Cocoa

Against that surface, the timber is solid and worked at furniture scale. Full-height joinery lines the social end of the house — kitchen fronts, storage, the wall that holds the television, the fluted panels above the counters — and continues down the corridor as a single cabinetry run, so that the circulation through the house is a timber wall on one side and concrete on the other. The floor is a large-format stone-toned tile, laid flat and quiet, that keeps the two materials as the only things being read.

Light is handled in two registers. On the park side it is unmediated: a full glass wall that slides away entirely, with only a loose white curtain to soften it. On the road side it is filtered by vertical timber screens, and punctuated by circular openings cut through the concrete walls, which frame the pines as discrete images rather than as a view.

The result is an interior with almost no decorative content, which is the point: the green outside is the only colour in the house, and everything else is there to hold it steady.