---
title: "Designing The Line House: An Enscape Project Breakdown"
description: See how The Line House was designed for an Enscape release, from references and constraints to structure and manual 3D modeling. Read the full process.
image: https://blog.chaos.com/hubfs/hero_01_Ext_Hill.jpg
---
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© Chaos 3D Team
Samir Mujovi
Published: October 08, 2026 • 6 min read
# Designing The Line House: An Enscape Project Breakdown
*Samir Mujovi is an architect and 3D artist at Chaos, where he creates the projects featured in Enscape release campaigns and marketing materials. In this article, he explains how he designed The Line House, the project he created for an Enscape release earlier this year.*
When working on conceptual projects without a real client or a specific physical site, the blank page can be really scary. I was tasked to create a project for an [Enscape release](https://blog.chaos.com/new-features-for-your-enscape-workflow?hsLang=en), which was going to be featured in the [marketing materials](https://blog.chaos.com/creating-marketing-materials-with-the-help-of-enscape?hsLang=en).
The input that I got was: let's create something that is simple, yet relatable and inspiring for other architects. I’m not sure how much I will succeed in that, but I wanted to share my design process of creating The Line House project that you can see on our website and social media channels.
Here's an overview of what this article covers:
- Guided by References: How analyzing real-world architectural examples shapes the design process.
- The Power of Constraints: How establishing project constraints helps you conquer the "blank page."
- Building Structure: Why resolving the underlying structural logic naturally guides your design decisions.
- Adding a "Manual" 3D Touch: When and why you should decide to model something manually.
*See the final results of the project in this video*
## Inspiration and constraints
The first step, as always, was searching for inspiration. After checking a lot of references, I decided to go for a villa-style building situated remotely in a dense forest. To make the project feel “real” I tried to mimic the work of an actual architect, at least to a certain extent. This meant I needed to create my own real-world constraints (at least the physical ones, since I could luckily ignore a client's wishes or a tight budget 😛).
So, I decided that the primary physical constraint would be the topography itself: sloped terrain that would dictate how the building sits in the environment. Then, to give the site a [sense of history](https://blog.chaos.com/university-of-salerno?hsLang=en), I imagined that a structure had existed there previously, but only the concrete walls remained, and my task was to design the new home around them. That became my starting point: a sloped terrain in a forest anchored by existing concrete walls.
References:
- [📺 Inside the World's Most Tranquil Home Hidden in Nature](https://www.youtube.com/watch?v=ONY1vknuNlM)
- [📺 Inside an Architectural Home Built into the Landscape Above an Abandoned Quarry](https://www.youtube.com/watch?v=Kguit4mv1AY)
- [📖 Off-Grid Guest House](https://architizer.com/projects/off-grid-guest-house/)
## The concept: One Line
I named the project ‘The Line House’ because the initial plan was to organize everything along a single axis, where the flow of the inner spaces would mirror the progression of a day—from the moment you arrive at the house to the time you go to sleep.
As the design evolved, I realized that keeping the entire house in one unbroken mass wouldn't do justice to the site. So, I decided to split that continuous line into three distinct volumes. While the largest main living spaces still follow that primary linear axis, the two secondary volumes utilize the sloped terrain to break the massing into varying elevations.
This stepping of the volumes does two crucial things for the composition: it prevents the building from feeling like a monolithic block dropped onto the landscape, and it creates a rhythmic, dynamic silhouette that naturally nestles into the topography.
## Structure
I believe that resolving the structural logic of a building makes the entire project feel more believable, even if the framework is ultimately hidden. As with any project, I always aim to make the structure at least conceptually sound. Of course, if I asked my father—who is a structural engineer—to verify it, he’d probably slap a few columns right in the middle of the living room 😛.
To keep things simple, I utilized the 'existing' concrete walls as the primary support for a new metal framework. By using various steel profiles for the columns and beams, I was able to bridge the open spaces between the concrete walls and properly support the [green roof](https://blog.chaos.com/what-is-green-architecture?hsLang=en) and wooden ceiling above.
