Wood and stone set the tone before the plan even reveals itself. On the front side, dark timber panels sit against pale wall surfaces, while broad panes of glass pull daylight deep into the rooms. The house reads as a modern villa with wood and stone, but the material contrast does more than frame the exterior: it shapes the way the interior feels as soon as you step inside, with long views, sharp edges and open transitions between inside and out.

Materials that hold the volume together

The composition is restrained in colour, but not in texture. Timber appears in vertical bands and screen-like sections, stone and rendered panels lighten the mass, and the glass facade breaks the envelope into clear openings. In the daytime images, the frontage alternates between opaque planes and transparent strips, so the building never reads as a flat box. Even the driveway and terrace surfaces contribute to that reading, with gravel, concrete and stone paving guiding the eye toward the entrance and the garden beyond.

Seen from the exterior, the house uses the material palette to control privacy and openness at the same time. Dark timber sections sit beside large windows, and smaller roof openings bring light into the upper level. The result is a villa that looks anchored, but never closed off. This modern villa with wood and stone relies on that tension: solid wall, then glass, then another solid edge, each one registering clearly in the photographs.

A floating staircase in the middle of the plan

Inside, the floating staircase is the clearest spatial gesture. Concrete treads appear to hover against a timber-lined wall, and the open risers keep the view moving upward. Rather than hiding the route between floors, the stair becomes part of the room’s composition. From the lower level, the balustrade and lamella-like timber finish pull the eye toward the upper landing, while the surrounding white walls and recessed lighting keep the volume light. It is the most direct example of how the house organizes space without heavy partitions.

Light, view and circulation

What gives the staircase its presence is not only its form, but the way it sits beside the glass openings. Daylight reaches the stairwell from multiple directions, and the line of sight continues past the landing into adjacent rooms. In the interior images, the stair is visible from the kitchen and from the workspace, so the house reads as connected rather than segmented. That connection is reinforced by the bright interior palette: white surfaces, warm wood details and clear glazing keep the circulation legible at every turn.

Rooms opened up by glass

The living spaces depend on wide glazing rather than decorative gestures. Large panes frame the landscape, and the bright interior gets its character from changing daylight instead of fixed ornament. In the lounge, the windows stretch the room outward, so furniture and wall finishes are set against long exterior views. A work area with a large glass opening follows the same logic. The desk sits close to the edge of the room, where a curtain, a timber niche and a clear view outside make the corner feel structured without becoming enclosed.

That same visual openness carries through the kitchen and adjoining zones. White built-in surfaces, a long worktop and timber detailing near the stair create a measured rhythm across the room. Nothing is overdrawn. The house lets the geometry of the openings do the work, and the result is a calm sequence of surfaces that stay readable even when the light shifts from one side of the plan to the other.

A modern garden with pool and reflecting water

Outside, the garden is laid out with straight edges, planted borders and a low water basin that catches the sky. The modern garden with pool does not try to imitate a natural landscape; it uses concrete edges, clipped planting and a restrained surface palette to keep the focus on lines and reflections. The pool and reflecting pool elements sit close to the house, so the water becomes part of the view from inside. From the glazing, the garden reads as a series of horizontal bands: terrace, water, planting, then the darker volume of the villa.

The outdoor lighting extends that reading into the evening. Thin vertical light lines appear on the dark facade, while low garden lights trace the edges of beds and paths. House number 32 is set on a dark wall, visible but not shouted. In the dusk photographs, the timber cladding absorbs light and the glazed areas reflect the surroundings, which makes the house appear more graphic and more layered than in the daytime views. It is a quiet effect, built from placement rather than ornament.

Details that keep the house active after dark

The evening images show how little is needed to change the mood of the frontage. Vertical illumination cuts through the darker surfaces, and the long glass openings hold faint reflections from the garden. The exterior lighting does not flatten the architecture; it marks the edges, steps and planting bands so the volume remains easy to read. Even the water surface changes in this light, turning from a calm basin into a reflective plane beside the terrace. Those small shifts are what give the house its after-dark character.

Across the project, the same set of elements keeps returning: timber, stone, glass, water and a stair that acts almost like furniture at building scale. They are handled with restraint, but each one is visible in the photos and each one has a clear role in the layout. That is what defines this modern villa with wood and stone. It is not a sequence of isolated features. It is a house where materials, routes and openings are aligned closely enough for every detail to register.

Photography: René van Dongen