項(xiàng)目名稱: Eiermuseum
建筑設(shè)計(jì)：gaupenraub +/-
項(xiàng)目地址: Gritsch Mühle 1, 7092 Winden am See
主設(shè)計(jì)師: Alexander Hagner, Ulrike Schartner
占地面積:13.600 m²
建筑面積: 100 m²
攝影：Patricia Weisskirchner
項(xiàng)目背景
Parcours of the pavilions
項(xiàng)目的委托人Wander Bertoni是位典型的雕塑家，他的作品種類多樣、內(nèi)涵豐富、橫跨了多個尺度。在1965年成為維也納應(yīng)用藝術(shù)大學(xué)的雕塑系教授前夕，他買下了奧地利小鎮(zhèn)Winden am See一座農(nóng)場。這里的歷史文化氛圍濃厚，毗鄰一座羅馬建筑遺址，也曾出土過奧地利第一臺葡萄酒榨汁器。Bertoni在Johannes Spalt的建議下，花費(fèi)數(shù)年時間在此建起了一系列展示他個人作品的博物館，其中大展館還獲得了2002年Burgenland州最佳建筑的獎項(xiàng)。
Wander Bertoni embodies the stereotype of a sculptor: his inner fire ignites a boundless strength that results in highly varied sculptures with an intensively condensed content. As these art works can be very large, for a considerable time he searched for a suitable workspace, finally finding a barn near a mill in Winden am See in Burgenland that seemed ideal. In 1965 he bought the entire complex, but had he delayed for just a short while this would not have been necessary, as he was then appointed Professor of Sculpture at the University of Applied Arts in Vienna which would have solved his problems regarding work space. But taking a longer view this would have been a pity, as this mill stands on culturally richly worked ground: beside it there are the remains of a Roman villa and Austria’s oldest wine press was found here. Bertoni also bought a number of surrounding fields and, under the guidance of Johannes Spalt, a process of renovation and extension that extended over a period of several years resulted in a sequence of spaces in which Bertoni’s life work, which is still growing, is exhibited. The previous high point, the large exhibition pavilion, (architektur.aktuelll 10/2001), was awarded the Architecture Prize of the State of Burgenland in 2002.
Wander Bertoni在創(chuàng)作時常常從“蛋”中獲取靈感，他認(rèn)為蛋有著包括生命和希望在內(nèi)的許多象征意義。他收藏了超過4000只材料、大小各不相同的“蛋”，而Johannes Spalt也為此設(shè)計(jì)了相應(yīng)的展館。然而不幸的是，他的身體狀況不足以支持他完成這件作品，其后續(xù)工作也只能移交給他曾經(jīng)的學(xué)生，來自gaupenraub +/-事務(wù)所、才華橫溢的Alexander Hagner和Ulrike Schartner來完成。
However this was not to be the end, for in addition to his own work Wander Bertoni has a collection of eggs consisting of about 4000 pieces, ranging from chicken eggs to kitsch and to garnet eggs that serve as inspiration, their symbolical meaning covers a broad spectrum stretching from fertility to salvation. To house this collection Johannes Spalt sketched a round tower on the axis of the exhibition pavilion. However, as Spalt was unable to carry out this project during his working life, the commission was transferred to his former students Alexander Hagner and Ulrike Schartner, who under the name gaupenraub +/- are not only the first address for architecture on the main west road into Vienna but are also remarkable on account of the sensitive precision of their work.
連起兩代建筑師的作品
Designing through the generations of architects
在經(jīng)過對場地、周邊環(huán)境和展品的詳細(xì)研究后，兩位年輕的建筑師提出了一個新的方案： 一個兩層的“玻璃巢”。新建筑并沒有加入到現(xiàn)有建筑的軸線體系中，甚至微微西移，讓出了大展廳的外部軸線空間，與磨坊平行，面向?qū)拸V的葡萄園。建筑師意圖將基地中的多重軸線關(guān)系推到極致，全透明的底層空間讓其后建筑的相互關(guān)系一覽無遺，同時也為身處其中的參觀者提供360°的全景視角。呼應(yīng)現(xiàn)有建筑的方形坡屋頂向下延伸，封閉了二層空間的視線，而其高度也與磨坊塔頂相當(dāng)，僅在尺度上有所區(qū)別。Bertoni夫婦對新方案非常滿意，但仍在征得Johannes Spalt的同意后才正式動工。
After a thorough examination of the site, the surroundings and the exhibition objects the architects decided to present the client with an alternative to Spalt’s approach: many rooms in the existing complex are characterized by areas of glazing opposite each other that define axes and direct or extend the gaze into the landscape, or focus it. So as not to disturb this system and not to block the important axes of the exhibition pavilion it was suggested that the new building should be erected somewhat to the west, in a row with the historic mill complex however not completely axial, but facing towards the surrounding vineyards. The new building was intended to bring the game played with axes to a highpoint, to be as transparent as possible on the ground floor, and to allow a 360° view from inside. The upper floor, a closed quadratic cap, echoes the highest point of the mill complex, the mill tower roof, but uses slightly different proportions. Wander and Waltraud Bertoni listed to the presentation and found the concept coherent but nevertheless sent the team to Johannes Spalt to obtain his approval. Once his blessing had been granted a start could be made on the project.
