Architectural Record 2015-04

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80 ARCHITECTURAL RECORD APRIL <strong>2015</strong> BUILDING TYPE STUDY RECORD HOUSES Los Limoneros | Marbella, Spain | Gus Wüstemann Architects ,11(56$1&780
81 A pristine, thick-walled house in southern Spain affords privacy yet openness through its interplay of void and mass. BY SUZANNE STEPHENS PHOTOGRAPHY BY BRUNO HELBLING IN THE SWIM Secluded bedroom terraces overlook the pool, wrapping one corner of the site. 7he mandate was clear: design a house that offers privacy from the outside world but opens up to gardens and terraces within its confines. The solution was a familiar one for the setting in Andalusian Spain, where inward-facing patio houses speak of a Moorish heritage. However, in conceiving a vacation retreat for a family of four in Marbella, on the palmy Costa del Sol, Swiss architect Gus Wüstemann has avoided the arcaded courtyards and red-tile roofs typical of the region. He has kept the general idea, but emphasizes the abstracted masses and voids seen in his other work, such as the muscular concrete residence Two Verandas in Zurich (record, April 2013, page 96). The client, a European businessman, had been coming to the resort for 20 years to enjoy golf and spend time with friends and family. When he decided to build a new home there, he was drawn to the strong geometries and complex play of light and shadow in Wüstemann’s architecture. While Marbella’s sunny weather, sandy Mediterranean beaches, and breaking surf account for its popularity, the picturesque village had fewer than 1,000 residents right after World War II. During the 1960s and ’70s, it became the haven for the so-called jet set, a migratory social flock of aristocrats, showbiz people, and rich political exiles. Attracting such “beautiful people” as Prince Alfonso von Hohenlohe, Sean Connery, and former Cuban dictator Fugencio Batista y Zaldivar, Marbella grew as others followed: today the population is over 140,000. It is good to be able to withdraw behind garden walls. Wüstemann’s plan recalls those that Mies van der Rohe developed in his elegant linear-court house projects of the 1930s and ’40s—only here, as the architect puts it, “much of the program for the house is hidden on the periphery.” Its concrete frame with white plastered masonry infill walls gives it an implacable and impenetrable solidity. Following the outline of the property—a parallelogram in a compact residential area—you might say the 6,200-square-foot house evokes, on a small scale, fortresses such as the nearby 10th-century Moorish Sohail Castle. The neighbors at first didn’t see this historic connection. Since it diverged from the Spanish Mediterranean or classical-style vocabulary typical of Marbella’s villas, they asked the client if it was going to be a hotel or a department store. As the owner tells it, they even expressed concern to the local government that the design represented a violation of the residential zoning. No, it was simply a house. Stepping through the protective entrance behind the thick walls enclosing the site, you are surprised to find yourself in a light-filled living and dining area contained in a glazed bar. It extends the width of the house, stretching View additional images at architecturalrecord.com.
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