G4-2D-01 · Arrival relationship plan
Arrival relationship plan
| ELEMENT | WHAT IT SETTLES | SET | FIGURE |
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Design visualisationRESIDENTIAL · SET 1 · DRAWN BEFORE IT IS BUILT
Luxury Modular Homes
A single-storey pavilion house of 171 m², drawn completely before a single panel is made. Four bedrooms at the corners, one continuous living space through the middle, and a manufactured envelope you can inspect down to the panel joint.
Internal171.23 m²Footprint15.24 × 12.19 mRooms4 bedrooms · 2 baths · powderLiving34.17 m²
FINISH SYSTEMS
Three finishes, one house.The form never changes — only what it is finished in.
The same house, photographed at the same hour, in three finish systems. Look at the panel first and the setting second, because the two were chosen together — a pale envelope wants ground that gives it an edge, a deep green or a red oxide wants ground that lets it stand forward. What does not change is everything structural: the form, the roof, the portal, the glazing line and every panel joint.
Every finish named is a specifiable factory panel or coating system. No render, no plaster, no masonry, no exterior timber. The same drawing discipline runs through the residential range, and the prefab villas show it on a different plan.
Decision Rooms
Four decisions that shape the plan
Every plan is a set of choices. These are the four that make this one.
The portal
One opening, the full width of the room
The front of this house is organised around a single move: a deep horizontal beam carried on two solid piers, framing a sliding glazed wall of seven panels. There is no front door in the ordinary sense. The threshold is the whole opening, and the living room behind it runs to the terrace on its full width.
The two piers are the only place champagne bronze appears on the front — on the portal returns and at the elevation ends, and nowhere else. Everything else is warm pearl panel and graphite. The restraint is deliberate. A buyer reads the portal first, and the portal reads as the house.
Corners
Four bedrooms, four corners, two walls of daylight each
Every bedroom sits at a corner of the plan, so every bedroom takes two external walls and its own tall glazed opening. None of them borrows light from a corridor. The four are sized between 16.27 and 17.49 square metres — within one square metre of each other — so there is no small room and no argument about who gets it.
Bedrooms 01 and 02 carry the two wardrobes. Bath 01 and Bath 02 sit between the bedroom pairs, off the spine, with a powder room at the centre for guests. The living space holds the middle of the plan and the bedrooms hold its edges.
One spine
Everything is reached from one line
A single circulation spine of 8.91 square metres runs across the plan and serves all four bedrooms, both bathrooms, the powder room and the utility. Living, dining and kitchen open off it as one continuous volume of just over 62 square metres. Cut the house open and the logic is visible at once: one line, four corners, one big room in the middle.
Follow the spine from the front of the plan to the back and every door on the house opens off it. Nothing has to be walked through to reach anything else, and no bedroom shares a wall with the living room.
The plinth
The house stands clear of the ground
A continuous graphite plinth runs around the whole building and lifts it off the site. Three broad shallow steps rise from the approach to a terrace that runs the full width of the central bay, and the terrace meets the threshold at the portal. The plinth is what makes the pavilion read as placed rather than built — one object, set down.
It is also the first thing a buyer touches. The steps, the terrace edge and the plinth face are the closest a visitor comes to the manufacturing before they are inside, and they set the expectation for everything above them. Precision at the threshold is the promise the rest of the house has to keep.
THE APPROACH
Arrive at the house before you walk into it
The approach runs to the centre of the building, and the centre is where the portal is. Three broad shallow steps rise out of the stone to a terrace that runs the full width of the central bay. There is no narrow front door to find. The threshold is the whole opening, and you cross it into the living room.
Stand at the terrace and the method shows. The walls are large-format manufactured panels with the joint expressed as a fine vertical shadow — nothing rendered, nothing plastered, nothing applied wet on site. The glazing is full height in slim graphite frames. The portal beam is carried on two bronze piers that are the only warm metal on the elevation.
Come back at dusk and the same building does something else entirely. The glazed wall turns the living room into the brightest thing on the plot, the bronze goes deep and warm, and the plinth disappears into its own shadow so the house appears to float.
Step far enough back and the whole composition reads at once: two shallow pavilion roofs with a lower plane between them, the portal centred beneath, and the plinth holding the entire length off the ground. Long, low, horizontal — and every element either part of that horizontal or deliberately set against it.
The approach matters more than most buyers expect. A pavilion set square to its arrival reads as deliberate; the same building set at an angle reads as dropped. Decide where the portal faces before anything else is decided, because that single choice fixes how the house is first seen, where the terrace catches sun, and which elevation the road gives away.