穩(wěn)定的建筑結(jié)構(gòu)
Consistent – right down to the columns
Wander Bertoni的花園中沒有任何一株灌木，包括接骨木在內(nèi)的所有植被都以樹的形態(tài)生長，花園空間廣闊而通透。蛋博物館的承重結(jié)構(gòu)繼承并延續(xù)了這種表現(xiàn)手法，一層的兩根承重柱被涂上了深灰色，如樹干般微微傾斜，甚至連尺度都與樹干保持了一致。
In his garden Wander Bertoni avoids bushes of every kind, everything grows there in the form of a tree – even the elderflower. This creates a particular impression of expansiveness and breadth, which the load-bearing structure of the egg museum takes up and continues: the two columns are dark grey and stand at an angle like the trunks of the surrounding trees, and also have roughly the same diameter.
當(dāng)然，僅靠兩根承重柱難以維持一個穩(wěn)定的結(jié)構(gòu)體系。如同鳥類用它們的尾羽支撐身體一般，建筑師利用反向傾斜的樓梯讓結(jié)構(gòu)系統(tǒng)達(dá)到了平衡。然而，三個承重柱依然過于冒險(xiǎn)，總會有一個遠(yuǎn)離支撐結(jié)構(gòu)的角落出現(xiàn)，讓建筑難以避免震動和搖擺。來自合作單位Peter Bauer的提議最終解決了這個潛在的危機(jī)：承重鋼結(jié)構(gòu)微微彎曲形成一定弧度，并在邊緣處通過受拉構(gòu)件與地基相連。預(yù)估的荷載量遠(yuǎn)遠(yuǎn)超出了建筑活荷載和自重，以保證結(jié)構(gòu)的絕對安全。工人和建筑師聯(lián)手克服了種種困難，讓理論中的可行性最終得以實(shí)現(xiàn)。
To ensure a stable structural system two columns are really very few, consequently the stairs is used as to augment the structure in the transverse direction – rather like the way some birds use their tail feathers to help support themselves. However, a block resting on three columns is still risky, as at least one corner always project far out making it difficult to avoid structural instability and the ensuing vibrations and movements of the structure – and this was precisely something the clients could not imagine for their valuable collection. Thanks to creative collaboration with Peter Bauer from the engineering office of Werkraum an unusual concept was devised: the load-bearing steel structure was erected with a considerable camber and, along the edges, was tied down to the foundation with several tension members – the forces used in the calculations were greater than the live load and the self weight thus excluding any possibility of movement. Implementing this idea proved difficult, as the deformations of the materials did not always exactly follow the theoretical calculations. The workers had to put aside their spirit levels and, in dialogue with the architects and employing great sensitivity brought what was produced close to the design ideal.
特殊的展品
The eggs as exhibits
由于展品對溫度、濕度的變化并不敏感，而且當(dāng)天氣情況不好時展館將停止開放，建筑師將地基的范圍擴(kuò)大，越過玻璃墻面形成了一個貫通室內(nèi)外空間的橢圓形地面。 不能經(jīng)受陽光直射的展品被移至二層展廳，通過從底部傾斜玻璃折射入內(nèi)的自然光線和人工照明系統(tǒng)為這個封閉的展廳帶來源源不絕的光線。在二樓中部的中空處，連通上下兩層的松木樓梯暗示著參觀者將進(jìn)入一個與開敞一層截然不同的空間。量身定制的展示架懸掛在墻壁、天花和欄桿上，大小不同的格子讓每一個“蛋”都能找到最適合的容身之處。
A particular aspect of this project is the internal climate: the objects are not particularly sensitive to heat or cold and when the weather is unsuitable the building simply remains closed to visitors. This meant that it was possible to continue the foundation slab far beyond the filigree glass skin and it therefore forms the finished surface both inside and outside. However, many of the objects cannot be exposed to direct sunlight. These pieces are protected on the upper floor by a dense cap that is adequately and naturally lit by means of reflection through sloping glazing on the underside, effective artificial lighting is also available. The upper floor is reached by means of the staircase mentioned above which, despite its structural function, seems just to lean there and leads at a slight angle through a large void. The first step prepares the visitor for the different character of the space – here you walk across a light-coloured larch floor. With the exception of the historic display cases, the display fittings in the museum (which were specially designed) are hung form the walls, ceiling or railings. Many shelves can take different kinds of modules so that each egg can be suitably presented.
Bertoni夫婦是最完美的業(yè)主，作為設(shè)計(jì)者的建筑師在與他們的溝通中總是能找到共鳴。
The architects have said that, if it were possible to shape the ideal clients, then Wander and Waltraud Bertoni would embody this ideal. Talking to the clients one gains the impression that they think much the same about gaupenraub +/- as architects.
