© Eibe Sînnecken

(C)埃贝·桑纳肯

架构师提供的文本描述。良好的建筑考虑到它的环境，特别是周围的建筑。在美因法兰克福，Franken Architekten通过数字绘制的外观，在老城镇Sachsenhausen建立了一个新家和工作室。法兰克福的阿尔切森豪森是一个社区，根据城市，迫切需要改变。直到上世纪90年代，传统的苹果酒屋在这个以娱乐和夜生活著称的地区占据主导地位，但近几年却遭到严重破坏。该市制定了一项保护法规，规定将美食设施改为住房和其他用途的费用。艺术画廊、广告公司、时装和设计师商店的一个小场景在这个地区涌现出来，一些人把这个地区称为Soma(Main南部)，这是受纽约著名的SoHo(休斯顿南部)地区的启发。

Text description provided by the architects. Good architecture takes its environment into account, particularly surrounding buildings. In Frankfurt am Main, Franken Architekten has taken a literal approach through a digitally drawn façade for a new home and studio in old town Sachsenhausen. Frankfurt’s Alt-Sachsenhausen is a neighborhood that, according to the city, urgently needed to change. Until the 1990s, traditional cider houses dominated the area valued for its entertainment and nightlife, but it was heavily run down in recent years. The city created a preservation statute that placed premiums on the conversion of the gastronomy establishments to housing and other uses. A small scene of art galleries, ad agencies, and fashion and designers shops sprung up in the area, leading some people to call the district SoMa (South of Main), inspired by New York’s famous SoHo (South of Houston) area.

Franken Architekten被委托将一栋现有的建筑改造成位于阿尔茨森豪森市中心的里特加斯的住宅和工作室，但从经济、建筑甚至建筑史的角度来看，保留这座破旧的三层建筑却是令人望而却步的。因此，建筑师和客户决定拆除这座建筑，创造一些新的东西，与小规模的、类似村庄的地区氛围相适应。建筑物的规模和立面必须成功地整合起来，因此建筑师们复制了现有的形式，通过拆除屋顶悬垂，并将其与一块石基绑在一起，从而简化了它。

Franken Architekten was commissioned to renovate an existing building into a home and studio on Rittergasse in the heart of Alt-Sachsenhausen, but preserving the run-down, three-story building turned out to be prohibitive from the perspectives of economics, construction, and even architectural history. So the architect and client decided to demolish the building and create something new that would nevertheless fit in with the small-scale, village-like atmosphere of the district. The building’s scale and façade had to integrate themselves successfully, so the architects duplicated the form of the existing, simplifying it through the removal of the roof overhangs and tying them together with a stone base.

 © Oliver Tamagnini

奥利弗·塔玛尼尼

但是它在石头上面，在石膏墙里，那里有建筑的乐趣。在外观上，Franken Architekten使用了后像的概念-长时间盯着一个物体，闭上眼睛后看到它模糊或褪色的效果。因此，在新建筑中会产生一张被拆除建筑物的模糊图片(底部可见)，但越靠近，图像就越模糊。为了实现这一点，一种计算机算法扫描原始图纸，创建一条新的平行线图，并在每次横越桁架时插入一个“参数抖动”。下面的视频，虽然是德语，说明了这一过程在绘图和制作。

But it's above the stone, in the plaster walls, where the architectural delight is found. For the façade, Franken Architekten employed the notion of the afterimage – the effect of staring at an object for a length of time and seeing a blurry or faded rendition of it after closing one’s eyes. So a fuzzy picture of the demolished building (visible at bottom) would be produced in the new building, but an image that would be blurrier the closer one gets. To achieve this, a computer algorithm scanned drawings of the original to create a new drawing of parallel lines and inserting a "parametric jitter" each time it crossed the trusses. The below video, though in German, illustrates this process both in drawing and in fabrication.

 © Eibe Sînnecken

(C)埃贝·桑纳肯

从绘画到物质现实的过渡是无缝的，因为紧张的线条被用数控(计算机数控)路由器碾碎成石膏面板。建筑师们选择了StoDeco石膏板，其中144块用缝修补，以创造无缝效果，因此面板接缝不与表达老建筑后像的线条相竞争。进一步的整体效果是它的单色完成，这使后置图像成为一个微妙的效果，奖励那些花更长的时间看建筑，而不仅仅是快速的一瞥。

The transition from drawing to material reality was seamless, since the jittery lines were milled into the plaster panels using a CNC (computer numerical control) router. The architects opted for StoDeco plaster panels, 144 of them with joints patched to create a seamless effect, so the panel joints do not compete with the lines expressing the old building's afterimage. Furthering the overall effect of the façade is its monochrome finish, which makes the afterimage a subtle effect, rewarding those who take a longer look at the building, rather than just a quick glance.

 © Oliver Tamagnini

奥利弗·塔玛尼尼

Architects Franken Architekten

Location Frankfurt am Main, Germany

Category Renovation

Design Team Bernhard Franken, Frank Brammer, Robin Heather, Natascha Baier, Kai Heyd, Felix Schneider, Isabel Strelow

Area 600.0 sqm

Project Year 2014

Photographs Eibe Sînnecken, Oliver Tamagnini, Axel Stephan