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Pine House
Pine House
Varna, Bulgaria
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Other Projects by STARH
Pine House
Varna, Bulgaria
Pine House is located in a beautiful wooded area near Varna – in a context where architecture becomes an act of listening rather than demonstration. Conceived not as an object imposed on the landscape, but as a quiet participant in its life, the house reflects a desire for architecture that respects and ultimately surrenders to its surroundings.
The project embodies an ethic of respect for the natural world—not only through its preservation, but also through its celebration. The architecture here is a temporary guest: the steel structure is demountable, and the elements used are modular. The house can be removed, leaving behind minimal traces. This dismantlability is not a technical addition, but a central philosophical position: to touch the earth as delicately as possible and only when necessary.
Designed as a volume that is placed rather than "built" in the traditional sense, the house floats above the forest floor, elevated on steel piles and platforms. Pine House is not simply surrounded by nature—it is intertwined with it. The slope on which it stands remains almost untouched. The house does not tower above the trees, but fits in among them. Even where the trunks are less than a meter from the walls, their presence is not perceived as a limitation, but as a gift—a defining characteristic that gives the architecture character, a sense of immediacy, and meaning.
The geometry is simple, almost ascetic: a monolithic silhouette composed of two volumes. At first glance, the house seems to disappear, blending into its surroundings. Visually, the composition works with the filtered light of the forest and the presence of trees growing in close proximity—so close that the building surrounds them not as obstacles but as co-authors of the spatial arrangement. The generous glazing reflects their presence like a mirror and invites the outside world in, while protecting the interior from harsh weather conditions.
A system of perforated sliding panels allows for transformation over time. These screens, extending around the perimeter of the building, allow the entire ground floor to be enclosed, creating a permeable boundary between outside and inside. When closed, the panels fragment the light in a way that resembles the gentle filtering of sunlight through foliage, while providing privacy and tranquility. In this way, they do more than just regulate the climate—they enter into a dialogue with the forest and embrace its language, rather than drowning it out.
The choice of materials reinforces this philosophy of integration. The dark, muted matte surfaces follow the palette of the surrounding environment, favoring harmony over contrast. The cladding, which at times is almost indistinguishable from the neighbouring tree trunks, allows the architecture to disappear into the shadows and reveal itself again when illuminated by the sun.
More than just a place to relax, Pine House is a quiet manifesto for coexistence. From a sustainability perspective, the project does not rely on technological indicators of efficiency—its environmental responsibility is embedded in its approach: a rejection of dominance, an insistence on the reversibility of intervention, and respect for existing conditions. By preserving every tree, minimizing earthworks, and allowing for complete dismantling, the house models a form of radical ecological sensitivity—not as a limitation, but as a source of aesthetic and ethical position.
The project embodies an ethic of respect for the natural world—not only through its preservation, but also through its celebration. The architecture here is a temporary guest: the steel structure is demountable, and the elements used are modular. The house can be removed, leaving behind minimal traces. This dismantlability is not a technical addition, but a central philosophical position: to touch the earth as delicately as possible and only when necessary.
Designed as a volume that is placed rather than "built" in the traditional sense, the house floats above the forest floor, elevated on steel piles and platforms. Pine House is not simply surrounded by nature—it is intertwined with it. The slope on which it stands remains almost untouched. The house does not tower above the trees, but fits in among them. Even where the trunks are less than a meter from the walls, their presence is not perceived as a limitation, but as a gift—a defining characteristic that gives the architecture character, a sense of immediacy, and meaning.
The geometry is simple, almost ascetic: a monolithic silhouette composed of two volumes. At first glance, the house seems to disappear, blending into its surroundings. Visually, the composition works with the filtered light of the forest and the presence of trees growing in close proximity—so close that the building surrounds them not as obstacles but as co-authors of the spatial arrangement. The generous glazing reflects their presence like a mirror and invites the outside world in, while protecting the interior from harsh weather conditions.
A system of perforated sliding panels allows for transformation over time. These screens, extending around the perimeter of the building, allow the entire ground floor to be enclosed, creating a permeable boundary between outside and inside. When closed, the panels fragment the light in a way that resembles the gentle filtering of sunlight through foliage, while providing privacy and tranquility. In this way, they do more than just regulate the climate—they enter into a dialogue with the forest and embrace its language, rather than drowning it out.
The choice of materials reinforces this philosophy of integration. The dark, muted matte surfaces follow the palette of the surrounding environment, favoring harmony over contrast. The cladding, which at times is almost indistinguishable from the neighbouring tree trunks, allows the architecture to disappear into the shadows and reveal itself again when illuminated by the sun.
More than just a place to relax, Pine House is a quiet manifesto for coexistence. From a sustainability perspective, the project does not rely on technological indicators of efficiency—its environmental responsibility is embedded in its approach: a rejection of dominance, an insistence on the reversibility of intervention, and respect for existing conditions. By preserving every tree, minimizing earthworks, and allowing for complete dismantling, the house models a form of radical ecological sensitivity—not as a limitation, but as a source of aesthetic and ethical position.
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