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House in Sur
House in Sur
Sur, Oman
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House in Sur
Sur, Oman
Firm
Type
STATUS
Under Construction
YEAR
2026
SIZE
0 sqft - 1000 sqft
BUDGET
$10K - 50K
The house is conceived as two volumes in quiet negotiation. A solid mass of travertine, load bearing and grounded, is set against a lighter plane of white render that appears to float above it. The heavier volume anchors the composition to the earth; the lighter one cantilevers toward the garden and the sea, held aloft by nothing the eye can locate. Between stone and render there is no ornament, only the discipline of the joint, the shadow gap, the line where one material ends and another begins.
Glass replaces wall wherever the program allows it, so the boundary between inside and outside becomes a matter of temperature rather than form. The building does not compete with its site. It waits for the sun to move across it and lets that movement do the work of decoration.
Arrival is a compression before a release. A slatted screen filters the street into fragments of light and privacy, and a deep, shadowed reveal draws the body toward a single timber door, warm against the cool render around it. The sequence is short, but it asks for a pause.
Here the house opens fully. Living and dining spaces run along a glazed edge, framed by slender columns, so that the lawn, the stone terrace, and the water beyond read as extensions of the room rather than a view of it. Curtains soften the light without ever closing it out.
A canopy of flame tree hangs low here, indifferent to the geometry beneath it, and lets its blossom fall across the pale stone in a controlled kind of disorder, the one departure the architecture permits itself. A fire sits recessed into the terrace, its flame quiet in daylight, more a presence than a source of heat.
Beyond the bench, lawn gives way to sand and sand gives way to a turquoise so bright it reads as material rather than weather. This is the one place in the composition where the architecture steps back and simply frames the sea.
Stone paving steps down into cut lawn, olive trees, and a lowered fire terrace at the water's edge, where the architecture finally gives itself entirely to the horizon.
Glass replaces wall wherever the program allows it, so the boundary between inside and outside becomes a matter of temperature rather than form. The building does not compete with its site. It waits for the sun to move across it and lets that movement do the work of decoration.
Arrival is a compression before a release. A slatted screen filters the street into fragments of light and privacy, and a deep, shadowed reveal draws the body toward a single timber door, warm against the cool render around it. The sequence is short, but it asks for a pause.
Here the house opens fully. Living and dining spaces run along a glazed edge, framed by slender columns, so that the lawn, the stone terrace, and the water beyond read as extensions of the room rather than a view of it. Curtains soften the light without ever closing it out.
A canopy of flame tree hangs low here, indifferent to the geometry beneath it, and lets its blossom fall across the pale stone in a controlled kind of disorder, the one departure the architecture permits itself. A fire sits recessed into the terrace, its flame quiet in daylight, more a presence than a source of heat.
Beyond the bench, lawn gives way to sand and sand gives way to a turquoise so bright it reads as material rather than weather. This is the one place in the composition where the architecture steps back and simply frames the sea.
Stone paving steps down into cut lawn, olive trees, and a lowered fire terrace at the water's edge, where the architecture finally gives itself entirely to the horizon.
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