The villa had been completely renovated once before, in the 1980s, though its landmark status kept the façade untouched. Inside, however, nothing original had been left in place and everything was new. Even the park-sized garden was run down when Pöppler started the project. The original house had its charms, and as part of the Hohenhagen Garden City it was also of historic interest. Nearby is the Hohenhof, a 1908 villa designed by Belgian architect Henry van de Velde. A leading exponent of Art Nouveau, van de Velde built the home for art patron Karl Ernst Osthaus, whose collection would form the core of the Museum Folkwang in Essen following Osthaus’s early death.

这座别墅曾在 20 世纪 80 年代进行过一次全面翻修，尽管其地标性建筑的身份使其外立面保持原貌。然而，别墅内部却没有保留任何原物，一切都是新的。就连公园大小的花园，在 Pöppler 启动项目时也已破败不堪。原来的房子有它的魅力，作为霍恩哈根花园城市的一部分，它也具有历史意义。附近还有霍恩霍夫（Hohenhof）别墅，这是一座由比利时建筑师亨利-凡-德维尔德（Henry van de Velde）于 1908 年设计的别墅。Van de Velde 是新艺术运动的主要倡导者，他为艺术赞助人卡尔-恩斯特-奥斯特豪斯建造了这座住宅，奥斯特豪斯早逝后，他的收藏成为埃森 Folkwang 博物馆的核心。

Originating in England, the Garden City movement was embraced in Germany by many leading architects of the day including Peter Behrens and Walter Gropius. The villa that Pütter-Ammer and her husband purchased was designed by local architects, the Ludwig brothers. Today, the city of Hagen, where their home is located, isn’t well known outside this region of Germany beyond its status as the Gateway to the Sauerland. In the first two decades of the 20th century, however, Hagen, which sits on the southern edge of the Ruhr region was a center of the European Garden City movement, thanks to visionaries such as Osthaus and van de Velde.

花园城市运动起源于英国，在德国受到当时许多著名建筑师的追捧，其中包括彼得-贝伦斯（Peter Behrens）和沃尔特-格罗皮乌斯（Walter Gropius）。普特-阿默尔和丈夫购买的别墅就是由当地建筑师路德维希兄弟设计的。如今，他们的家所在的哈根市除了作为通往绍尔兰的门户之外，在德国其他地区并不为人所知。然而，在 20 世纪前 20 年，位于鲁尔区南部边缘的哈根曾是欧洲花园城市运动的中心，这要归功于奥斯特豪斯和范-德-维尔德等有远见的人。

Osthaus was also very involved in the Deutscher Werkbund, an association started in 1907 which included architects, artisans, and designers who sought to reunite art with crafts in response to Germany’s rapid industrialization, just as the earlier British Arts and Crafts movement had. That background provided Pöppler with a few decisive cues when designing the villa. Choosing the right materials is one thing. But you also need people who know how to work these materials to the correct standards, especially since the project was a “millimeter construction site,” according to Pöppler. That is, a building site where literally every millimeter counted given the precise design of the renovation.

奥斯特豪斯还积极参与了德国手工艺联合会（Deutscher Werkbund）的活动，该联合会成立于 1907 年，成员包括建筑师、工匠和设计师，他们致力于将艺术与手工艺结合起来，以应对德国快速的工业化进程，正如早期的英国工艺美术运动一样。这一背景为 Pöppler 在设计别墅时提供了一些决定性的线索。选择合适的材料是一方面。但你还需要知道如何按照正确的标准加工这些材料的人，尤其是因为该项目是一个 “毫米建筑工地”，据 Pöppler 称。也就是说，考虑到翻新工程的精确设计，建筑工地上的每一毫米都至关重要。

“Outstanding craftsmanship is our passion,” says the Berlin designer. “Our clients enable us to work with great companies over and over again.” Anyone who has spent time in 1920s houses knows that spaces can often feel cramped. Pöppler turned three rooms that overlook the garden into one large living and dining room. He moved the extra-small kitchen in order to redesign a new one with Ofco, a kitchen interior company based in the city of Iserlohn, Germany, and created a suite on the second floor that includes a bedroom, dressing room, and large bathroom.

这位柏林设计师说："出色的工艺是我们的激情所在。我们的客户让我们能够一次又一次地与优秀的公司合作"。在 20 世纪 20 年代的房子里待过一段时间的人都知道，空间往往会让人感到压抑。Pöppler 将俯瞰花园的三个房间改成了一个大客厅和餐厅。他搬走了超小的厨房，与位于德国伊瑟隆市的厨房室内装潢公司 Ofco 一起重新设计了一个新厨房，并在二楼打造了一个套房，其中包括卧室、更衣室和大浴室。

The staircase connecting the floors was rebuilt, and as a central motif of the redesign, Pöppler gave the passageways round arches. He opened up the conservatory entrance to make the space feel larger, just as he let more light into the house by installing oval wall openings (which he borrowed from Italian designer Luigi Caccia Dominioni whom he admires). Angling window openings are “an elaborate way of making them look larger than they are,” explains the architect, “and are particularly common in Switzerland.”