01 / 04
THE BUILDING
Walk around the house before you commit to it
Five viewpoints, one building. The rail holds the house still while the camera moves, so what changes between frames is only the question being asked: how the front presents itself, how the long sides carry their glazing, what the private face gives away, and what the whole composition looks like from far enough back to see it whole.
Square to the front, the house is symmetrical about the portal. Two shallow pavilion roofs, one over each half of the plan, with deep overhanging eaves and a thin graphite fascia. Between them a lower flat plane covers the entrance. The overhang is not decoration — it is what keeps the glazing usable through an afternoon.
The two long sides do different jobs. The left carries three tall glazed openings in the panel wall and closes with a champagne bronze end panel at the corner. The right stays largely solid with a single tall opening. The rear is quieter still: a calm panel wall with four measured windows, because that is the private face and it is meant to be.
Under everything is the plinth — a continuous graphite base that lifts the house off the ground on every side and takes the three arrival steps up to the terrace. It is the same band on all four elevations, so wherever you stand the house reads as one object set down on the site rather than something assembled in position.
Look at the eaves line as you move. It holds the same height on all four sides, which is what keeps a long low building from reading as a shed with additions. The overhang deepens the shadow under it, so the panel wall below sits in a soft band of shade rather than glaring back at you, and the graphite fascia draws one unbroken line around the whole roof.
INSIDE
One continuous room, and four quiet ones
The living room is the whole width of the central bay and it opens on that whole width to the terrace. There is no wall between living and dining, and the kitchen sits behind the dining table against the spine, so the three read as one room of just over sixty-two square metres with the glazed wall as its fourth side.
Turn round and the plan explains itself. The spine runs behind you with the bedroom doors off it, the powder room at its centre for guests, and the utility tucked behind the kitchen where it belongs. Nothing has to be walked through to reach anything else, and no bedroom shares a wall with the living room.
The four bedrooms are alike on purpose. Each one takes a corner, each one has two external walls and its own tall glazed opening, and each one is within a square metre of the others. Bedrooms 01 and 02 carry the two wardrobes. The two bathrooms sit between the pairs, off the spine, so no bathroom door opens into a bedroom.
Daylight arrives from two directions in every room that matters. The living space takes the full glazed wall on one side and the tall bays on the other, so light reaches the middle of the plan from both sides rather than from one. The bedrooms do the same at smaller scale from their two external walls, which is why none of them needs a borrowed window onto the spine.
THE WINDOW REVEAL, FROM INSIDE
01 / 08
STAND IN THE LIVING ROOM AND FACE THE GLAZED WALL
DETAIL
Judged at three hundred millimetres, not at thirty metres
A premium building is judged where the hand goes: the joint between two panels, the edge of the roof, the line where the floor meets the glazing, the step you cross to get in. These are the four places on this house where the manufacturing is closest to the surface, and they are the ones worth looking at before anything else.
Manufacturing shows itself in repetition. A single joint can be made well by hand on any building; a hundred joints at the same width, in the same plane, on all four elevations, is a factory result and nothing else. That is the test to apply to these four photographs — not whether one detail looks good, but whether the same detail looks identical everywhere it appears.
DRAWING SET
Eighteen sheets, drawn before anything is made
Six sheets in plan, elevation and section. Six in three dimensions. Six more that take the house apart into the six families it is built from, put it back together in five stages, and show the two interfaces that decide whether a modular house feels manufactured or improvised. Every sheet comes from one accepted model and was drawn as one set.
This is the chapter most catalogues leave out. None of it is an installation method — no connection design, no engineering sequence, no site equipment. It is the design, drawn completely, so that the questions a buyer asks on site have already been answered on paper. The same set is published for every product we draw, including the resort cottage drawing set.
Read the sheets in the order the tabs give them. The plans and sections settle what the house is; the three-dimensional views settle what it looks like from angles a photograph cannot reach; the assembly sheets settle what it is made of and in what order those parts come together. Each tab answers a different question, and the three of them together leave very little to imagine.
