建筑設(shè)計：溫高建筑事務(wù)所

1 內(nèi)景/Interior view

在1987年2月的某個周末，建筑師勾勒出了1:200的方案圖紙，就這樣產(chǎn)生了三角形結(jié)構(gòu)框架和斜屋頂?shù)脑O(shè)計。由2個三角形的煙囪主導(dǎo)不對稱的入口立面。5月，建筑師完成了平面和剖面圖紙，展現(xiàn)出最終的設(shè)計形式。建筑入口打斷了水平延伸的覆草屋頂，屋頂上方則正好用作新場地的開球臺。

像溫高事務(wù)所的許多其他建筑一樣，這座建筑的設(shè)計也是首先從內(nèi)部產(chǎn)生。玻璃立面呈折疊狀，有多達(dá)36個折角，高度從7cm開始，逐漸升高直至7m；而且，立面的各部分還分別與室外栽滿樺樹的自然景觀取得協(xié)調(diào)。建筑平面上的大部分空間不對來客開放，因此，整個建筑的個性特點是通過剖面設(shè)計來傳達(dá)的——“這些是我們當(dāng)代特有的立面”，彼得·塞爾辛這樣評論。

2 平面/Plan

3 鳥瞰/Aerial view

4 剖面/Section

5 夜景/Night view

建筑細(xì)部也明顯地影響了我們的設(shè)計概念。遮陽屋面是建筑外觀效果中的主角。它不僅限定了建筑高度，也為行走在草坪屋頂上的人指出清晰的邊界，由此限定了開球區(qū)的地面范圍。遮陽屋面由3層結(jié)構(gòu)組成，包括上層表面、中層特殊定制的預(yù)制結(jié)構(gòu)板，以及銜接下方不同角度玻璃幕墻進(jìn)行的底層結(jié)構(gòu)。建筑師認(rèn)為，這層厚厚的網(wǎng)格可以作為水平柵欄，防止高爾夫球手從屋頂上跌落。很不幸，這個聰明的建議被認(rèn)為不可行，所以，現(xiàn)在的建筑屋頂周邊便鑲了一圈類似人行道使用的鋼管欄桿。然而，除了遮擋陽光之外，遮陽屋面仍然完成了它最重要的任務(wù)：以其優(yōu)雅的水平元素使整個建筑造型更加飄逸靈動。如果沒有這層屋面，大地就將吞噬建筑物——遮陽屋面卻讓它看起來好像是從地面生長出來，而不是陷落進(jìn)泥土里一樣。

這種自然主義的設(shè)計氣氛也延續(xù)到了室內(nèi)。隨著主廳的地面逐漸升高，每次抬升6級臺階，天花板的輪廓也隨之慢慢變化。然而，天花板的高度變化則非常劇烈，從較低處的2m處一躍升至主廳另一端的7m高。而在天花較高的這一端，延伸的地板未及立面即終止了，留下低陷的空間形成下凹的水池。水池好像山林中幽靜的池塘，其中一半切入山體。水體則與玻璃直接相觸，在視覺上似乎已與室外融為一體。逐漸升起的地面最終為地板以下的另一層空間留出了充分的高度。只有當(dāng)我們來到水池邊的時候，才會驚訝地發(fā)現(xiàn)還有這處空間。其中布置了不太需要自然采光的保健設(shè)施。

建筑師精心挑選的材料和仔細(xì)設(shè)計的建筑細(xì)部，也在人們經(jīng)過建筑內(nèi)部的過程中，逐漸將室內(nèi)氣氛推向高潮。厄蘭島大理石地面的紅色調(diào)主導(dǎo)著主要空間的氣氛，對石材采用的表面處理方式則突出了不同空間特點之間的轉(zhuǎn)變。當(dāng)我們穿過整個室內(nèi)空間，會發(fā)現(xiàn)石材鋪地采用的裝飾做法逐漸精細(xì)——入口平臺處體現(xiàn)了自然劈開的效果，休息室采用疏密相間的機(jī)刨道面，餐廳地面是鋸切面和金剛石研磨面的石材，而后勤廚房的墻體則使用鋸切面的石材裝飾，各墻體基座部分用了啞光面，轉(zhuǎn)角處又用了拋光面等?！酰ㄐ熘m 譯）

6 內(nèi)景/Interior view

7 外景/Exterior view

卛jared Executive Country Club lies thirty kilometers west of Gothenburg. The clubhouse was built at the center of a group of three eighteen-hole courses and a nine-hole course, its siting given by the layout of the courses. Inspired by the many earthshel tered projects of Emi lio Ambasz, Wing宺dh proposed a structure that would be partial ly dug into an existing hil l. The first sketch, from November of 1986, clearly shows the inf luence of Reima Pietil姟痵Dipoli (1967), with a heavy concrete frame, a sequence of stepped public spaces along the south edge of the hil l, and a multi-faceted south-facing glass facade.But contrary to Dipoli, 卛jared has a very firm structure.

The project was developed at 1:200 scale over a weekend in February 1987. A triangulated structural framework and pitched roofs emerged. Two triangular chimneys dominated the asymmet rical ent rance facade. In May, the architect produced plans and sections that show the final design of the building.The entrance is chopped from a sprawling grass roof that serves as the first tee for a new gol f course.

Like many of Wing宺dh’s buildings, the design is primarily generated by the interior. The folded glass facade has thirty-six corners and grows f rom seven centimeters to a height of seven meters; nevertheless,it remains respectfully subordinate to the birch-studded natural landscape outside. The plan of the building is largely hidden from the visitor, and the character of the place is conveyed instead by the section－“our time’s facades,” in Peter Celsing’s words.

8 首層平面/Ground f loor

9 外景/Exterior view

Our perception of this bui lding is strongly inf luenced by its details. The sunscreen plays the main role in the exterior. It defines the building’s upper limit, but also clearly articulates the edge of the grass roof for those walking above, defining the lower limit of the tee area. This screen is built up of a top layer that follows its own prefabricated framing module and a bottom layer that corresponds to the various angles of the glass facade below. The architect’s intention was for this deep grid to function as a horizontal fence that would keep golfers from fal ling over the edge. Unfortunately, this clever idea was not considered sufficiently practical, and the building is now crowned by the most pedestrian sor t of pipe railing. The sunscreen stil l fulfills its most important role, aside f rom fil tering the sun: its graceful horizontality makes the composition more buoyant.Without it, the earth would swal low the buildingthe sunscreen makes it seem to be emerging f rom the earth rather than sinking into it.

There is a strong element of nature atijared that fixes the building firmly in the world of the popular Swedish fairy-tale il lustrator John Bauer(1882－1918). The exterior gives the impression of a mossy tuft lif ted careful ly by a great spade and propped up by a long glass facade.

10 入口平面/Entrance level plan

11 內(nèi)景/Interior view