The Avion, Viola, Radun and Iva guesthouses, designed by Bohuslav Fuchs, attracted great attention at the time of their implementation for their different architectural concept in the existing development of the city. Their uniqueness is also evidenced by the fact that this part of the spa was named after the color of their facades with white unpainted plaster. Why did the young architect receive such a lucrative contract in his time? Fuchs had family ties in Luhačovice and knew them in detail from his participation in competitions for the renovation of the spa center. The architect consistently addressed the optimal and economical use of plots and the integration of buildings into the spa environment. In 1927, he proposed a method of building new guesthouses near the Aloiska healing spring for the couple Josef and Maria Martíník (Radun, 1928), Mr. František Svoboda (Viola, 1928), the Ambrožs (Avion, 1927–1928), the Jahods (Iva, now Charleston, 1928) and the Rosenbergs (Kras, this was not Fuchs' project). The conditions for establishing them on a slope and close to the bedrock of the spring used for spa treatment were complicated and required a number of measures. The distance between the villas was set at at least 10 meters and 5 meters from neighboring borders, they were to have front gardens and uniform fences.

                  The first to begin construction in the future White Quarter in 1927 was the Avion guesthouse for the architect's relatives, and the following year three more guesthouses were built: Viola, Radun and Iva. They had a similar organically connected structure to a residential part serving the owner of the house, a part with apartments for guests and a social part. By interpenetrating the individual parts of the space, the architect achieved a rich visual effect. In accordance with the interior and its spatial composition, he also designed the plastically divided facades. According to the functional layouts, he solved the objects asymmetrically and supplemented them with open and covered balconies and terraces. In this way, he disrupted the homogeneous mass of the buildings and partially opened the houses to the surrounding nature. Simple, clean shapes create compositional systems with balanced proportions. The rectangular division was completed with flat roofs.

                  The architect's most striking works include the Radun guesthouse. Due to the sloping terrain in which it was set, the building has two basements, a ground floor and two floors. The architect solved the complex foundation conditions with the help of receding floors and a cascade of relaxation terraces. From the beginning, Radun was conceived as a family guesthouse, providing catering and social activities for guests. Within a short period of time, the Martiník family lost their guesthouse twice. The first time it was confiscated by the Germans during World War II. In 1948, the Martiník family had to forcibly leave their property. The nationalized villa served as a recreational facility for employees of the Central Committee of the Communist Party of Czechoslovakia. From October 1, 1951, a children's sanatorium was established in the Radun guesthouse. The current owners have sensitively restored not only the important functionalist monument and its spirit, but also its social significance. After a professionally and financially demanding reconstruction according to the architectural design of Simona and David Maliňák, the Radun pension now operates successfully as a four-star family-style hotel.

                  The fate of the other Fuchs boarding houses was similar. They were nationalized, returned to the descendants of the owners in restitutions, and after minor or major reconstructions, they are now operated as boarding houses again.

                  These distinctive Fuchs buildings are characterized by their natural growth from the environment. In line with the development of global functionalism, the architect in Luhačovice sought to consistently fulfill the modern role of architecture – architectural harmony with nature and progressive technical design. After Jurkovič's buildings, the guesthouses in the White Quarter were another attempt at a unified concept of spa construction and became the most significant example of modern architecture in Luhačovice and an inspiration for other builders. Even today, they have a timeless impression, unlike the contemporary constructions in their surroundings, which have disrupted the original character of the White Quarter.

                  In the neighborhood of the guesthouses in the White Quarter, the municipal summer swimming pool with a diving board was also built in 1930. The guesthouses were connected to the swimming pool by stairs into a single organic whole. In 2010, the swimming pool was replaced by an indoor swimming pool.

Ladislava HorŇáková