法爾克·耶格爾/Falk Jaeger

項琳斐 譯/Translated by XIANG Linfei

毫無疑問，格特·溫高是一個喜歡享受生活的人。在家鄉(xiāng)，他知道去哪里買最好的龍蝦和最美味的奶酪，藝術博物館餐廳的廚師也愿意親自款待他。他喜歡德國跑車。無論在家還是在工作室，他都時刻不離平面顯示器。由此看來，他的多數(shù)建筑作品中的感性特征正是他自身個性的體現(xiàn)。

格特·溫高的生活方式并不完全是瑞典本土的，更令人驚訝的是，至少在幾年前，他的生活還是非常安穩(wěn)的。他出生在離海岸線140km的舍夫德，在哥德堡學習，之后在哥德堡的烏利韋格倫事務所工作，接著在這里創(chuàng)立了自己的事務所，而且在家鄉(xiāng)成為大學教授，并擔任建筑部門指導委員會的主席。所以，他的事務所在斯德哥爾摩設立一家分部，對他來說是非常大膽的一步。

然而，他不被看成是典型的瑞典建筑師。最初，他就對國際潮流相當敏感，一直都在尋找對他有利的變化和刺激。彼得·布倫德爾·瓊斯在英文雜志《建筑評論》中的一篇文章中這樣描述，他是“瑞典最活躍并最具創(chuàng)造性的建筑師，他以一系列出人意料的多樣、激動人心且完成度很高的建筑作品突破了死板、官僚的瑞典模式。”

他是如何開始獨立執(zhí)業(yè)的？他從一些小的委托項目—商店或餐館的室內設計起步，在他成立事務所的1977年，建造了哥德堡Fiskeb奵k的漢森別墅。這棟住宅受查爾斯·摩爾在加州設計的海洋農場的啟發(fā)， 由兩個木表皮的體量以銳角相交構成。 雖然這棟房子是以廉價的膠合板建造的，但是已經顯露出溫高后來的別墅設計的某些特征：入口出人意料的空間效果，嵌入巖石的做法與明亮、開敞及其他溫暖舒適的房間形成對比。

萊奧尼的沙拉吧是他的第一個室內設計作品。飯店在空間和視覺上被一側筆直的鏡墻和另一側起伏的玻璃磚墻限定?！叭绻悴簧鲜遣_米尼的風格，也帶點兒波托蓋希的意思吧”， 溫高半開玩笑地談論這個流動空間的特色，提及了巴洛克的大師和當時非常流行的意大利后現(xiàn)代主義建筑師。

萊奧尼的命運與許多短期的商業(yè)室內設計作品一樣，像1979年設計的奧勒的Marmite餐廳—盡管它直到2009年才重新裝修。這里也有鏡墻，微凸的天花板下散發(fā)出柔和的光線。隨后的委托項目是馬爾默的克萊默酒店改造，使其滿足現(xiàn)代的使用需求，它的設計對其他項目具有深遠影響。這個時期的溫高已經完全可以被歸類為后現(xiàn)代建筑師（在1998年法蘭克福的德國建筑博物館的瑞典展中他就被這樣歸類，盡管在當時可能已經不算準確了）。這樣的歸類主要是因為1978年－1981年他在哥德堡建造的努德別墅。這個項目被稱為瑞典的第一座后現(xiàn)代主義住宅。當時溫高剛從美國回來，非常欣賞文丘里的母親住宅，并且把對那棟住宅的印象直接體現(xiàn)在自己的項目中。覆蓋在建筑表面上構成拱形的木格柵，沒有任何明確的合理性，他這種簡單隨意的做法遭到很多批評。

或許是他認真地接受了那些指責，也或許他很早就意識到了今后的趨勢；毫無疑問的是，他很快將有趣的后現(xiàn)代主義形式拋在腦后（在室內設計領域中有些許的回歸），盡管他堅持了他用建筑講故事的愿望，那并非后現(xiàn)代主義的成就。早在1982年，他就在一次訪談中說過：“功能主義的原則，完全可以與堅持房子必須看上去有趣的原則協(xié)調一致”。

