The village of Štěpánovice can be found in the eastern part of the Bohemian-Moravian Highlands, northwest of the town of Tišnov. The village stretches along the flow of the Svratka River and is surrounded by wooded slopes of the peaks of the Svratecká Hornatina nature park.

The newly built family house consists of two contrasting volumes - a brick-red residential section with a hip roof and a white garage with a flat roof. Both volumes are dynamically shifted in relation to each other, defining a fairly generous forecourt of the entrance façade and providing a dignified distance of the house from the street. If needed, the house can be further expanded with the addition of a third volume towards the garden.

From the beginning of the design, it was necessary to reconcile the fact that the form and volume of the house must comply with regulations and restrictions associated with its location in a protected natural area. The use of traditional roofing material - red fired tiles, which predominate in the village, was also required. The advantage of the hip roof is that it blurs the difference between the gable and side façades, allowing all faces of the house to be perceived as compositionally equal, with an emphasis on corner perspective.

The symmetrical hip roof with a thirty-degree slope gives the house a calm, balanced, and almost classical expression. This impression is further emphasized by the characteristic detail of the slightly overhanging subtle cornice and eaves gutter.

The diagonal arrangement of the façades allowed the same compositional pattern to be used on all four sides of the building, so that when observing the house from various sides and angles, we can perceive variations of the same motif, a similar rhythm and division, but with different depth and plasticity. This is the principle of baroque fugue, in which the basic motif undergoes various variations. The diagonal rhythm, which is a common denominator of the exterior, gives the façades a certain dynamism and direction without losing the sense of order.

The color division of the façade, underscored by the subtle plasticity of the plaster and stepped surrounds, may remind one of geometrically finely divided classical façades or Renaissance sgraffito.

The dominant feature of the interior is a three-armed staircase in the central hall with a gallery. Despite the simple brick construction technology utilizing wooden and steel elements, it was possible to create a freely flowing and coherent internal space, filled during the day with a changing play of light and shadows. Thanks to mutual views, the staircase, living room, and dining area blend into a single spatiotemporal entity, consciously reminiscent of the compositions of Adolf Loos' interiors. This is also related to the motif of pillars, columns, and significantly broken internal load-bearing walls, whose massive plastic volumes cannot be overlooked during a visit to the house. The intention was to achieve an urgent, almost archetypal effect of simple volumes and masses. This experience is intensified by views into the garden and surroundings. The position, size, and shape of the windows were chosen to create the strongest possible contact with the atmosphere of the surrounding landscape.

The living room and dining area with the kitchen have ceilings made of massive larch beams from the owner's hereditary forests. The glazed areas are oriented towards the view of the nearby dominant mountain of Květnice, known for its remarkable cave system.

The residential rooms on the upper floor have a uniform size and shape, an aspect ratio close to a square and above-standard high ceilings, whose sloping underceilings follow the slope of the roof and slightly resemble the atmosphere of vaults. They differ only in the proportion and character of the windows.

It was precisely the contrast between the classic closed mass, leaning towards order and symmetry, and the dynamism of the internal space that became the guiding motif of the solution from the outset, as it is a source of light tension, longing for the reconciliation of opposites, and at the same time is a constant challenge for dialogue between traditional and contemporary sensibilities.