架构师提供的文本描述。社会背景-这所房子是鹿特丹集会计划的一部分，该组织希望通过向私人出售更大的住房来振兴处境不利的社区。这些家庭的共同点是，它们在过去几年被忽视，必须得到更新。这些建筑物通常由几个小公寓组成，每层一间。市政当局出售建筑物的目的是吸引承载能力更强的居民。出售的条件是在规定的期限内归还财产，并将其改造成一套房子。这导致了更少的，但更大的房子。这与许多内城的情况正好相反，在这些城市里，较大的房屋被分成几个小公寓。

Text description provided by the architects. Social context This house takes part of a program of the congregation Rotterdam who wanted to revitalize disadvantaged neighbourhoods by selling metier houses to private persons. These homes have in common that they are neglected the last few years and have to be refreshed. The buildings usually consist of several small apartments, one per layer. The purpose of the municipality by selling the buildings is to attract inhabitants with more carrying-capacity. Condition of sale is that the property will be restored within a specified period and will transformed into one house. This causes less, but larger houses. This is the opposite trend to what happens in many inner cities where larger houses are divided into several small apartments.

 © Frank Hanswijk

C.Frank Hanswijk

鹿特丹“大房子”的翻修变成了一个建筑奇观，在那里进行了时间和空间的实验。在一个封闭的住房单元中，一个有着百年历史的住宅正面完全涂上了黑色。砖石，框架和“窗户”都覆盖着闪闪发亮的黑色油。这创造了一种阴影的原始外观。在一些地方，新的透明窗户穿透历史的正面。新窗户宣布了一个生活方式完全不同的时代。这就在原来的外观和新的解释之间建立了一种关系，新的解释变得可读的。旧窗户后面的所有楼层和小房间都是一个空间相连的实体。

The renovation of the Rotterdam ‘metier house’ is turned into an architectural spectacle, where was experimented with time and space. The 100 years old facade of a dwelling in a closed housing unit, is totally painted black. Both masonry, frames and "windows" are covered with a shiny black oil. This creates a kind of 'shadow' of the original facade. In some places the new transparent windows pierce through the historical facade. The new windows announce a time with a very different way of living. This creates a relationship between the original facade and the new interpretation which become readable. All floors and small rooms behind the old windows run into one spatially contiguous entity.

就像在正面，也在内部，过去的痕迹仍然可见。在建筑墙壁上，一个旧的栏杆和拆除的地板托梁的孔揭示了住宅的原始布局。新房子在百年前的封面有一个完全不同的计划。传统的地板和墙壁的布局构成了房间。取而代之的是一系列小木板构成了一个巨大的雕塑元素。由此，在这座历史建筑的四面墙之间留下了一个连续的空间。这创造了生活空间，这些空间是由空隙、大楼梯井和长长的视线连接起来的。所有多余的栏杆、栏杆和门都被排除在外，造成高度的空间抽象。

Just like in the façade, also in the interior the traces of the past remained visible. On the building walls an old banister and holes of removed floor joists reveal the original layout of the dwelling. The new house in the 100 year old cover has a completely different planning. The traditional layout of floors and walls, which compose the rooms are missing. Instead a series of small wooden slats compose a huge sculptural element. By this is a continuous space is left between the four walls of the historic building. This creates living spaces, which are connected by voids, large stairwells and long sightlines. All redundant banisters, railings and doors are left out, causing a high degree of spatial abstraction.

 © Frank Hanswijk

C.Frank Hanswijk

地板、墙壁、楼梯和天花板交织在一起，似乎让人想起一种“埃舍尔式”的不可能。然而，这座更大的房子(近30年来一直空荡荡的)远非不可居住。在房子的下部，一个大的工作间与“屋顶瓷砖-竹园”相连。以上是一系列半开放式的生活功能：生活、饮食、烹饪、学习、睡觉和浴室/壁橱。旧的屋顶瓷砖被拆除在上部(在花园中重复使用)和一个新的温室与一个热水浴缸，一个令人叹为观止的景观。现有的建筑被用作盒子，在里面建造一座全新的房子。房屋的所有墙壁和地板被拆除，创造了一个5米宽，10米长和11米高的空间。在这个盒子里和上面堆放着三个不同的“世界”：工作室、房子和屋顶花园。在一楼，5米高的工作室建成。这个工作室空间尽可能开放。这是通过组织必要的设施尽可能沿着墙壁，在一个连续的元素。起居室位于工作室上方，高度为6米。在这个空间里，一个雕塑被建造，它把空间分成几个区域，而不创建封闭的房间。该物体的设计和定位方式，在一些地方出现的观点，强调了整个地方的长度，宽度和高度。设计集中在物体与现有墙之间的剩余空间上。

Floors, walls, stairs and ceilings blend together and seem to recall an "Escher-like" impossibility. Yet this metier house (that has been empty for nearly 30 years) is far from uninhabitable. In the lower part of the house a large workroom is placed connected to the 'roof tiles-bamboo garden’. Above is a series of semi-open living functions: living, eating, cooking, study, sleeping and a bathroom / closet. The old roof tiles are removed in the upper part (re-used in the garden) and a new greenhouse is placed with a hot tub with a stunning view. The existing building is used as a box to build a completely new house in it. All walls and floors of the house were demolished which created a space of 5 meters wide, 10 meters long and 11 meters high. In and up this box three different "worlds" are stacked: the studio, the house and the roof garden. On the ground floor, the 5 meters high studio is built. This studio space is kept as open as possible. This is achieved by organizing the necessary facilities along the walls as much as possible, in one continuous element. The living area is placed above the studio with a height of 6 meters. In this space, a sculpture is build which divides space into several areas without creating closed rooms. The object is designed and situated in a way that in several places views arise which emphasize the entire length, width and height of the place. The design is concentrated on the residual spaces between the object and the existing walls.

 © Frank Hanswijk

C.Frank Hanswijk

物化雕塑-雕塑完全是由螺纹钢筋组合而成，既构成了建筑，又形成了装饰。这种建筑方法创造了很大的形式自由。物体的很大一部分与屋顶地板上的这些栏杆挂在一起，这样支撑就变得多余了。在房子里使用颜色，有五种颜色：黑色、白色和三种灰阶。现有的侧壁完全涂成白色。建筑的痕迹，包括旧的栏杆和管道，都漆成白色。另一堵墙没有处理。这个物体的不同面被画成三种灰阶。这些阴影与它们所包围的空间对齐。该方法可以有效地增强物体与现有箱体之间的空间。鹿特丹南部为这座新的大房子提供一颗黑色珍珠…。

Materialization sculpture The sculpture is entirely composed of screwed bars together which forms both construction and finish. This construction method creates a great freedom of form. A large part of the object hangs with these bars on the roof floor so that support becomes superfluous. Colour use In the house, five colours are used: black, white and three greyscales. An existing side wall is totally painted white. The traces of construction, including the old railings and pipes are all painted white. The other building wall is left untreated. The different faces of the object are painted in three greyscales. These shades are aligned to the space they enclose. By this method, the space between the object and the existing box are strengthened. Rotterdam South accommodates with this new metier house a black pearl…

 © Frank Hanswijk

C.Frank Hanswijk