溫高在1980年代的全部作品幾乎都是室內設計，其中一個重要的委托項目是1986年對斯德哥爾摩斯堪迪克皇冠假日酒店（今天的斯德哥爾摩希爾頓Slussen酒店）的更新，原建筑由馬茨·艾德布洛姆設計建造。溫高在一層覆頂?shù)娜肟趨^(qū)域使用了圓形，并以此為起點，將圓形當作設計的基本元素。好像他突然熱衷于利用所有可能的變化演繹這一主題，他將所有的東西都變成圓形：接待前臺和酒吧、門廳、計數(shù)器和天花板的鏡子，從門廊到衛(wèi)生間和衣帽間，一切都呈曲線交織蔓延。他甚至將通往地面層的樓梯設計成圓形：一個帶有圓形中央高臺的凹凸的樓梯，像法國巴洛克風格的延續(xù)。他在入口處把一個金色的斯堪迪克皇冠放置在大理石柱上，達到引人注目的效果?？头坎灰蟾哔F寧靜的設計，因此他在墻壁上使用了活潑、對比鮮明的木板?；鹧婕y的樺木、深紅的櫻桃木和意大利核桃木呈條紋狀交替出現(xiàn)，目的是讓酒店給來往的客人甚至那些經常旅行的人留下深刻印象。新的經營者對室內進行了局部改造，最重要的是讓它保持低調并符合“國際口味”。

1984年，他在斯德哥爾摩為羅蘭愛思設計了一家婚紗店，木質家具和鑲木地板仍然在店面的特色和環(huán)境的營造上發(fā)揮了重要的作用。這里的環(huán)境會讓人想到1920年代阿道夫·盧斯在維也納的室內設計。為了將矩形中并排的4個狹小房間聯(lián)通，溫高只是打開了這些墻的交接點，斷開的磚墻被涂上金紅色的油漆，光滑閃亮。斯德哥爾摩的羅蘭愛思并不比1982年溫高在哥德堡為橫葉設計的作品留存時間更長。在后者的設計中，溫高再次戲劇化地轉換了身份，以冷色調的現(xiàn)代派的設計為這家日本鞋店營造出近乎永恒的氛圍，只在少數(shù)地方呼應了日本風格：鞋架的背墻能讓人聯(lián)想到日本壁紙裝飾的墻壁、玻璃和墻面被水平向通長地劃分，淺色區(qū)域和深色框架形成強烈對比，地面的劃分也能讓人想起傳統(tǒng)日本房間中塌塌米墊子。兩個略微傾斜的素混凝土柜臺，避免了明顯的幾何形式，否則所有布局方式都是矩形的模式。自從鞋店在2007年擴大店面之后，橫葉店已經成為一個中性的白色店面—屋頂懸掛了一個樹枝形的裝飾燈。

1 瑞典哥德堡漢森別墅（1977－1978），格特·溫高的第一個項目/Vil la Hansson in Gothenburg, Sweden, from 1977-1978. Gert Wing?rdhs first commission

2 瑞典哥德堡橫葉鞋店（1982），早期的委托項目之一/Yoko Yap shoestore in Gothenburg, Sweden, from 1982. An assignment from one of the first years

托肯湖游客中心是東約特蘭省托肯湖南岸的鳥類保護區(qū)。游客中心沒有引人注目的外墻，只有茅草屋頂融入到周邊的自然環(huán)境中。一層平面仿效了農家三合院的形式，以支柱架空在濕地之上，仿佛輕輕地踮起腳尖。旁邊觀察塔的外墻也以茅草覆蓋，游客可以通過一個穿越樹林的蜿蜒的木橋到達這里。

1989年，溫高事務所迎來了一次飛躍，因為在這一年他們接下了默恩達爾Astra H妔sle實驗校園的設計任務，這座新的工業(yè)城距離哥德堡南部10分鐘車程。這樣，溫高的主要設計范圍在幾年之內從室內設計拓展出來。盡管溫高對實驗建筑缺乏經驗，但他還是贏得了邀標的設計競賽。在接下來的8年中，他不得不將他80%的精力投入到Astra的項目上。然而，在這期間他還完成了其他多達56個項目。那段時間，他沒有假期，仍然感覺充滿活力，而且積累了豐富的經驗并取得了很大的成就。阿斯利康制藥公司，讓他在1993年第二次獲得卡斯帕薩林獎。他認為這次獲獎可以證明，他以卛jared高爾夫球俱樂部獲得的第一次成功并非曇花一現(xiàn)。