Drawing set
SHEET G4-2D-01 · ARRIVAL RELATIONSHIP PLAN1/18
Sheet brief
G4-2D-02 · Furnished ground floor plan
Furnished ground floor plan
| ELEMENT | WHAT IT SETTLES | SET | FIGURE |
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| Total internal area | Measured to wall and glazing faces | ✓ | 171.23 m² · 1,843 ft² |
| Overall footprint | Length × width | ✓ | 15,240 × 12,192 mm |
| Living | Principal space | ✓ | 34.17 m² |
| Bedrooms 01–04 | Four, at the corners | ✓ | 17.49 · 17.05 · 16.27 · 16.51 m² |
| Dining · Kitchen | One volume with living | ✓ | 13.84 · 13.45 m² |
| Circulation | One spine, all rooms | ✓ | 8.91 m² |
| Baths · Powder · Utility | Off the spine | ✓ | 6.61 · 5.61 · 2.35 · 4.94 m² |
| Wall panel · coating · core | Panel system and finish | — | Confirmed at project stage |
| Frames · glazing build-up | Alloy, finish, unit | — | Confirmed at project stage |
| Roof · floor · fixings | Sheet, cassette, anchors | — | Confirmed at project stage |
G4-2D-03 · Roof plan
Roof plan
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G4-2D-04 · Front and rear elevations
Front and rear elevations
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G4-2D-05 · Left and right elevations
Left and right elevations
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G4-2D-06 · Longitudinal cross sections
Longitudinal cross sections
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G4-3D-01 · Arrival axonometric
Arrival axonometric
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G4-3D-02 · Plan oblique, roof lifted
Plan oblique, roof lifted
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G4-3D-03 · Cutaway sectional axonometric
Cutaway sectional axonometric
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G4-3D-04 · Long sectional perspective
Long sectional perspective
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G4-3D-05 · Roof component axonometric
Roof component axonometric
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G4-3D-06 · Signature move axonometric
Signature move axonometric
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G4-SOP-01 · Exploded component axonometric
Exploded component axonometric
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G4-SOP-02 · Illustrative assembly sequence
Illustrative assembly sequence
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G4-SOP-03 · Envelope component relationship
Envelope component relationship
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G4-SOP-04 · Glazing and opening interface
Glazing and opening interface
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G4-SOP-05 · Plinth, floor and services interface
Plinth, floor and services interface
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G4-SOP-06 · Transport and site-set concept
Transport and site-set concept
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Questions buyers ask
How big is the house?
171.23 square metres internal, measured to wall and glazing faces — 1,843 square feet. The footprint is 15.24 by 12.19 metres, single-storey. Four bedrooms between 16.27 and 17.49 square metres, a 34.17 square metre living room, dining and kitchen open to it, two bathrooms, a powder room and a utility.
Can I change the plan?
The plan is fixed and drawn. What changes between projects is where the house sits and what it is finished in. Three finish systems are shown on this page; the form, the roof, the portal and the glazing are the same in all three.
What is in the catalogue?
Twenty-nine pages. All eighteen drawing sheets across plans, elevations, sections, three-dimensional views and assembly. The full photography, including all three finish systems in daylight, at dusk and inside. The room-by-room schedule with every area, the six component families, the five-stage assembly sequence, and the material tables. It downloads in one click, with no form in front of it.
What happens after I download it?
The next conversation is about your site, your family and your budget, not about the drawings, because those are already done. Use the Start a Project button and the first thing we look at together is the land: where the house sits, which way the portal faces, and how the approach and the terrace meet the ground you already own.
What is fixed and what do I choose?
The form is fixed: the footprint, the roof, the portal, the spine, the four corner bedrooms and every glazing position. What you choose is the finish system, the orientation on your land, and how the approach and terrace meet the ground. Those three decisions change how the house feels on your site without changing a single dimension of what gets manufactured.
How should I judge this before I commit?
Start with the drawing set, not the photographs. Photographs show intent; drawings show whether the intent has been resolved. Check that every room on the plan has a dimension, that the elevations agree with the plan, that the sections cut through the same building, and that the assembly sheets account for every part you can see. A design that survives that reading is a design that has been finished.
What makes this a modular home rather than a conventional one?
Every part of the envelope is manufactured to a drawing before it reaches your land — the wall panels, the frames, the glazing units, the roof and the floor cassettes. Site work is preparation and assembly rather than construction. That is why the whole design can be drawn, measured and shown to you complete, and why what you see here is what gets made.
Is this the same as a portable cabin or a container home?
No. A portable cabin is a temporary unit and a container home is built inside a shipping box. This is neither. It is a permanent house designed as architecture first and then engineered into manufactured parts, with the panel sizes, glazing and roof geometry decided by the design rather than by what a container or a standard cabin allows.
Where can this house be built?
The house is designed to be manufactured and assembled on a prepared plot, and it is drawn for buyers across India. What your particular site needs — access for delivery, levels, and how the approach meets the plinth — is settled against your land at project stage. That conversation is about the ground, because the building itself is already resolved.