but by the way the volumes are set up in the first place. Open, closed, covered, and transparent: the house keeps returning to that sequence, and each return is slightly different.<\/p>\n
The strongest impression is one of movement through a carefully divided field. There is no single front, no fixed inside, no simple break between house and garden. Instead, the plan keeps shifting the relationship between wall, opening, and planted edge. That is what gives the project its clarity: the route is visible, the materials are specific, and the covered patio remains the place where the whole arrangement is understood at once.<\/p>\n
Project information
Design: Studioninedots
Client: Private
Gross floor area: 240 m2
Completion: 2018\u20132020
Design team: Albert Herder, Vincent van der Klei, Arie van der Neut, Metin van Zijl
Project architects: Metin van Zijl, Jurjen van der Horst
Design team: Leire Baraja Rodriquez, Ruben Visser, Laura Berasaluce
Contractor: Buytels Bouwbedrijf
Structural design: BreedID
Photography: Frans Parthesius<\/p>\n","protected":false},"featured_media":264333,"template":"","meta":{"_acf_changed":false,"_yoast_wpseo_focuskw":"modern villa indoor-outdoor living","_yoast_wpseo_title":"Modern villa indoor-outdoor living with patio","_yoast_wpseo_metadesc":"A modern villa organized around indoor-outdoor living, with a covered patio, large glass openings, and a round skylight opening above the living route.","_yoast_wpseo_linkdex":"","_yoast_wpseo_content_score":"","content-type":"","_yoast_wpseo_focuskeywords":"","_yoast_wpseo_keywordsynonyms":"","_yoast_wpseo_primary_category":null,"_yoast_wpseo_estimated-reading-time-minutes":""},"hoog_category":[3075,2974],"class_list":["post-1013970","hoog_project","type-hoog_project","status-publish","has-post-thumbnail","hentry","hoog_category-exterior-design","hoog_category-garden-design"],"acf":{"hoog_project_owner":850943,"hoog_contributors":null,"hoog_project_badge":"","hoog_featured_project":false,"hoog_project_video":"","hoog_project_photos":[{"image_file":264333,"video_id":"","image_size":"full"},{"image_file":264312,"video_id":"","image_size":"full"},{"image_file":264309,"video_id":"","image_size":"full"},{"image_file":264315,"video_id":"","image_size":"full"},{"image_file":264318,"video_id":"","image_size":"full"},{"image_file":264321,"video_id":"","image_size":"full"},{"image_file":264324,"video_id":"","image_size":"full"},{"image_file":264327,"video_id":"","image_size":"full"},{"image_file":264330,"video_id":"","image_size":"full"},{"image_file":264336,"video_id":"","image_size":"full"},{"image_file":264339,"video_id":"","image_size":"full"},{"image_file":264342,"video_id":"","image_size":"full"},{"image_file":264345,"video_id":"","image_size":"full"}]},"yoast_head":"\n