盡管，溫高一開始就在西海岸獲得了地位和聲望，但是他必須進軍斯德哥爾摩的市場，并且后來將業(yè)務范圍深入到這里的行政和政府中心。1990年代后期，他開始接到政府的委托項目—柏林大使館、斯德哥爾摩申辦2004年奧運會的體育場和阿蘭達指揮塔，并且被冠以“御用”的稱號。2000年，他直接為政府工作，改造斯德哥爾摩老虎街的農業(yè)和社會事務部的行政中心，在這里增添了一個玻璃屋頂?shù)闹型ァ＿@個中心包含了建于19世紀和20世紀的若干棟建筑。

不僅在瑞典，溫高也是斯堪的納維亞地區(qū)最具影響力和成功的建筑師之一。華盛頓宏偉的瑞典大使館自然引起了美國建筑界人士的注意。在瑞典之外，他接到所有著名“大公司”的項目，比如沃爾沃、愛立信和Astra。最終，越來越多的海外建筑項目讓他獲得了國際聲譽。這期間，他往返機場像從家往返國王大街的辦公室一樣頻繁。在那里，一棟1930年代的商業(yè)樓中，他的事務所逐漸擴大，幾乎占據了所有樓層，并且開始延伸到臨近的大樓里。這里很少有大的辦公室，多數(shù)是可以俯瞰臨近街道和屋頂?shù)男》块g；總而言之，這里是一個迷宮般的體系，置身其間，周圍的老城區(qū)成為一種空間比例上的參考。大約有90名員工在哥德堡的事務所里工作，實現(xiàn)他的建筑理想，另外30多名員工在斯德哥爾摩。

溫高既不是團隊中的一員，也不是高高在上的領導。他不能監(jiān)督從概念到實施過程中所有的設計，但他認為重要的是保持所有的項目在他的控制之下。他仍然堅持在速寫本上畫草圖、做筆記。他還沒有完全轉換到計算機主導的工作方式，他不愿意放棄鉛筆或鋼筆繪圖帶來的感性體驗，在計算機時代之前，他以這種方式完成了大量細致的工作。他總能意識到圖像的感染力，圖像表現(xiàn)所傳達的力量，尤其對于非專業(yè)人士、建筑業(yè)主來說。過去，他會畫出激動人心的城市景觀，讓人聯(lián)想到皮拉內西。但是現(xiàn)在，可以利用計算機數(shù)字技術創(chuàng)造出更令人驚嘆的效果圖。皮拉內西的透視圖被計算機效果圖取代，后者同樣具有動人的圖像表現(xiàn)力，而且給觀者更強烈的三維體驗。

比較溫高的不同作品，可以看出他非凡的駕馭能力—他能掌握所有的方法、風格和類型。反差之大幾乎難以想象，比如他設計的 “沙灘” 和 Vil lAnn兩個鄉(xiāng)村項目，同樣是在靠近海岸擁有海景的位置。第一個項目明顯具有當?shù)貍鹘y(tǒng)的鄉(xiāng)村風格，捕捉每一縷陽光，營造舒適的親近自然的氛圍。第二個項目是典型的現(xiàn)代主義風格，冷色調、完美的人工產物。這兩個極端也許可以讓人聯(lián)想到兩位著名的代表性人物—一位是拉爾夫·厄斯金，另一位是安藤忠雄。溫高可以將兩種相反的生活方式和生活態(tài)度完美地融入到他的建筑設計中。

3 瑞典斯德哥爾摩斯堪迪克皇冠假日酒店（1986－1989）。向卡羅·斯卡帕致敬的圓形主題/Scandic Crown Hotel in Stockholm, Sweden,from 1986-1989. Circular motifs with reverence to Carlo Scarpa

相當有趣的是，他回避明確定義的、嚴肅的建筑立場，而是不斷為每一個新項目尋找新的刺激、新的想法，首要的目的是協(xié)調環(huán)境、功能和使用者之間的關系。在一語境下，他經常提及他的瑞士同行赫爾佐格與德梅隆，他們對待每一個新的設計任務都沒有特別的偏愛，因此他們的作品具有類似的變化特征。

