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SERIEN IKONEN BEWOHNEN • LIVING IN ICONS

Sowohl die für die 1970er-Jahre obligatorische Spindeltreppe als auch der Fliesenmosaikboden sind original erhalten. • Both the spiral staircase and the tiled mosaic flooring have been preserved in their original state.

T he well-preserved historic town centre dating back to the Roman era, a rich and Grundriss Erdgeschoss • Ground floor plan
multifaceted artistic tradition and an internationally renowned photography fe-
stival—Arles in the South of France has always had a special appeal for a large number
of visitors and artists who come to the picturesque town year after year and stay here
for some time. This was also true for the couple Simone and Pierre Benkemoun, who
moved from Algeria to Arles in 1962. They had their house built in the town ten years
later by their friend, the Arles-based architect Emile Sala (1913-1998). The site—which
is situated not far from the town centre–with an area of over one hectare was the per-
fect location for the kind of architecture the ambitious architect had immediately in
mind. Inspired by the examples of Frank Lloyd Wright and Alvar Aalto, Sala planned
a residence for his friends that was impressive even in those days because of its ex-
traordinary, elegant and at the same time idiosyncratic design vocabulary—Villa Ben-
kemoun. While the building with its light-coloured plaster finish turns its back to the
northern side of the plot to protect the residents from the unforgiving gusts of the mi-
stral, strong, cold, north-westerly wind, it opens up towards the south, creating an
inner courtyard and several terraces with its organic recesses and protrusions.

An oasis of peace —a manifesto of its time

Above this ensemble of curves rises the tower, which is also circular in shape—it pays Grundriss Obergeschoss • Upper floor plan
homage to the classic Provençal dovecotes. Whereas other buildings are distinguis-
hed from the garden areas by clear edges and solid walls, Sala's building celebrates
the connection between interior and exterior spaces: the curved walls are punctua-
ted by innumerable window openings; the terraces nestle up against the building,
and it is precisely the avant-garde curved design vocabulary that integrates the ge-
nerous garden areas into the building, embracing it with sweeping curves and coun-
ter-curves. For those who still don't think that the exterior of the building is round
enough, the interior is definitely the place to be. Elliptical, circular or y-shaped
rooms open up towards the garden and are illuminated and dynamised by the inci-
dent sunrays. The interior design also blends in with this colourful overall impres-
sion. Differently coloured furniture from the 1970s, the time of the villa’s construc-
tion, round, futuristic accessories and fixtures in the kitchen or the bathrooms, va-
rious floor coverings typical of the time and—the centrepiece of the interior design—a

042 • AIT 4.2020