The first thing you notice is the roofline. A thatched gable roof lifts above clear glass surfaces, while the holiday home large windows pull the landscape right up to the edge of the rooms. The house reads as a meeting point between a familiar rural form and a more open way of living, with timber, glass and light doing most of the work. Inside and out, the boundaries stay loose. Views shift with the weather, and the rooms keep their link to the garden all year round.

Thatched roof, familiar volume, open sides

The building takes cues from the traditional shape of the surrounding houses, but it does not stay locked in that language. A 50-degree gable roof covered in thatch gives the silhouette its weight, while the volume remains modest and close to the scale of nearby buildings. On the south side, larch cladding adds a darker timber note. The result is a holiday home that sits with the rural setting rather than copying it. The large windows change that reading from the inside, where the structure opens up to daylight and long views.

What makes the composition interesting is the contrast between the roof’s dense texture and the transparency below. The thatch softens the upper edge, yet the lower level is almost entirely about glass. That shift in material changes how the house is perceived as you move around it. From one angle the timber and roof dominate; from another, the glazing takes over and the interior becomes visible. The holiday home large windows are not treated as an addition. They are part of the overall volume and its exact proportion.

Large glass facade at ground level

Four cero sliding windows form the main glazed openings on the ground floor. Their slim frames keep the view open, and the panels can be moved by hand along two stainless-steel rails. Each element is almost three metres high and up to 3.80 metres wide, which gives the façade a strong horizontal rhythm once the openings are pulled back. The large glass facade does more than admit light. It lets the rooms expand toward the terrace and makes the edge between house and garden easy to read.

At the northwest corner, a frameless corner solution allows more than fifteen square metres to open up. That is where the project feels most animated. Instead of stopping at a fixed corner, the glazing turns the angle into a place of passage and air. The opening changes how the living area can be used, but it also changes how the house sits in the site. With the sliding windows open, the living area with view stretches outward; with them closed, the same corner becomes a clear framed lookout toward the trees.

Sliding windows that redraw the room edge

The sliding windows are not only practical elements. They set the pace of the ground floor. A closed panel presents a precise line of glass and frame; an open panel removes that line and leaves the terrace connected to the interior in one move. Because the rails run in two tracks, the openings can be handled without mechanical drama. The effect is simple and direct. Daylight reaches deeper into the plan, and the rooms never feel cut off from the outside setting.

Daylight, timber and long views inside

Inside, the bright interior is shaped by the same large openings seen from outside. A timber ceiling runs above the glazing and gives the rooms a clear horizontal line, while the pale floor reflects the light coming through the glass. In one view, a sofa sits close to the window wall; in another, a dining table and stools are arranged beside the glazing, with trees visible just beyond the frame. The rooms do not rely on decoration. Their character comes from daylight, the ceiling structure and the long view outward.

Because the glass reaches low and wide, the interior feels connected to the terrace rather than separated from it. The overhang and the glazed enclosure create a sheltered edge where the ceiling continues outward and the view stays open. From the seating area, the garden is not a distant backdrop. It is part of the room’s daily use. The living area with view is especially strong here, because the furniture is placed close to the glazing and the eye moves straight through to the trees.

A terrace edge that keeps the view open

The images show how the house handles the transition at the perimeter. The terrace sits under the roof extension and beside the glass, so the outdoor zone reads as a continuation of the interior floor rather than a separate platform. At dusk, the lit rooms glow behind the glazing, and the terrace becomes a thin band between the house and the lawn. This is where the holiday home large windows have their strongest effect: they keep the room line visible while letting the setting stay present.

Built as a circular whole that can be taken apart

The project is described as a cradle-to-cradle concept, and that shows in the way the materials are treated. Steel, timber and glass are used with the idea that the building can be dismantled into separate parts and fully recycled. That approach gives the house a different kind of precision. Every material has a clear role, and nothing appears overcomplicated. The structure does not hide what it is made of. Instead, it presents the parts in a way that makes eventual disassembly part of the story.

That logic also matches the house visually. The roof, the timber surfaces and the transparent lower level are easy to read as distinct layers. The building does not rely on heavy ornament or a fixed image of rustic living. It uses the thatched gable roof, the large glass facade and the sliding windows to keep the form open to change. Seen from outside or from the sofa by the window, the house stays tied to its setting while leaving room for light, movement and a clear view of the landscape.