然而，許多項目確實存在某種共性，在他設計的別墅里多多少少都有些相似點。這就是溫高堅持不懈的追求—通過房屋周圍的環(huán)境呈現(xiàn)出一種真正戲劇化的場景。為了捕捉到落日的余暉，并讓從海岸經過的路人也享受到這一景致，Vil lAnn在下午敞開，夕陽全景呈現(xiàn)在眼前，猶如一幕演出。鄉(xiāng)村別墅“沙灘”在這方面有相似之處，面向大海的第4面墻被無框的景窗代替。尼爾森別墅和Amund歯別墅之外的別墅以不同的方式演繹全景—一種建筑的和景觀的體驗。在阿斯特麗德別墅，訪客從上部狹窄的空間爬下來進入到寬敞的房間中，感覺豁然開朗。

在調研場所地貌的時候，格特·溫高樂于處理巖石叢生的險峻環(huán)境，在瑞典的海岸地區(qū)經常會遇到這樣的建設用地。溫高在兒時就接觸過本地石灰?guī)r，鄉(xiāng)間的玩耍和在父親工廠中的耳濡目染，使他對這種巖石有所偏愛。他認為景觀是居住的場所：對他來說，人生來就與土壤息息相關。他的房子不會升起與地面保持距離，而是緊貼地面甚至埋入土壤，成為所處環(huán)境的一部分。通常，他的房子會與巖石的形體吻合，巖石有時甚至嵌入墻體，讓居住者有扎根于此的安定感。在阿斯特麗德別墅和尼爾森別墅中，巖石穿進房屋并使其“著陸”。在哥德堡科研中心與水族館，他再次應對這樣的情況，但是建筑的規(guī)模更大。房子建造在巖石之上，一個特大的玻璃暖房拱懸于巖石之上，給動植物群提供庇護，使其能在熱帶環(huán)境中生長。

無論哪里需要保留人工的建筑處理，他都利用石料固有的層理將巖石抽象化。他用這些石層組成路面和踏步，但它們不是簡單地像臺階一樣疊加，而是采用一種開放的布局，比如在尼爾森別墅中，以充滿美感的方式強調自然的態(tài)勢。卛jared高爾夫球俱樂部的室內是對巖石景觀藝術化的闡釋。Amund歯附近別墅前的臺階看起來更為幾何化。但是在“沙灘”別墅中，甚至單獨的一個簡單的臺階也經過精心設計。處處都能讓人聯(lián)想到卡羅·斯卡帕，他也是溫高最喜歡的建筑師之一。

有些建筑師認為，他們的首要任務是組織空間，使其滿足預期的功能需要。還有一些建筑師關注藝術主題和氛圍的營造。格特·溫高的目標更進一步：他認為，建筑是一種表現(xiàn)形式，而體驗的結果無疑取決于材料和細節(jié)，以及它們的處理方式。比如，柏林的瑞典大使館，墻面和休息廳臺階精彩的木構造—明亮溫暖的橙色樺木—創(chuàng)造出身體的愉悅。他為阿斯利康新設計的辦公大樓與接待大樓毗鄰，這棟房子精湛的建造技藝讓人心悅誠服。完美無缺可以是一種美的形式，溫高不會讓別人以為他不重視生活中美好的事物。

溫高反復運用藝術體驗帶給他的靈感。瑞典畫家馬庫斯·拉爾森在他的巴黎工作室安穩(wěn)的環(huán)境中創(chuàng)作出了荒野景觀。在蘭斯克魯納的城堡游泳浴池，溫高將這種情境轉化成通過人工泳池的狹縫一瞥無垠的大海。同時，大衛(wèi)·霍克尼的泳池繪畫被他用作面磚的裝飾。

他形容他在斯德哥爾摩設計的羅蘭愛思店面是“預制”拼貼畫，受到馬賽爾·杜尚的影響。的確，一看到這位藝術家的作品就可以證實他的說法，一種對藝術表達的渴望是溫高作品背后的原動力之一。

他在早期的作品中就強調了可持續(xù)性，因而被看作是生態(tài)學方向的建筑師，盡管他從來都不是狂熱的生態(tài)主義分子。ijared、Ale、瑞典查爾姆斯技術學院學生活動中心和哥德堡科研中心與水族館是生態(tài)學意義上的開拓性作品，隆德的索尼愛立信總部是瑞典首座被稱為“綠色建筑”的行政管理總部。

