Ein Versuch, mit der Form zu überleben: Oswald Mathias Ungers' Haus in der Eifel

摘要

Das Betrachten der Privathäuser von Architekten befriedigt unseren kulturell bedingten Voyeurismus. Die Lust, in das Private eines bekannten Menschen einzudringen, hinter die Kulissen eines vermeintlich auszumachenden Stilisierungswillens zu schauen und auf lauter Offenbarungseide zu stoßen, weckt Neugier. Und sie bereitet uns vordergründige Freude, die in dem Moment wieder erlischt, in dem uns der nächste Vorhang handbreit gelüftet wird.%Far from the last house, the site lies at the end of a valley, surrounded by wood and only to be reached by various field and wood paths: a house in a meadow. Garden and house form a unity, a theoretical concept. Lingers is here very private and yet so open in the process. The building with the square plan is built to classical proportions. Sharply defined doors and windows, the facing of French limestone, give clarity and support the artificial character. Internally, surrounding a great atrium-like staircase with open gallery, are diverse rooms: at ground floor ostensibly as dwelling units, at upper level ensuite. Interiors are painted white, the floors are polished limestone. Grandiose are the views from the French windows onto the park. The house, which goes back to Roman sources, cannot be understood without the garden park in which it stands. Achitecture lives from the space which surrounds it — all the more when this is natural space. The house as sculptural, well-proportioned mass is in mutual opposition to itself and its surroundings, this explains the tense relationship. Against this background, the question why the building has such a forbidding, unbroken plinth zone is secondary: the corresponding spatial and architectural vocabulary would have required a different "coefficient of gemutlichkeit«. It is necessary to search one's knowledge and memory - in building history, in culture, of nature; it makes aesthetic and intellectual demands on the observer. Without such undertakings of private obsessions there would be no cause to talk of "intellectuality* in architecture.