Creativity is a talent that Petereit Haufes shares with their predecessors, as the individual problem solutions reveal. In the kitchen, for example, next to the hammock stretched across the room, a highly visible rectangular acoustic panel was hung on the wall to reduce the sound in the room. It is made of an absorbent foam for acoustics and covered with red velvet. In the rooms on the first floor, the original box-type windows were left in place, and a second window was installed on the inside of each room, with a magnetic closing mechanism similar to that of a refrigerator. Among other things they serve as heat retention. When the couple of architects were awarded the contract for Fleischhauerstraße 100/102 in a forced sale in 1996, they had not even viewed the inside of their future home. "Was it something like love at first sight", we speculated during such an insane purchase. "No, it had nothing to do with that, more with a thirst for adventure," says Nicola Petereit. Both had just finished their studies in Aachen and wanted to turn the house into a private project. The offer for 119,000 DM seemed quite tempting. Nevertheless, the family had to contribute a considerable amount work and show a lot of patience.
It was not until 2002, six years after the purchase, that Petereit Haufes could finally move in. "One year we didn't enter the building at all, because we thought it was just too much to handle," the architect says looking back. For the "old lady", whose earliest parts date back to the 16th century, quickly taught both of them who sets the pace during the renovation period. "As an architect I am often surprised that these houses are still standing," says Nicola Petereit with a laugh and shows us the rotten stump of a roof beam in the small library, cleverly and stylishly supported by a steel girder. "They probably do it just out of habit." The "organism" of the walls is sensitive: even small changes in this tried and tested system could have undreamt-of consequences ¬- for example a floor that sinks or a sloping wall that causes the structural designer to panic. Not always beautiful, "but a very good school", as the architect says. The close cooperation with Lübeck's monument conservation authorities had taught her respect above all. "One must always remember how old such a building is and how short our time in it is."