有時候，溫高更喜歡表達自己，而并非試圖改變世界。這種情況，可以在他為哥德堡和斯德哥爾摩設計的高層建筑的委托項目上看出來。出于對曼哈頓的熱愛，他早在1980年就建議哥德堡的南岸建設高層。他的提議是一棟274m高的辦公和居住建筑—“斯堪的納維亞大廈”—在馬爾默/Hyl lie上升起。他為斯德哥爾摩設計的各種高層方案也塞滿了一個抽屜。在塞戈爾城市廣場上，為了在城市中營造更國際化的氣氛，他設計了優(yōu)雅的塞戈爾公寓大樓。在哥德堡的Heden區(qū)，他總共設計了4棟俯瞰歷史護城河及內城的高層建筑。但是他的構想都沒有被采納，直到今天仍是如此。他認為高層建筑是大城市都市發(fā)展的真正要素，但是高層卻被認為是非瑞典的—這種觀點由來已久，盡管有卡拉特拉瓦設計的馬爾默的旋轉大廈這樣的孤例。因此，對于溫高來說，高層建筑仍是一大挑戰(zhàn)，是尚未解決的問題。

4 瑞典瓦爾貝里尼爾森別墅（1989－1992），海邊的獨立住宅/Vi l la Nilsson in Varberg, Sweden, f rom 1989-1992. A detached house next to the sea

另一個挑戰(zhàn)是國際化。新千年，他在斯堪的納維亞的其他地區(qū)開始了第一個拓展到海外的項目，不久就發(fā)展到美國、英國、德國、法國和俄國。

在出版物《跨越40年的建筑30年》的作品目錄中列出了366個項目，包括152個競賽作品和52個獲獎作品。這本由館長米卡埃爾· 南費爾特編輯的書，與哥德堡的勒斯卡設計、時尚與裝飾藝術博物館的一次展覽不無關聯(lián)，溫高在2007年－2008年冬天在此舉辦了“8棟房子”的展覽，展示了他最喜歡的8棟房子，后來增加了3棟成為“11棟房子”，并在斯德哥爾摩、赫爾辛基和其他地方展出。這個目錄可能還沒有完結，但是它顯示出事務所在去年經濟衰退期之前不斷提高的創(chuàng)作能力，每年的工作時間增加10%～14%，讓人印象深刻。

他們接到的委托項目的規(guī)模越來越大，目前包括城市開發(fā)設計，比如2003年的哥本哈根、哥德堡的海運中心、2005年的索爾納醫(yī)院，通往赫爾辛堡的奧斯陸終點站的多功能中心。但是，他仍然對小型的項目感興趣—比如度假屋、別墅和獨立式住宅。他還在2004年為建筑師之家設計了3種類型的住宅，其中大約36座已經建成。

在任何一位建筑師的生涯中，總會有許多設想和作品不能實現(xiàn)—多數(shù)設計停留在競賽或方案階段。盡管如此，事務所中負責施工和細部設計的人員以及建設主管也不會抱怨沒有足夠的事情做。

2000年，具有優(yōu)雅曲線造型的Al lgon辦公中心落成，它位于斯德哥爾摩都市區(qū)邊緣的，毗鄰通往諾爾泰利耶的E18和去往芬蘭的渡口?？装瑺柗蛭挥趶母绲卤ねㄍ辈康腅6。在這里，溫高運用新的功能概念設計了一個教育文化中心“礦工之家”。他在約塔河對岸N歞inge的Ale文化中心和N歞inge文法學校的建造過程中，運用到過去8年積累下來的經驗。各種學院、一個成人教育中心、一所音樂學院、一家劇院和一個圖書館共同構成了這個綜合體。明亮、開敞的建筑以開放住宅的原則為基礎，使學院和公共區(qū)域之間沒有空間上的隔閡。擴建綜合體分成4個各自獨立并相互連接的體量，出入口和路徑清晰—即使新來的訪客，也不會遇到迷失方向的問題。

事務所最近實現(xiàn)的學校項目在哥德堡南部的孔斯巴卡，是一個始建于1960年代的阿拉納斯文法學校的改擴建工程。這又是一個全新設計，在既存環(huán)境中插入一個鮮明的體量。只有新建部分的首層能夠看出是溫高的設計—采用了他慣用的石灰?guī)r。至于500座劇場的立面設計，溫高同樣以新的美學原理進行實驗。他在黑色的預制混凝土板墻上用巨大的金屬字母拼寫出“TEATER”（瑞典語，劇院），正如文丘里可能采用的作法。這一項目獲得了2006年的卡斯帕薩林獎。

