The term "MAZARÍ" refers both to the ceramic material produced and to the traditional kiln in which it is made, with a firing process that can last up to a week. Vélez-Málaga, designated as a zone of artisanal interest by the Regional Government of Andalusia, preserves 14 of these historic tileworks, whose tradition dates back to the 16th century.
The plot is located in a growing area of the historic city towards the north, in the Molinillo neighborhood—once an outskirt of convent gardens and medieval farmsteads, where streams and overflow channels were common. By the late 19th century, the entire area had been urbanized following an orthogonal grid and built up with single-family houses and communal homes organized around a central courtyard. The resulting blocks, some of considerable size, are grouped around a central open space into which the interior courtyards of the houses open, creating a secondary facade within.
Urban regulations restricted the site's development potential by limiting the building depth to 15 meters. This unused space has been transformed into a small, secluded inner garden, with remnants of the original construction still visible in the stone masonry of the existing party walls.
The building is organized over four levels. The first floor contains two apartments in addition to the common areas; the second floor has three more units; and the third floor accommodates two larger apartments. The rooftop level features a solarium equipped with a small swimming pool.
Both the exterior and interior aesthetics of the building are defined by the use of ceramic materials in various formats and finishes. The main facade is constructed of irregular-toned solid brick sourced from the kilns of Vélez-Málaga, highlighted with horizontal lime mortar jointing. The facade is modulated based on the size of the brick and a square ceramic lattice, measuring 15 x 15 x 7 cm, which defines the dimensions of balconies and sunshades. These sunshades are crafted with metal frames housing the ceramic lattices, and are movable along the galleries they rest upon. In its design and composition, the main facade seeks a visual connection to other landmarks in the area made from the same material, where brick was worked with strong plasticity: the nearby Salamanca Market, the houses on Avenida de la Rosaleda 3 and 4 by architect Daniel Rubio, and the former Casa de Socorro by Guerrero-Strachan—all early 20th-century structures. This Neo-Mudejar aesthetic characterized the neighborhood in the early 1900s, in response to the cultural momentum of the 1929 Ibero-American Exposition in Seville, and remains legible today.
In contrast, the rear facade is distinctly different, featuring a seemingly random pattern of voids and solids—echoing the self-built facades found nearby. It uses ceramic-colored joinery on a surface finished with natural Roman lime mortar. Its appearance is Mediterranean and festive, serving as a contemplative backdrop to the patio-garden.
Inside, ceramic tiles with Greek-style patterns in natural, ochre, and blue tones contrast with terrazzo flooring—typical of the area’s homes. Simple, functional metalwork for railings and warm oak carpentry complement the overall color palette and bring warmth to the interior.
The city’s growing urban pressure also affects this neighborhood, where the coexistence of diverse cultures and income levels is beginning to shift due to the arrival of wealthier new owners. These newcomers are acquiring the small existing homes, often renovating them for personal use or—more commonly—for tourist rental purposes. This trend is creating an additional challenge, now widespread across the city, as it drives up housing prices and reshapes the area’s identity through a globalized 'Airbnb aesthetic,' leading to the depersonalization and transformation of the neighborhood's traditional character. As the original parcel layout has been heavily altered over the years—partly due to self-building—the project aims both to integrate with its surroundings and to serve as a visual reference for a neighborhood with a strong communal spirit, where residents are gradually feeling alienated from their environment as the visual markers and symbols of their past disappear.
