PDLL70 | Plutarco

The most interesting thing about the project was looking at when it was built: in 1934. We researched what other modernist villas were being built at the same time in different parts of the world, to understand and connect with the era in which this house was born. We found the building in a deplorable state. It had been abandoned for many years, and the floors were built halfway up the windows, so it was very important for us to treat it as a blank canvas where we could build and reimagine the spaces from scratch. 

The house opens onto two courtyards, one of which is a private street and the other a very large interior courtyard, a very unusual structure in Madrid. This spaciousness and privacy were key in deciding that the living area should be located in the lounge, in a quiet and peaceful space on both sides. Ceilings are very important to us, so we decided to build vaults, a feature widely used at that time, and we opted for high gloss to better reflect the light.

As for the furnishings, the sofa—by Arflex—was essential: we wanted it to be very cosy and very soft. We also introduced more contemporary pieces, such as the lamp by Ingo Maurer and the work by Iván Franco, which, although it looks like a photograph, is actually done by hand in pencil. We loved that surprise effect. In the dining room, we have two clear architectural references: the vaulted ceiling with mouldings, inspired by Robert Mallet-Stevens' work at Villa Cavrois, and the mixture of marbles, which can be seen above all on the staircase and banister, reminds us very much of the entrances to Piero Portaluppi's villas in Italy in the 1930s, with their combinations of marbles and banisters with oculi and circles. 

We designed the dining room furniture ourselves. The chairs are called Escote, because of their obvious shape, and the idea was that they should be super comfortable, so that you could spend long periods of time after dinner. We love to think of the dining room as a social space, where there is time and space to stay and chat. That's why we connected it directly to the living room, allowing for different scenarios. We believe that this connection between rooms is key to making the space feel changeable.

The movable screen plays an important role: during the day it functions as a tiled wall, and at night or when you want to change the atmosphere, it can be turned around to reveal a mirror. Behind it is a piece of art by Xevi Sola, one of our favourite artists from the Alzueta gallery, who always supports us. 

n the kitchen, mixing materials is essential. We worked with five main ones: two types of wood—cherry, for its reddish tone, avoiding the usual oak, and pine stained dark blue, an experiment with a new Danish material—; a terrazzo island, specially made for this project; a floor of another type of terrazzo reminiscent of the portals of Milan, and blue tiles with red grouting. 

We really like red, but always in controlled touches: what is called Unexpected Red. The rest we keep more neutral, with a light blue reminiscent of the sky that blends in with the exterior. Hence also the high-gloss blue ceiling, which creates continuity with the outside. Vegetation was another important point: we wanted to create a small climatic oasis that would help during the harshest times of the year. We planted a Virginia creeper that will cover the wall, turn red in autumn and sprout again in summer, along with a mixture of evergreen and deciduous species so that the space changes with the seasons. 

In the living room, the star piece is the STV sofa, which we designed for Rabadán, a contemporary upholstery brand. The premise was simple: a sofa for watching television. It is very soft and can be configured in different ways so that the whole family can sit comfortably and watch a film together. 

The upper floor is the most private area, the living space. A small study leads to the dressing room, inspired by a Japanese temple, with a conical ceiling and grid-patterned wood panelling. We wanted the master bedroom to convey a sense of tranquillity. We always say that dark colours embrace you, which is why the vaulted ceiling is midnight blue, with integrated light bulbs that look like stars and a constellation hand-painted by Jesús Colmenero. The mix of materials continues, with green-stained wood and circular glass blocks leading to the bathroom through a curved door. The curve, very present throughout the house, softens the lines and avoids aggressive angles. In the bathroom, curved cubicles separate the shower and toilet, and the terrazzo floor unifies the whole, while the Chinese marble and elm root wood washbasin cabinet completes the look. 

In the garden, the idea was also to combine unexpected elements: a striped tiled floor, a green mosaic tile swimming pool, and a barbecue area with 10x10 blue tiles. We like the fact that this space promotes calm: the side wall covered with vegetation and the virgin vine create a green screen that brings tranquillity. The pool was another important part of the project, a recreational space for cooling off and socialising. We love having people over, using the house, enjoying the common areas, and having large tables for outdoor living. 

Another major challenge was tackling a complex renovation project. We discovered that many of the floors were on the verge of collapsing and that the structure was in very poor condition. Coming through all that successfully has been very rewarding.

Photographer: German Sáinz