除了米利茨館，溫高還將在德國建造另一個博物館。2005年，他贏得了魯爾地區(qū)馬爾雕塑博物館 “玻璃盒子”的競賽。他設計的老博物館擴建部分，與鹿特丹建筑師凡·登·布魯克和巴克馬在1962年－1966年設計建造的市政廳相呼應，85m長、管道一樣的展覽空間在鄰近的池塘之上伸出，長長的空間盡端被天光照亮，等待參觀者的另一個驚喜是：越過池塘和城市向南眺望的開闊景觀。

2007年，溫高贏得了默恩達爾新城市中心的競賽。這個帶有商店、居住建筑和公共建筑的項目，立即從他自己構想的節(jié)點的西面開始—由此一條設計紐帶呈現(xiàn)出來。他的方案設想了一個40層的高層建筑，用來強調這一新的中心。目前還不清楚這次他能否最終成功地實現(xiàn)一個高層的設計。

博物館建筑是表達建筑理念的最理想的設計對象，溫高最近就有這樣兩個博物館項目。在斯德哥爾摩的瓦薩公園，斯文·哈里·卡爾森博物館將被創(chuàng)造成一個“裝有財寶的銅盒子”，它是一個多功能的垂直方向展示的博物館典范。在首層的商業(yè)畫廊之上是公共藝術畫廊，捐贈者的私人藏品被展陳在小隔間里。博物館的運行成本靠出租12套公寓的房租來提供。金色的、閃閃發(fā)光的立面由一種新的銅、鋁、鋅與錫的合金構成，這種材料不會因為風化而變暗。

與此形成對比的是，拉普蘭的游客中心“雪屋”的外觀非常貼近自然，這里可以讓人感受到薩米文化。其外墻大量木材的運用和它的圓形造型與原有的景觀融為一體，并且以感性的方式傳達著對薩米家鄉(xiāng)與生活方式的深厚感情。展室、禮堂、咖啡廳和服務空間圍繞中央庭院布置。

溫高再次在哥德堡接受了查爾姆斯理工大學的設計委托。在林德霍爾姆原造船廠的基址上開發(fā)的校園里，溫高正在建造一個科學家的交流與辦公中心，就是眾所周知的“齒輪”（Kuggen），這個名字來自于它的平面形狀。這棟建筑的構想是具有可持續(xù)性，這里將配備光電、太陽能系統(tǒng)和高效的能源管理措施，并且被設計成具有很長的使用期。圓形外觀、鮮紅色鱗片狀的表面和三角形窗使其成為校園中容易識別的地標性建筑。溫高的名氣遠不只是作為一名建筑師，這與他似乎難以被歸入任何類型有關，很難給他貼上一個標簽。他的建筑形式多變，總是在適應不同的項目，迄今為止他都避免形成個人風格或可以識別的特征，盡管公眾甚至建筑領域的專家都有這樣的期待。他也從來不參與任何理論上的爭辯，不對他的作品作出任何解釋或者說明。這便賦予了他所期望的自由：因為他不想建立理論，他想在任何時候自由地做他想做的事情。溫高的工作沒有任何道德上的制約，也不被任何意識形態(tài)束縛。他無需通過自己的作品來表現(xiàn)自己。

他總是采用新的方式著手他的工作， 永遠以“敏捷的身心”保持警覺、伺機而變，其他瑞典建筑師則很少能如此靈活地應對客戶，傾聽他們的意見并且實現(xiàn)他們的愿望，為了能夠通過他們的愿望創(chuàng)造出自己的建筑，他在每一個項目中堅持的品質和內心深處渴望實現(xiàn)的是：動用所有感官來體驗的建筑?！?/p>

5 瑞典Ale藝術中心及中學（1993－1995），以蝴蝶為雕塑和建筑題材/Ale arts center and secondary school in Ale, Sweden from 1993-1995.The story of the butterf ly told in sculpture and architecture

There is certainly no doubt that Gert Wing宺dh is a man ready to enjoy the pleasures of life. In his home town, he knows where to buy the best langoustines and the most delicious cheese, and the cook of the Art Museum’s restaurant is intent on welcoming him personal ly. He appreciates his German sports car and he can not live without f lat screens,either at home or work. It seems likely that the sensuality which characterises most of his buildings is rooted in his personality.

This is not exactly the original Swedish way, and is al l the more astonishing as Gert Wing宺dh － at least until a few years ago － had always shown a remarkably settled approach to life. Born in Sk歷de, 140 kilometres inland, he studied in G歵eborg, worked at Olivegrens in G歵eborg, founded his of fice in G歵eborg, and became a professor and Chairman of the Steering Board of the Architectural Section at the university in his home town. So it was a remarkably bold step even to found a branch of his of fice in Stockholm.

