Historic buildings that are particularly characteristic of the area have an identity-forming quality and can serve as a model for those who are still undecided. Wherever possible, existing buildings should be preserved and linked to existing residual structures. One successful example is the restoration and refurbishment of the Steinhauser estate in Utting am Ammersee in Bavaria We are familiar with the phenomenon from China: faceless and history-less satellite towns that […]

Historic buildings that are particularly characteristic of the area have an identity-forming quality and can serve as a model for those who are still undecided. Wherever possible, existing buildings should be preserved and linked to existing residual structures. One successful example is the restoration and renovation of the Steinhauser estate in Utting am Ammersee in Bavaria

We are familiar with the phenomenon from China: faceless and history-less satellite cities that offer residents nothing to identify with and old, established cities that have completely changed their shape within fifty years, so that old people no longer recognize the city of their birth. Fortunately, things are different in Europe. Efforts are usually made to preserve historic buildings, but all too often old properties stand in the way of rapid economic development. In addition, renovation can be a financial drain. That is why demolition often seems to make the most sense. But old houses have charm, give a place a specific character and reflect the local history. Restoration should therefore always be preferred to new construction, even for buildings that are not listed. However, there is often no getting around a conversion to adapt to modern living conditions.

But how to deal with the difficult-to-calculate costs, especially if the building is already in a rather precarious structural condition? Historic buildings that shape the townscape in particular have an identity-forming quality and can serve as a model for undecided neighbors. We must therefore preserve existing buildings wherever possible and build on existing residual structures. A successful example of this is the renovation of the Steinhauser estate in Utting am Ammersee. The building complex has an eventful past, reports client and architect Bettina Sunder-Plassmann: “In 1885, a Mr. Summer from Inning bought a meadow from a farmer in Utting. Because he was planning an inn on this plot, he made sure that the new train station was built right next to it. The road from the village to the station ran through fields, so the mayor at the time resorted to an unusual means: to create a landmark and encourage development along the road, he borrowed money from the local butcher and built a magnificent house with a turret in 1899. Unfortunately, the mayor was unable to repay his debts and had to sign the building over to his creditor. Unfortunately, the extensions and conversions carried out over the course of time were not always appropriate. In 1934, a flat extension was added to the building for the local bank branch, and twenty years later another house with a store on the first floor was built on the east side. At the same time, the striking tower on the main building was dismantled. Later, the colorful painted wooden sash bar windows were replaced with single-sash windows in the mahogany look of the 1970s, the shutters were removed, openings were bricked up and balconies and dormers were torn down. In the end, the building complex stood empty for more than twenty years, deteriorated visibly and eventually became Uttings eyesore.

Numerous purchase offers from the municipality and other interested parties – including those planning new five-storey buildings with maximum utilization – were rejected by the owners. Until finally, in 2017, the architects Bettina and Benedikt Sunder-Plassmann were awarded the contract for their plan to preserve the property, extensively renovate it and set up their architectural practice on the first floor. “It was clear to us from the outset that we wanted to restore the stately appearance of the Art Nouveau building,” explains Benedikt Sunder-Plassmann. The reconstruction of the balconies and the rotunda, including the tower perched on top, was essential for the planners, builders, owners and users. They used old photos and plans as a guide, but also took the liberty of transferring design and stylistic elements into a modern design language. This approach to the existing building, which respects what is there and carefully adds new elements, structures and perspectives, is known as “building on”. Some interventions were also necessary inside the building. People used to live more simply, in just one room with a washbasin and shared toilet. It was therefore necessary to adapt the floor plans to today’s needs.

In addition to a co-working space, four regular apartments and a vacation apartment were created on the upper floors. An extension was added to the rear part of the Steinhauser property, where the entrance area and bathrooms are now located. Three new pointed dormers on the south side bring light into the rooms on the top floor and even provide an exclusive view of the lake from one of the openings. In addition to the old beams, in which the year of construction is engraved, two steel girders were installed for structural reasons – an architecturally appealing dialog between old and new. The first floor of the main building and the single-storey middle building is home to a furniture store and an architectural office specializing in the renovation of old buildings. The refurbishment is also intended to send a signal to other clients that building with existing buildings is definitely worthwhile. It is also a contribution to genuine sustainability. The façade of the Steinhauser property was insulated with eight-centimetre thick hemp and wood fiber boards, reinforced and then plastered with NHL lime plaster fine from Keim. A special design element is the surrounding, color-contrasting plinth with a coarse comb plaster typical of Art Nouveau, which visually unites the three different buildings. The entire façade was painted in antique white (wall surfaces), sandstone (plinth and cornices) and gray-green (window frames). The new, triple-glazed mullioned windows made of eucalyptus wood are based on the old windows from the 1930s; one arched window from the time of construction in 1899 was preserved and upgraded, while another from the 1930s was converted into a box window. The interior also focused on quality and appropriate, ecological refurbishment. In many rooms, wall and ceiling paintings worth preserving from the time of construction were discovered under layers of paint and wallpaper.

A piece of architectural identity for the town

Conclusion: With the revitalization of the site, the owners are sending a clear signal of their architectural approach and at the same time giving the location back a piece of its architectural identity. The once run-down Steinhauser estate has become a real gem in the village. An ugly duckling has been transformed back into a proud swan thanks to the successful restoration.

