If you look at it from below, from the side of the slope, this house resembles a large flying fish - there are such fish with ribbed "sailing" fins, which flew in ancient prehistoric times from the Mediterranean Sea here, to the slope of the Turkish mountains. Or an aircraft from Leonardo da Vinci's drawings with ingenious "Icarus" wings. This - the main - allusion arises from the canopies, either overhanging or soaring over the open terraces of the villa, facing the valley. The peaks are long, slightly curved, and they are made of darkened polarized glass, which is supported by a frame of rigid metal ribs - in fact, they provide the natural Icarus image with a proper measure of clarity. Inside the house, the theme continues - on the ceiling above the main staircase, an extension of the metal frame appears, slightly recessed in the plaster thickness, but leaving no doubt - yes, we have just seen the creature from the outside, and now we are observing it from the inside.
The house is inscribed in a mountain slope with a rather steep rise - this allows its inhabitants to provide maximum isolation from the outside world, which in this case consists of a road passing above and a small abandoned village, which is now beginning to gradually recover. The difference in elevation allows you to almost completely fence off the road - on this side, the villa with a total area of more than 250 sq. meters seems miniature and evokes thoughts of park sculpture - mainly because of the colorful tube-shaped tower is not fortification at all, but on the contrary, very frivolous. The tower is covered with ceramic tiles that change color from dark blue at the base to light yellow at the top, which partly falls into the range of the surrounding mountains, only brighter.
The roundness motif given by the tower extends to the entire building, which, if viewed from these positions, seems no longer a fish, but a giant coral that has sprouted through the slope in the form of a bundle of large cylindrical volumes smoothly flowing into one another. Windows also take on a smooth outline and acquire a variety of contours, and the largest of them - a semicircular stained glass window to a height of two floors - provides a fan of mountain landscapes for those who prefer to look at them from the living room. In some places, stripes of bluish-yellow tiles break through the whiteness of the facade - they hug the edges of the open pool and outline the stone parapets of the walls, helping them to blend into the blue of the mountainous landscape.
Outside, the house is surrounded by a traditional stone fence, which, however, also conveys the general unevenness of the outlines - with its help, terraces for the garden are carved from the mountain slope, it is closest to the ground and provides a transition between the angularity of the stones of the mountain slope and the streamlined sculpturality of the walls of the villa …
The abundance of ceramics, the surfaces are soft and round with a tenacity that suggests a fundamental rejection of sharp corners - and suddenly - sharp iron ribs, the sailing flight of canopies, the sharpness of the glass shine. All this together creates a curious image, concentrated on the sculptural effects of various forms, in some ways very akin to the wild mountain landscape, and in some ways very man-made. And although there are no supernatural technological breakthroughs, in addition to the usual such level of comfort for the house: its own boiler room and the ability to "turn on the coffee maker" via the Internet, in this house, nestled on a mountain slope, there is some particularly cozy, a bit fabulous impulse to futurism - similar also to some of the motives of the architectural forms of Antoni Gaudí.