Nevertheless, he is not regarded as a typical Swedish architect. Wel l-informed and international ly oriented from the very beginning, he has always looked for inf luences and stimuli wherever they appear usable to him. He is "one of the most lively and creative architects in Sweden, breaking through the hidebound and bureaucratised Swedish norm with a series of surprisingly diverse, exciting and wel l executed buildings," according to Peter Blundell Jones in a text for the English magazine Architectural Review.

How did his independent work begin? It began gradually with smal l commissions, interior design for shops or restaurants, and with Villa Hansson in G歵eborg Fiskeb奵k, buil t in 1977－the year that he founded his office. This house inspired by Charles Moore’s Sea Ranch in California consists of two wood-clad volumes set at sharp angles to one another. Built from plywood on a low budget, nonetheless it al ready demonstrates some features of later vil la designs by Wing宺dh: the surprising effect of space upon entering, its embedding in the rocks and the contrast between bright, open and other warmer, cosy rooms.

Leoni’s Salad Bar was his first interior design assignment. The volume of the restaurant is physical ly delineated and optical ly delimited by a straight wal l of mirrors on one side and an undulating wal l of glass bricks on the other. "If not worthy of a Borromini then at any rate of a Porthogesi," Wing宺dh commented tongue in cheek, characterising this pulsating space and so referring to both the baroque master and the post-modern Italian architect, who was very much "in"at the time.

Leoni’s shared the fate of many short-l ived commercial interiors, like the Marmite Restaurant in乺e, designed in 1979－al though this was not redecorated until 2009. It also had mirrored wal ls and a soft, indirect light emanating f rom gently bulging ceilings. The subsequent contract to convert and modernise Hotel Kramer in Malm was an extensive project leading on to others. At that time Wing宺dh was categorised completely. And utterly as a postmodern architect (and this was still the case in the big Sweden exhibi t ion in the German Museum of Architecture in Frankfurt am Main in 1998, although by then it was probably no longer true). First and foremost, this attribution was a result of Vil la Nordh,which he built in G歵eborg in 1978－1981. This had been celebrated as the first post-modern house in Sweden. Wing宺dh had just returned f rom the USA,where he had admired Mother’s House by Venturi and implemented the impressions gained in his work straight away. He did not require any specific legitimacy for the climbing wooden gril le that covered the facade in an arc, he simply acted f reely－and was much criticised for it.

Perhaps he took this reproof seriously, or he had perceived the trend of the subsequent period very early on; but certainly he soon forgot the diverting post-modern repertoire of forms (with minor relapses in the area of interior design), although not the achievements of Post-Modernism, since he continued his desire to tell stories with architecture. As early as 1982, he said in an interview: "The principles of functionalism are perfectly compatible with insisting that buildings must be fun to look at."

The high point of this period of his oeuvre defined by interior design during the eighties was his commission, in 1986, to furbish the Scandic Crown Hotel in Stockholm (today the Hil ton Stockholm Slussen), buil t by Mats Edblom. Wing宺dh took the circular form of the covered, first-f loor entrance area as an impetus and starting point, making it the basic form of his design. As if he had suddenly been taken by a desire to play out this theme with al l its variations,he turned everything into circles: the reception desk and the bar, the lobby, the counters and the ceiling mir rors, the vestibules to the toilets and the cloakrooms, everything curved and permeating into each other. He even designed the staircase down to the ground f loor as a circle: a concave-convex stairway with a round central rostrum like the ones last seen in the French Baroque. As an eye-catcher when entering,he displayed the Scandic Crown － a golden crown －on a marble pil lar. There was no demand for noble,tranquil design in the rooms, so he clad the wal ls in lively, contrasting wooden panels. Flamed birch, deep red cher ry wood and Ital ian walnut appear in alternating stripes. The aim was to engrave this hotel into the memory of even frequent f lyers among the guests. Under the new operators, the interior has been al tered in parts; above al l, it has been toned down and adapted to "international taste".

