架构师提供的文本描述。鹿特丹的Lijnbaan地区已经变得更加丰富：宝石不是用人造宝石镶嵌的，而是有一个杰出的眼睛捕捉器。在Kruiskade-卡雷尔·多尔曼斯特拉特(Kruiskade-Karel Doormanstraat)拐角处的Schouwburgplein旁边的建筑，以其朴实而令人信服的建筑面貌吸引了我们的注意。“梦想：你最喜欢的牛排屋”，它的正面有半个人造草原小屋，在梦幻屋的旗帜下，为珠宝商Schaap en雪铁龙和时尚零售商COS进行了改造。建于20世纪50年代初的马丁茶室是一间高度现代化的茶室，提供“自助服务”的新趋势。在过去的半个世纪里，街角小店被各种翻新所夺去了它的特色。现在，这座建筑是由当时著名的建筑实践范登布鲁克在战后早期的乐观年代建造的，通过克劳斯·恩·卡安建筑师的新现代主义获得了新的生命。

Text description provided by the architects. Rotterdam’s Lijnbaan area has been enriched: bejewelled not with an artificial gem but with a distinguished eye-catcher.The structure, next to Schouwburgplein, on the corner of Kruiskade-Karel Doormanstraat, grabs our attention by way of its unpretentious yet convincing architectural countenance. ‘Dream: your favorite steakhouse’, with half of a faux-prairie hut on its facade, has been reconditioned for jewellers Schaap en Citroen and fashion retailer COS, under the banner of Dreamhouse. Built in the early 1950s as Martin’s, a highly modern tea room offering the new trend of “selfservice”, the corner shop has been robbed of its character by various renovations over the last half century. Now the building, built by the then well-known architectural practice Van den Broek en Bakema during the optimistic early post-war years, has been given a new life through the new modernism of Claus en Kaan Architects.

 © Sebastian van Damme

塞巴斯蒂安·范丹梅

新现代主义仍然是功能不可磨灭的，但它现在是谨慎的区别和适当的别致；没有疯狂的形状或鲜艳的颜色，也没有任何浮夸的文雅。长方形的体积以平衡的比例堆放在现有的柱子上的三层楼上，并显示出材料、窗口开口、颜色和其他细节的细微差别。堆叠体现了多样性的统一。第一层的工程项目非常显著，因此清楚地反映出著名建筑师马斯坎特·范·蒂仁(Maaskant En Van Tijen)在城中住宅周围的办公室的“磨石沟”。窗口的框架突出了悬垂的外观。垂直于大面积的玻璃板窗户是固定的垂直板条-深，薄和干净的内衬在一个框架内。

New modernism is still – unalterably – functional, but it is now discreetly distinguished and appropriately chic; no crazy shapes or bright colours, nor any pompous urbanity. Rectangular volumes have been stacked in balanced proportions over three floors on top of existing columns, and display a subtle differentiation of materials, window openings, colours and other details. The stacking presents unity in diversity. The first storey projects markedly, and as such clearly echoes the ‘millstone ruff’ of offices in the surrounding residential flats of The Cityhouse by renowned architects Maaskant en Van Tijen. The facade of the overhang is accented by a framework of windows. Perpendicular to the largely glass sheet windows are fixed vertical slats – deep, thin and cleanly lined within a framework.

 © Sebastian van Damme

塞巴斯蒂安·范丹梅

石板和它们的外壳证明了几何巴洛克的存在，因为它们像传统的巴洛克那样操纵光的观点和作用，但现在没有曲折和曲线；它只是直边的。除了与对面单位正面凸出的露台同步的节奏感外，它们还有令人惊讶的视觉效果。从侧面看，悬垂似乎是相当封闭的。直接往前看，这座建筑就像一个展示厅，里面有通畅的视野。通过挤压(通过模具)和阳极铝，板条获得了他们锋利的边缘和珍珠灰色。它们允许光和颜色从内向外和从太阳，云和树木在外面的柔和反射。对于那些愿意看到它的人来说，这是一种永恒的喜悦。

The slats and their encasement prove the existence of a geometric Baroque for they manipulate the view and play of light just as traditional Baroque does, but now without the twists and curves; it is simply straight-edged. Apart from their rhythmic synchronisation with the protruding balconies on the facade of the opposite flats, they have a surprising optical effect. Seen from the side, the overhang appears quite closed. Seen straight on, the building emerges as a show-box and affords an unobstructed view inside. By extruding (pressing through a mould) and anodising the aluminium, the slats acquired their knife-sharp edges and pearl grey colour. They allow a soft reflection of light and colours from inside out and from the sun, clouds and trees outside in. For those willing to see it, it is a timeless delight.

 First Floor Plan

一层平面图