In Casablanca, where light carries a density of its own, Villa V unfolds as a study in architectural clarity. When Architect and Interior Designer Hind Magoul, Founder and Owner of Hind Magoul Interiors, first approached the house, she encountered what she describes as “a beautiful potential, but also an imbalance.” The structure held generosity in its volumes and a strong dialogue with the garden, yet its language had become fragmented, layered over time with decorative gestures that lacked coherence.
What followed was not simply a renovation, but, using Magoul’s words, “a true rehabilitation.” The intervention was total: ceilings redesigned, guardrails replaced, lighting reworked, and the façade and spatial organisation entirely reconsidered. Yet the intention was never erasure. “It was not about erasing the past,” she reflects, “but about reorganising it, giving the house a clearer voice and a more contemporary rhythm.”
At the core of Villa V lies a question of scale and inhabitation. Conceived as a generational home, it had to hold both intimacy and expansion. “We worked on layering intimacy within generous volumes,” Magoul explains, structuring spaces that can “expand naturally during gatherings while remaining comfortable in everyday life.” Circulation becomes instinctive, almost imperceptible, allowing the house to move effortlessly between solitude and sociability.
Materiality, here, operates as architecture rather than ornament. Marble anchors the project, not as a signifier of luxury, but of permanence. It is “not applied, it is shaped,” she notes, unfolding through open-book compositions, curved geometries and sculpted surfaces. In collaboration with local artisans, the stone acquires a tactile depth, a subtle tension between precision and gesture that softens its monumentality. The custom guardrails, with their fluid lines and quiet references to Art Deco, become a defining gesture, “guiding without imposing.”
Light, too, is treated as a spatial medium. In the intensity of Casablanca, it “shapes the volumes rather than simply illuminating them,” shifting across surfaces as the day unfolds. Artificial interventions extend this logic, while sculptural fixtures inhabit the space “like artworks,” creating vertical counterpoints within the calm of the architecture.
Art plays a structuring role. Works by Mahi Binebine and Gérard Rancinan introduce what Magoul describes as “vibration and narrative depth,” preventing the house from becoming static. They sharpen the architecture, allowing it to remain intellectually alive.
Ultimately, Villa V is not a composition of statements, but a choreography of continuities. Here, function and narrative are inseparable. “Function creates comfort. Narrative creates meaning,” she says. And in this balance, the house finds its voice, not asserted, but quietly, precisely, lived.
