The thatched roof sets the tone before the rest of the house comes into view. Its broad lines sit above white walls and dark window frames, while the roof slopes break into dormers and chimneys that give the composition a layered outline. In this luxury country villa, the country language is not left to decoration alone. It is carried by symmetry, natural materials and the way the main volume meets the outbuilding across the veranda between main volume and outbuilding.

Building on a family site that already held memories

The starting point was a plot that had stayed in the family for a long time. That changes the way a new house is read. Here, the new residence does not replace a place so much as continue it. A new living ensemble was planned for the family, with a separate home for the parents and a new villa for the younger household. The result is a country villa on a cherished family site, where old ground is given a new order rather than a clean break.

Visible traces of the former farm were not discarded as waste. The old farm was carefully dismantled so materials could return in the new build. That decision gives the project a quiet link to what stood here before. It is also why the renovated barns matter in the wider composition: they are not a side note, but part of the housing solution for the parents, adapted into a permanent place to live.

Old materials given a second life in the new structure

Reuse is one of the clearest moves in the project. The demolition was handled in a way that allowed materials from the former farm to be brought back into the new villa. That kind of continuity is visible in the way the new ensemble feels grounded rather than borrowed from elsewhere. The house does not chase a blank newness; it keeps a material memory from the existing site and folds it into the new plan.

Natural materials do a lot of work here. They soften the formal symmetry and keep the villa from becoming stiff. The white surfaces, dark frames and thatched roof already create strong contrast, but the reused elements add another layer of texture. The house reads as a country villa, yet it carries enough precision in the detailing to feel composed rather than rustic in the usual sense.

The veranda that ties the main volume to the outbuilding

The plan is built around two clear parts: a main volume and an outbuilding. Between them sits the veranda between main volume and outbuilding, which does more than connect two doors. It creates a pause in the route across the plot, a sheltered middle ground where the volume of the house can be read in relation to the extra building. That junction gives the ensemble its pace and prevents the project from becoming one heavy block.

The outbuilding holds the more private functions, including a mancave and a wellness space, while the main volume keeps the family house at the center. Because the veranda sits between them, the walk from one part to the other feels deliberate. The connection is visible in the elevation too: roof edges, openings and supporting lines align the two parts without making them identical.

Symmetry without stiffness

Symmetry is one of the project’s most readable qualities. It gives the villa a calm front and a measured relationship between openings, roofline and massing. Yet the composition does not become flat. The dormers, the chimneys and the varied roof surfaces keep the silhouette active, especially when seen against the lighter walls. This is a symmetrical villa, but one that still shows movement in the roofscape and variation in depth.

The white facade dark windows combination sharpens that reading. The pale walls let the frames stand out, and the dark timber-like accents pull the openings into focus. From a distance, the contrast gives the house a clear outline. Up close, it reveals the smaller decisions that shape the country character: shutters, mullioned windows and a roof that sits with real weight above the rooms below.

Country cues handled with restraint

The house leans on familiar country references, but they are used with control. Shutters appear where they make sense on the elevations. Windows with glazing bars strengthen the vertical rhythm and echo the division of the walls. Above them, the thatched roof villa profile keeps the whole composition tied to a rural vocabulary without relying on ornament for its own sake. Each element has a visible job in the elevation.

That is also what makes the villa feel specific. The roof does not just finish the house; it changes how the volumes meet the sky. The openings do not simply puncture the wall; they set the scale of the rooms behind them. And the materials are not used as decoration. They mark the project as a luxury country villa through the way they shape mass, shadow and proportion.

A garden roomed around water, terrace and lawn

The exterior setting extends the project beyond the house itself. A pool terrace sits beside the villa, turning the garden into a second living surface during warmer months. The paving reads as light stone, which makes the water and the dark window frames stand out even more. Grass edges, planting pockets and the larger lawn area keep the plot open around the building and prevent the terraces from feeling isolated.

Seen from different angles, the garden gives the villa room to breathe. The rooflines repeat across several volumes, while the outdoor surfaces stay low and level. That contrast between the built mass and the open ground is part of the appeal of the site. It lets the villa sit firmly in the landscape, with the pool terrace acting as a clear extension of the house rather than a separate feature.

From farmyard to family ensemble

What was once a farmstead has become a family ensemble with two homes, a veranda, an outbuilding and renovated barns. The change is substantial, yet the site still carries its earlier logic: a collection of parts arranged around shared ground. The new luxury country villa draws strength from that setup. It benefits from the openness of the plot, the use of old materials and the distinction between private family zones and the parent’s living quarters.

Nothing in the layout feels accidental. The main volume holds the primary domestic life, the outbuilding adds space for retreat, and the veranda links them with an in-between zone that is easy to read in both plan and elevation. Add the rietgedak, the white walls and the dark frames, and the project becomes more than a country-style reference. It is a house that keeps its family history visible while giving it a new architectural form.