The recent restoration of the so-called "Chalet de Ros" or "Chalet del Filipino" -whose real name is Villa Teresa-, to adapt it to its new function as the headquarters of the Buldain Foundation, has given rise to this study by Professor Javier Azanza which, with the partnership of the Chair de Patrimonio y Arte Navarro, has been published by Huarte Town Council.

Three lines of argument, emigration, urban planning and architecture, intertwine in the pages of this book, always with the town of Huarte, its people and way of life of a century ago, as a backdrop.

In the general context of Navarrese emigration overseas in the second half of the 19th century and the first decades of the 20th century, there were several Huartearras, among them the brothers Félix and Juan Ros, the first of whom set off for the Philippines around 1912 to join various tobacco and sugar companies in Manila and Iloilo. On his return, in 1938, Félix Ros commissioned Víctor Eusa to draw up the plans for a villa which he named Villa Teresa in honour of his wife, Teresa Asurmendi.

The construction of Villa Teresa coincided with a time when Huarte was experiencing its first urban expansion, due to the demographic increase favoured by the creation of the Burlada-Villava-Huarte peri-urban axis, which showed signs of great vitality. development The town overflowed the traditional historic quarter to open up to a new urban reality with the so-called Ensanche Nuevo (New Extension) in the El Prado or Artadizelaia district: ten blocks in which, from 1927 onwards, institutional and private buildings were erected, with many of the most outstanding Navarrese architects of the time, such as Lino and Gerardo place, Serapio Esparza, Domingo Áriz, Mariano Arteaga, Javier Yárnoz, Joaquín Zarranz, Luis Felipe de Gaztelu, Francisco Garraus and, of course, Víctor Eusa, taking part in design and its execution.

As in most of his work, Eusa's strong personality prevails over fashions and trends, so that any possible universal influences are subjected to the author's original stamp. In spite of everything, its construction coincides with a moment in which the architect from Pamplona makes a timid approach towards architectural rationalism, visible in the purity of volumes or in the semicircular apsidiole; and a certain picturesque influence can also be sensed in the combination of different materials, and even in Wright's organicist architecture. Faithful to his integral conception of the building, Eusa not only limited himself to its design, but also defined the original wrought ironwork, joinery, tiling and furniture of his work.

The refurbishment work carried out between 2003 and 2005 by the architects Elena García Leránoz and Luis Manuel Fernández Salido to adapt it to its new function has known how to read and interpret this peculiarity and has shown itself to be highly respectful of the spirit that animates the Eussenian work. Villa Teresa thus becomes the best framework to house the Foundation and the bequest of an artist, Patxi Buldain, whose artistic production assimilates avant-garde currents to explore a path of expression staff, in clear parallelism with Eusa himself.