© Walter Mair

(WalterMair)

架构师提供的文本描述。在苏黎世湖边的一个城镇Erlenbach中心，在Sch rer Erlenbach公司的房地上建造了一座新的住房建筑。前一家工厂是纺织业机器的生产地，曾经是该地区的重中之重，现在也得到了一座新的前沿建筑。

Text description provided by the architects. In the centre of Erlenbach, a town on the edge of Lake Zurich, a new housing building has been constructed on the premises of the Schärer Erlenbach company. The former factory, where machines for the textile industry were produced and which used to be so im- portant for the region, has also received a new front building.

 © Walter Mair

(WalterMair)

工厂建筑和住宅建筑通过各自的建筑和材料相互沟通。前工业建筑的水平色带玻璃使用了古典的现代语言。在前面的建筑中也使用了这种语言。它使工厂焕然一新，一扇大窗户向外望着西大街。住宅建筑与厂房的规模、立面的构成和大的窗岸有关。但在材料和颜色上，它们却有明显的不同。因此，它的颜色暗示了建筑物的各自用途：可容纳多家小企业和工场的旧抹灰工厂建筑，以及以白砖向公众明显展示的新前线建筑，尽管这座五层楼高的住宅建筑有着无纺布色的木质外墙，但在设计过程中，著名的黑白木建筑先锋康拉德·瓦赫斯曼(Konrad Wachsmann)扮演了重要的角色。一个整体的城市环境是由沿西大街和工厂大楼的商业活动创造的。

The factory building and the housing building communicate with each other through their architecture and their materials. The former industrial building with its horizontal ribbon glazing uses a classical modern language. This language is also employed in the front build- ing. It gives a new face to the factory, with a big window looking out to Seestrasse. The housing building is related to the factory building in terms of scale, the composition of the facade and the large banks of windows. But concerning their materials and colours they differ distinctly from each other. Thereby the colour gives hints to the respective use of the building: the old plastered factory build- ing that accommodates several small businesses and workshops and the new front building present themselves visibly to the public in white brick, whereas the five-storey housing building with its an- thracite-coloured wood facade is elegantly withdrawn – during the design process the famous black-and-white pictures of wood- construction pioneer Konrad Wachsmann played an important role. An overall urban setting is created by the commercial activity along Seestrasse and in the factory building. 

 © Walter Mair

(WalterMair)

住宅建筑的结构与周围环境、地点的光线、景观和空间的质量有着不同的反应，每套公寓都有单独的平面图，从紧凑到拉长，从缠绕到伸展，再到小酒馆。这13套公寓中没有一套是一样的，多亏了层次分明的容积堆积，在每一层都可以看到四通八达的景色和宽敞的露台。

The structure of the housing building reacts to the surroundings, to the location's quality of light, view and space with individual floor plans for each apartment, from compact to elongated, from winding to sprawled out and to maisonettes. None of the 13 apartments is alike and thanks to the graded stacking of volumes there are mani- fold views into all directions and generous terraces on every floor. 

 © Walter Mair

(WalterMair)

“从建筑的角度来看，新房子是交叉策略的结果。工业起源的元素，如原始建筑内部和大的窗口银行在黑暗表面的正面是结合豪华的住宅元素，如广阔的梯田。根据不同的观点，这座建筑让人联想到一种实用的、工业的原型建筑，或者是一座拥有精巧立体翅膀的巨大别墅。在这种情况下，马尔莱特-史蒂文斯的建筑可能会出现在人们的脑海中。非常不同的图像之间的振荡为整个项目提供了SCE-NARIO。某种程度上，从这种令人兴奋的矛盾心理可以看出整个城市的情况。Erlenbach和“黄金海岸”，可能是欧洲最有特权的郊区，都是由一种模棱两可的身份塑造的：一种农业和工业过去的遗迹，这些遗迹是由追求奢华的住宅建筑所叠加的。作为建筑师，我们面临的任务是让这个非常具体、几乎无法理解的现实成为一个真实和可持续的形态。Erlenbach项目将被视为这方面的一项贡献“。

"From an architectural point of view the new house is the result of a crossover-strategy. Elements of industrial origin like the raw con- crete inside and the large-sized window banks in the dark surface of the facade are combined with luxurious housing elements like the extensive terraces. Depending on the point of view the building has reminiscence of a pragmatically constructed, industrial type of archi- tecture or of a huge villa with virtuosic, three-dimensional wings. In this context the architecture of Mallet-Stevens might come to one's mind. The oscillation between very different images coins the sce- nario for the whole project. In some way the complete urban situa- tion can be read from this exciting ambivalence. Erlenbach and the "Gold Coast", the possibly most privileged suburbia of Europe, are shaped by an ambiguous identity: the relics of an agricultural and industrial past that are superimposed by housing architecture striv- ing after luxury. As architects we are confronted with the task of gi- ving this very specific, almost fathomless reality an authentic and sustainable shape. The Erlenbach project is to be considered as a contribution in this effect."

Architects Christ & Gantenbein

Architect in Charge Emanuel Christ, Christoph Gantenbein

Design Team Mona Farag (associate), Laura Schneider, Sven Richter (project management), Petra Jossen, Thomas Gläss, Christoph Bedall

Project Year 2012

Photographs Walter Mair