连接各楼层的楼梯被重新修建，作为重新设计的中心主题，Pöppler 将通道设计成圆形拱门。他打通了温室的入口，使空间感觉更大，同时通过安装椭圆形墙洞（借鉴了他所欣赏的意大利设计师 Luigi Caccia Dominioni 的设计），让更多的光线进入室内。建筑师解释说：“使窗户开口成角度是一种精心设计的方法，可以让窗户看起来比实际面积更大”，“这在瑞士尤为常见”。

Pöppler commissioned a “fantastic freak” of a specialist from Berlin to produce the reddish terrazzo floor in the garden room, which is reminiscent of the Hohenhof’s interior. Another highly specialized team under master carpenter Stefan Freudenberger from the Bavarian town of Rimpar, near Würzburg, added rounded slats to wooden panels in the plinth area there (and at the entrance), which Pöppler chose so that “the room doesn't look so empty and bare.”

Pöppler 委托柏林的一位 “神奇怪人 ”专家在花园房间内铺设了红色水磨石地板，让人联想起霍亨霍夫宫内的装饰。在维尔茨堡附近的巴伐利亚小镇里姆帕尔（Rimpar）的木匠大师斯特凡-弗罗伊登贝格尔（Stefan Freudenberger）的带领下，另一个高度专业化的团队在那里的基座区域（以及入口处）的木板上添加了圆形板条，波普勒选择这样做是为了 “让房间看起来不那么空旷和光秃秃”。

Freudenberger was also responsible for the special treatment that Pöppler wanted for the ceiling in the garden room. “It’s a kind of woodwork often found in yachts. Pressed planks make the wood extra hard and give it a nicely irregular and lively look. There are two carpenters in the workshop whose only job it is to replace overly large knotholes with nicer ones.” Pütter-Ammer—who holds a doctorate in medicine—and her husband are the third generation to run a medical company based on sustainability and naturopathy and they not only run their own apiary, but a culinary business as well. In other words, there’s usually a lot going on in the house and garden. “We regularly host guests and entertain here,” Pütter-Ammer says, “so it’s only natural that we live by our values.”

此外，Freudenberger 还负责对花园房间的天花板进行特殊处理，这也是 Pöppler 的要求。“这是游艇上常见的一种木制品。压制的木板使木质格外坚硬，并赋予其不规则和生动的外观。车间里有两个木匠，他们唯一的工作就是用更好的木板替换过大的窟窿"。拥有医学博士学位的 Pütter-Ammer 和她的丈夫是以可持续发展和自然疗法为基础经营医疗公司的第三代传人，他们不仅经营自己的养蜂场，还经营烹饪生意。换句话说，家里和花园里通常有很多事情要做。“我们经常在这里接待客人和进行娱乐活动，“Pütter-Ammer 说，”因此，我们很自然地要遵循我们的价值观。

The Pütter-Ammers appreciate flowering meadows as one can see in the park that Berlin’s Royal Garden Academy created for them, with a large natural pool that looks like a pond serving as a swimming hole. The furniture in this welcoming house is made up of a mixture of design classics and pieces from Pöppler’s own furniture line. The fabrics for the sofa and armchair covers come from Dedar, Bute, Svenskt Tenn, and Le Manach, the latter now a collection under the Pierre Frey brand that Pöppler likes to work with as he says it offers greater flexibility when it comes to customization than almost anyone else. Even the door handles were specially designed and manufactured for the villa by a foundry in Belgium, perhaps motivated by a desire to honor Henry van de Velde’s Hohenhof. After two years of sweeping renovation work, it is this attention to seemingly minor details that convinced “impulse buyer” Pütter-Ammer that this house is now their home. “We will enjoy it for a very long time to come, I’m sure of it.”

从柏林皇家花园学院为他们建造的公园中可以看到，皮特尔-安默夫妇非常喜欢鲜花盛开的草地，公园里有一个天然的大水池，看起来就像一个游泳池。这座温馨之家的家具既有经典设计，也有 Pöppler 自己的家具系列。沙发和扶手椅的面料来自 Dedar、Bute、Svenskt Tenn 和 Le Manach，后者现在是 Pierre Frey 品牌下的一个系列，Pöppler 喜欢与该品牌合作，因为他认为该品牌在定制方面比其他任何品牌都更具灵活性。或许是出于对亨利-范-德-维尔德（Henry van de Velde）的霍恩霍夫（Hohenhof）的敬意，就连门把手也是由比利时的一家铸造厂专门为别墅设计制造的。经过两年的全面翻修，正是这些看似微不足道的细节让 “冲动买家 ”普特-阿默尔相信，这栋别墅就是他们现在的家。“我们会在未来很长一段时间里享受它，我确信这一点"。

The above text is from AD

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