Reading tip: Architects usually try to create finished houses, i.e. coherent works of architectural art for eternity. But does this claim stand up to reality? Should that even be the claim? Inspired by references from architectural history, art and anthropology, the young Stuttgart-based studio Kaiser Shen has developed various theories and tested them on the basis of its own projects. From next Wednesday, these will be presented in an exhibition at the architekturgalerie am weißenhof in Stuttgart (until October 3, 2022).

The job title “restorer” is still not protected in most federal states and therefore offers plenty of room for interpretation. Anyone can still call themselves a restorer. For decades, restorers have been fighting for the introduction of professional protection. Several solutions have already been discussed, including, most recently, the introduction of a professional association. Restauro wanted to know how important a protected professional title is […]

The job title “restorer” is still not protected in most federal states and therefore offers plenty of room for interpretation. Anyone can still call themselves a restorer. For decades, restorers have been fighting for the introduction of professional protection. Several solutions have already been discussed, including, most recently, the introduction of a professional association.
Restauro wanted to know how important a protected professional title is and whether restorers, like architects for example, should organize themselves into chambers.Here you can read the answers from those working in the field of conservation and restoration.
Rainer W. Leonhardt
Head of the Berlin/Brandenburg regional group of the Association of Restorers in the Craft Trades e.V.

There is a protected professional title, the Diplomrestaurator/in and the Restaurator/in im Handwerk. Both professions have undergone thorough training.If this is repeatedly disseminated on all channels in future, together with the information that the term restorer is a worthless designation, a lot could be gained. A joint large-scale publicity campaign would be a good idea here.However, a protected professional title of restorer would not protect us from the fact that the cheapest bidder is still often awarded the contract for restoration work, even though the client is aware that the work required cannot be carried out at the price offered. This often leads to undeclared work and undercutting of minimum wages.A further help would be the consistent demand for references, which would then also have to be randomly checked. A phone call to the architect in charge of the project, the responsible monument conservator or even the client would often be helpful. An organization in a chamber, similar to architects, could solve some problems (Chamber of Crafts?), but even for many architects, the HOAI is repeatedly undermined by clients. We do not believe that it is politically feasible at present to establish a chamber for restorers and that it would also entail further financial burdens and even more bureaucracy for the members.
Eberhard Roller
Representative of the self-employed and freelancers section of the VDR and freelance restorer

It would be a great benefit for the restoration profession and for the objects! – Because the milieu of unqualified or semi-qualified providers would be pushed back. Because the public, both institutional and private, would at least be provided with a conceptual criterion that would make it easier to distinguish between professionals and – in fact – amateurs. Because monument authorities would achieve a much more efficient steering effect than before (“… is to be carried out by holders of the title Dipl.-Restaurator…”) with the binding conditions on their already modest subsidies, which would benefit the cultural asset. These positive consequences for the private sector and private clients should not be overestimated. In the existing market order, they can continue to award contracts to anyone and everyone. This is essential, whether we consider it harmful or not at this point, because it is free contract law. However, it would of course have an enormous binding effect on the awarding of public contracts controlled by budgetary law. Nevertheless, a massive confusion would remain, which consists of the fact that in addition to us, the academically trained restorers, there are also “restorers in the trade”. The art of explaining the underlying – for us, of course, essential! – The art of briefly and plausibly explaining the underlying differences to a wider public has not yet been invented. Chambers are administratively complex and expensive for the individual. They are structures that evolved in the 19th century. I, too, am unsure how these should be evaluated after weighing up all the advantages and disadvantages for our profession. Regional professional registers, a building block of chambers, based on those of chambered professions are just being created by the VDR.

Arnulf von Ulmann
Former head of the Institute for Art Technology and Conservation at the Germanisches Nationalmuseum in Nuremberg

One should realize that any activity in this matter is wasted energy. In Mecklenburg-Western Pomerania, the law was repealed due to lack of demand! You shouldn’t wish for something you obviously don’t need and can’t get. In professional reality, it is no longer necessary to maintain standards.Activities here would be just as pointless. There will be no more new chambers in today’s EU! Likewise, new professions will no longer be recognized there (see new “master craftsman” regulation). The organizational form is too expensive for restorers. Recognition within the VDR has already failed for cost reasons. The registration activities within the VDR have led to resignations.If a chamber were to contribute to safeguarding standards, we would only have good architects and doctors. The development of a quality management system in accordance with DIN would probably be more successful for issues relating to a chamber of restorers, the fee structure and professional recognition. This should be submitted to the CEN mirror committee of the EU. Restorers are members of this committee.

Roland Vogel
Chairman of the Bavarian regional group of the VDR and freelance restorer

A protected professional title is very important, as it allows the professional group legitimized to work on art and cultural assets to be clearly defined. By maintaining lists of restorers, the activities of an unqualified group of people and thus the irresponsible handling of cultural assets can be prevented, at least in the public sphere of monument conservation. As the political landscape continues to support a general deregulation process, and has done so since the European Union came together, it will not be possible to implement statutory protection of professional or occupational titles at state level in the medium term.The only professional title protection laws for restorers enforced by the VDR to date exist in the federal states of Mecklenburg-Western Pomerania and Saxony-Anhalt. Nevertheless, efforts to introduce such a law in other federal states are continuing. In my opinion, the only alternative at present is to place the preservation of our art and cultural assets on a legal basis exclusively in the hands of a specially trained and responsible professional group. However, the creation of regional chambers could also solve the problems mentioned above; fee regulations, quality assurance, training standards, but also professional sociological issues such as the establishment of a pension fund, etc.