Was aus der Entfernung wie plastischer Wandschmuck oder beim näheren Betrachten wie Fassadenmalerei wirkt, erweist sich als mehrschichtige Putzstruktur in Sgraffito-Technik: Die vertieften Linien und Flächen in Rot und Grau setzen sich zu grafisch abstrahierten Säulen, Kapitellen, Gesimsen, Fensterrahmungen, Porträts und Karyatiden (weibliche Trägerfiguren) zusammen. Sogar ein Schattenwurf für die dreidimensionale Wirkung ist angelegt. Gestaltet ist die Fassade als flaches, geschichtetes Relief mit hoher handwerklicher und haptischer Qualität.
Die neuen Gebäudeteile nehmen Bauvolumen und Fensterteilung des Gründerzeithauses auf und übersetzen dessen opulenten Fassadenschmuck in eine nur wenige Zentimeter tiefe, mehrlagige Putzstruktur.
Das Architekturbüro hat hier in neuer Herangehensweise das Thema Oberfläche und Materialität erforschen und moderne und historische Elemente überraschend verknüpfen. Alt und neu verbinden sich auch in der Technik, in der die Fassadenornamente ausgeführt wurden.
In Sgraffito-Technik sind die Ornamente des gründerzeitlichen Ursprungsbaus in neuer Interpretation und handwerklich kunstvoll in den Putz übertragen.
An diesem Standort stellt die Sgraffito-Technik eine Reminiszenz an die Architektur des Münchner Wiederaufbaus dar. Die handwerkliche Putztechnik war für Fassadengestaltungen beliebt, weil sie dauerhaft und relativ kostengünstig schützende Gebäudehülle und individuell gestaltete Oberfläche in einem Material vereint. Die ornamentalen oder figürlichen Dekore der Sgraffito-Fassaden prägen das Bild der moderaten Moderne, die typisch ist für die Nachkriegsarchitektur der Münchner Innenstadt.
What looks like a descriptive wall decoration from a distant view and like a facade painting at a closer view turns out to be a multi-layered plaster structure of sgraffito technique: The recessed lines and surfaces in red and grey colour are composed to form graphically abstracted columns, capitals, cornices, window frames, portraits and caryatids (female supporting figures). Even a shadow is cast for a three-dimensional effect. The facade has been designed as a flat, layered relief of great handycraft skills and haptic quality. The new building parts include the constructional volume and window division of the Gründerzeit house and translate its opulent façade decoration to form a plaster structure which is only a few centimetres thick and has several layers. Here, the architectural office used a new approach for researching the issue of surface and materiality, surprisingly combining modern and historic elements. Old and new are also combined in the technique for the design of the facade ornaments. Sgraffito technique in a context with the old part of the town The sgraffito technique was used to give the ornaments of the early day house a new interpretation, transferring them to the plaster in a new interpretation with artful craftsmanship. At this site, the sgraffito technique is a reminiscence of the architecture of Munich's reconstruction. The plastering skills were popular for the façade designs since they provided a resilient building envelope which can be protected relatively cost-efficiently, combining the individually designed surface with a material. The ornamental and figurative decorations of the sgraffito façades form the appearance of a moderate modernism which is typical of the post-war architecture of Munich's inner city. Sgraffito is a scratch plaster technique which was frequently used for façade decorations in the Renaissance. This technique is used to apply several coloured plaster layers one above the other. After that, previously defined surfaces are removed by special tools in several depths from the plaster which is still wet. Thus, the underlying coloured layers appear and are combined to form a multi-colour and multi-layer picture. Since the work has to be done in the moist plaster before it dries, motifs drawn as accurately as possible on a scale of 1:1 are required and are then transferred to the façade by a film or paper. The lime-cement based base coat should have a good absorbing capacity. It is important to apply the plaster layers in a fresh condition at the proper time to achieve an optimum bond of the layers. Two and three plaster layers (rear side of the building) and (main facade on the front side of the building) respectively were applied with different colours which the architects use to refer to the context as well: The classic red colour of the bricks corresponds to the masonry of the Frauenkirche, and the dark grey has a relation to the shell-type limestone facade of the town hall. The early day facade re-interpreted The façade design is based on original historical drawings (city archive). Using digital techniques, the typical decoration shapes of the representative commercial building from the late were graphically drawn in abstraction and transferred to trichromism - the façade is no reconstruction but a graphical re-interpretation. Also, a technical implementation combines new and old in an innovative fashion and was developed together with the Restauro Putz GmbH Arte Antica as well as with Sarah Nonnenmacher. The illustrator implemented the façade drawing on a scale of 1:1 and plotted it on the stencils. The cut-to-size stencil foils served as a template for the plastering work, allowing the motifs to be transferred directly onto the surface of the plaster in detail. The craftsmen applied two layers of a mineral adhesive and reinforcement mortar to the 350 mm of reinforced concrete, 180 mm of thermal insulation bricks, of 20 mm of lime-cement light plaster with a purely light aggregate as well as a textile glass fabric reinforcement of the existing outdoor walls - first of all, a cementitious fine plaster with a thickness for approx. 5 to 8 mm in anthracite and then a 5 mm thick red layer. They put the stencil foil on this red layer and used a trowel to apply a 2 mm thick layer of highly hydraulic fine lime plaster of a natural white shade. The challenge was to apply all three plaster layers with a sufficient moisture one above the other. Prior to the rigidification of the materials the craftsmen removed the foil piece by piece during the last filling step, causing the white plaster to come off in these spots and the red surfaces to appear. At the same time, a plastic indentation appeared. Finally, the red plaster was removed from the corresponding spots by manuel scratching for the shade effect so that the black layer appeared here and the lines and surfaces became visible. At the end, the surface was cleaned and provided with a protective impregnation. Since two techniques were combined for this three-layer façade relief - the traditional sgraffito scratching technique with the innovative stencilling technique - a sample façade was first created in another place which found positive acceptance by the urban design panel. In contrast to the front building at Weinstraße, only two plaster layers - white and black - were applied to the northern building part, and the ornaments are more reduced here. The change defines the historic property boundary and refers to the hierarchy in terms of town planning. Great craftsmanship - individual design Formerly, sgraffito was a cost-efficient type of facade design; today, it requires great craftmanship as well as much time and is relatively expensive. But the high-quality building envelope is a robust, weather-proof construction permanently connected to the outer walls and featuring the visual and haptic qualities of the plaster surfaces on the one hand. On the other hand, it offers great freedom of design. And last but not least, the façades of this project show in connection with traditional craftsmanship and an individually graphic interpretation that contemporary architecture can refer to the historical context in various ways.
Hild und K München/Berlin GmbH
Nymphenburg Immobilien AG
Restauro Putz GmbH Arte Antica
München
Besondere Struktur
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