The first thing you read is the line that runs around the house. That perimeter canopy wraps the volume in one move, shading the rooms below while giving the building a clear edge against the open fields. The material follows the same brick family as the main walls, so the band does not separate from the house; it thickens it. Set in a landscaped plot with water feature and lawn, the modern country house sits quietly inside its own park-like setting.

A canopy that does more than shade

At ground level, the continuous canopy acts as both shelter and sun control. It creates a strip of covered outdoor space along the house, where the transition between terrace and interior becomes gradual rather than abrupt. Because the band runs all the way around, the house reads as one composed volume instead of a collection of separate elevations. The stone-faced edge softens the upper line and gives the whole building a calm, almost carved-out presence.

Under that overhang, the glass is set full height. The large glazing follows the perimeter and makes the boundary between inside and outside feel thin. Sliding doors open the living spaces to the garden on several sides, so the route outdoors is not limited to one main access point. The framing of the openings is placed to extend sightlines rather than stop them, letting views travel from interior spaces straight into the wider rural setting.

Large glazing along the living spaces

The glass facades are most legible where the house meets the terraces. Floor-to-ceiling panels sit beneath the canopy, bringing daylight deep into the rooms and keeping the exterior rhythm clear. The effect is not about display. It is about exposure to the landscape, with reflections shifting over the panes as the light changes across the day. In several places, the openings line up with terraces at multiple levels, so the ground plane steps away from the building instead of ending at one flat threshold.

The landscaped plot with water feature adds another layer to that reading of the site. Paths, grass and level changes shape the approach, while the water introduces a still horizontal surface among the softer planting. From the house, the garden appears as a sequence of distances: immediate terrace, lower lawn, then the wider field beyond. The project keeps those layers visible rather than flattening them into one generic garden view.

Terraces, slopes and a lower level

A section of the house sits partly in a basement that still receives daylight through a folded ground plane. That shaped terrain brings light down into the lower level and also allows access from outside. It is a practical move, but it also changes how the building meets the site. The ground no longer behaves as a simple edge; it folds, drops and opens a route to spaces below grade. Seen from the garden, that adjustment makes the house feel embedded without becoming closed.

Multi-level terraces reinforce that same spatial idea. Rather than a single platform, the outdoor areas break into shifts in height, each one tied to a different view or threshold. This gives the house a more layered relation to the plot, especially where the terraces line up with the glazed rooms. The changes in level are modest, but they are enough to organize movement around the building and to keep the edges of the site active.

An origami roof lifted above the band

Above the horizontal line of the canopy, the roof volume rises slightly and folds like an origami roof over the program below. The shape is clear from a distance: angled planes, crisp eaves and end walls that turn to face different directions. Integrated gutters keep the roof line clean, while the antracite ceramic tiles give the surface a restrained darkness that sits well against the masonry and glass. It is a roof with a precise profile, not a decorative gesture.

The roof ends open onto roof terraces on the gable sides, giving the upper level its own outdoor rooms. Those terraces are not hidden additions; they are cut directly into the roof geometry and sit under the same careful detailing as the rest of the volume. From the outside, the house reads as a sequence of stacked horizontal bands, with the roof hovering above the perimeter canopy and the glass below it.

Light, voids and timber inside

Inside, the plan is shaped by sightlines and vertical connections. Vides link rooms across levels, so the interior is experienced through openings rather than only through enclosed corridors. One room leads visually into another, and several spaces borrow light from above or from the glazed edges around the house. The palette stays restrained, which lets the spatial sequence do the work. The eye moves from floor to ceiling, then out again to the garden or the terrace.

An acoustic timber ceiling follows the folded roof structure and gives the upper interior a clear material finish. The wood is not used as decoration; it lines the underside of the roof and responds to the geometry above. Together with the controlled lighting plan, it shapes how the rooms are read in evening light. Recessed spots mark surfaces and circulation, while decorative fixtures add points of light without breaking the calm surface of the ceiling.

Lighting and control across the whole house

The lighting scheme continues outdoors as well as inside, which keeps the house legible after dark. Subtle spots pick out edges and routes, while the more visible fittings define specific moments in the rooms. The domotics system ties those layers together, allowing lighting and other functions to be managed from one system. In the same technical framework, the home uses a KNX setup for energy-use optimisation, though the visual story remains about how the house is experienced rather than how the controls are hidden.

Energy generation is described through two separate elements: a pellet stove and 135 solar panels placed on a separate part of the plot. Their presence is part of the wider site strategy, not something that interrupts the architecture. The main building stays focused on proportion, light and the meeting of glazed walls, canopy and roof. Even where the technical layers are present, the project keeps its attention on the visible structure of the house and the way it occupies the land.

The result is a modern country house that relies on a few strong moves: a perimeter canopy, tall glazing, a folded roof and a landscape that shifts in levels around it. Each part has a clear task. The canopy shades, the glass opens, the roof gathers the volume, and the grounds extend the house into the site. Nothing here is overdrawn. The interest lies in how the parts line up, and in the way the building lets the rural setting remain present through every opening.