## Architecture
The experience of the house is designed as a journey. You arrive at the highest, smallest volume by car along a forest road, entering the building through the garage. From there, you are intentionally forced to step back outside, walking down a set of exterior stairs before entering the main volume of the house. That way, you feel the temperature, hear the wind, and get the feeling that you arrived on foot.
Once inside the main volume, the linear journey resumes. You walk in a straight line past the pool area, through the kitchen and dining spaces, past the bathroom and kids' room, finally arriving at the master bedroom.
However, before reaching the master suite, the path offers one final split. A secondary path leads you back outside and down another set of stairs to the third volume; a secluded guest house featuring two separate master bedrooms, giving visitors their own private slice of the forest.
And what would a forest house be without an outdoor seating area to actually enjoy the outdoors? This space serves as a central hub. It connects directly to the main volume of the house by a path above the pool, while also stepping down the sloped terrain to link up with the guest house.
## Materials
Since the raw, heavy concrete was already established as the base, the new architectural additions needed to provide a clear material contrast. References played a big part in my decision-making, ultimately leading me to choose black timber cladding for the new volumes. Along the roofline, I added a band of weathered steel; it brings an earthy tone to the [facade](https://blog.chaos.com/building-facade-rendering-tips?hsLang=en), but more importantly, it’s housing the sunshade devices. Those sunshades are essential for covering the large, floor-to-ceiling glass windows and managing the light.
## Interior
Moving inside, the material palette continues this functional approach with a focus on contrast, and of course, references played a big part here as well. I used a wooden ceiling throughout the main spaces to bring warmth and seamlessly integrate the linear lighting tracks. Additionally, the bright wooden floor features a custom geometric pattern, which adds a necessary layer of texture and breaks up the strict straight lines of the architecture.
The overall [interior design](https://blog.chaos.com/rendering-interior-design?hsLang=en) leans into darker tones, particularly in the kitchen area, where I used dark cabinetry and deep wall finishes. These are balanced by the earthy tones of the kitchen island and white curtains.
## 3D fun
I know, I know, everything can be generated nowadays. But sometimes, to get exactly what you have in mind, it's actually quicker and far less annoying to just model it manually. For example, the designer pendant lamps: structurally, it’s basically a triangle with rounded corners that you extrude a few times, add some supporting edge loops, and throw a SubD modifier on. The rest is just extruded circles.
Another fun element was the kitchen island, which I envisioned as a raw block of stone with one section carved out. I played around with the sculpting tools in Blender, and even though I probably broke all sculpting rules 😛, I managed to create something I liked pretty fast. Finally, these custom pieces are brought into [Enscape](https://www.chaos.com/enscape) using the [Custom Asset Library](https://blog.chaos.com/custom-asset-library?hsLang=en). I rely on this workflow often for terrains, roads, bespoke furniture, or anything else that demands that specific '3D artist touch'.
## Final steps
Once the modeling and materials are dialed in, the only thing left is finding the [right camera positions](https://blog.chaos.com/best-practices-finding-the-right-perspective?hsLang=en), and the [right lighting](https://blog.chaos.com/lighting-basics-for-3d-rendering-in-enscape?hsLang=en), to capture the essence of the building's design. Even during the initial conceptual phase, I’m always keeping an eye out for interesting compositions and lighting scenarios. However, it’s really only after you apply the final materials and populate the scene with assets that you can confidently say, 'Yes, this is going to be a good shot.
At that point, I consider my part of the job complete. Other members of my Chaos 3D team then take over, bringing the project to life, producing high-end, photorealistic 3D rendered images and videos using [Envision](https://www.chaos.com/enscape/envision), [V-Ray](https://www.chaos.com/vray), [Veras](https://www.chaos.com/veras), and other tools.
You can check out the final results in the video shared at the beginning of this article.
*ℹ️ This article was originally published on [CGconnect](https://cgconnect.chaos.com/insights/articles/a9c8fae8-before-the-final-video-the-line-house-concept).*
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Samir Mujovi
Samir is an architect and 3D artist, currently part of Chaos 3D team. With a background in BIM, Rhino, and parametric design, he is passionate about using technology to transform architectural ideas into compelling visual experiences. His work combines technical expertise with a strong focus on composition, storytelling, and visual communication.
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