He designed a smal l bridal wear shop for Laura Ashley in Stockholm in 1984, where the wooden varnish of the furnishings and parquet f loor also played a key role in its character and atmosphere. This atmosphere was reminiscent of interiors by Adol f Loos in Vienna during the nineteen-twenties. In order to connect the four narrow rooms arranged in a rectangle, Wing宺dh simply cut out the crossing point of their wal ls. The cut-of f brick wal ls were then glazed using a goldenred shimmering paint. Laura Ashley in Stockholm has not survived any more than Wing宺dh’s work for Yoko Yap in G歵eborg in 1982. Again, Wing宺dh slipped playful ly into a new role and designed a cool,modernistic, almost timeless ambience for the Japanese shoe store, which employs only a few echoes to appear unmistakably Japanese: there are backlit wal ls of shelves that suggest Japanese paper wal ls,glass and wal l areas divided into long, flat sections,harsh contrasts between light areas and black frames,and there is the division of the floor into single fields,which is reminiscent of traditional Japanese rooms with tatami mats. The two slightly oblique counters made of exposed concrete evaded the graphical ly dominant, otherwise al l-determining geometricrectangular layout. Since the store’s move a few buildings further along in 2007, Yoko Yap has been a neutral white shop-with a chandelier hanging f rom the ceiling.

Naturum T宬ern is a bird sanctuary on the southern shore of Lake T宬ern in East G歵aland. The visitor centre has no visible facades, only areas of thatched roof which al low it to merge with its natural surroundings. The ground plan echoes the form of a three-sided farmyard. It perches on stilts on the ground of the wet lands as if on tiptoe. The facade of the observation tower nearby is also clad in thatch.Visitors reach it via a wooden bridge meandering through the treetops.

For the Wing宺dh of fice, the quantum leap came in 1989 with a contract for the laboratory campus of Astra H妔sle in M歭ndal, the young industrial town ten minutes south of G歵eborg. In this way, Wing宺dh progressed from interior design to the world of major commissions within a few years. Despite his lack of experience in the construction of laboratories,Wing宺dh won the compet i t ion among invi ted submissions and over the next eight years he was compel led to devote 80 per cent of his labour power to Astra. Nevertheless, during this period he completed no less than fifty-six other projects. At that time he took no holidays, stil l feeling young but al ready experienced and capable of great achievements. Astra Zeneca, as the pharmaceutical concern was later known, brought him the second Kasper Salin Prize in 1993, which he regarded as proof of the fact that his first success with 卛jared Gol f Club was more than a f lash in the pan.

Al though Wing宺dh had a place and reputation in the west-coast economy f rom the beginning, he had to make inroads into Stockholm and i ts administrative and governmental centres later on.The government contracts in the second hal f of the nineties－for the Ber lin embassy, the stadium for Stockholm’s application for the 2004 Olympic Games,and the control tower at Arlanda－opened doors to him and gave him a name "at cour t". In 2000 he worked directly for the government when he renewed an administration centre for the Ministry of Agriculture and Social Af fairs in Stockholm’s Tigern block and provided it with an atrium with a glazed-over roof.The cent re comprised several buildings f rom the nineteenth and twentieth centuries.

It is not just in Sweden that Wing宺dh is known as one of the most inf luential and successful Scandinavian architects. Natural ly, the magnificent Swedish embassy in Washington has been noticed in specialist American circles. But his work for al l the "big players" whose names are wel l-known beyond Sweden l ike Volvo,Ericsson or Astra, and final ly the growing number of buildings and projects abroad have also made him international ly prominent. In the meantime, he has become almost as familiar with the route to the airport as he is with that f rom his house to the of fice in Kungsgatan. There, in a commercial building dating from the thirties, his office has expanded step by step onto almost al l the floors and is beginning to cross into the neighbouring property. There are very few larger of fices, but many smal l rooms with views out over neighbouring al leyways and roofs; overal l, it is a labyrinthine system, in which the surrounding old city is always present as a scale-generating space. Around ninety employees in the G歵eborg office work to realise his ideas in the constructed environment, and there are thirty more in Stockholm.

Wing宺dh is not a team player, not a primus inter pares. He is not able to supervise every design intensely from the idea to its completion, but he regards it as important to keep al l projects under his constant control. And he still continues to fill a sketchbook with his drawings and notes. He has not yet completed the transition to the al l-dominant computer. He does not wish to sacrifice the sensual experience of working with pencil or pen, which he did so extensively and meticulously before the computer age. He has always been aware of the power of the image, the power of conviction that visual demonst rations convey,especial ly to the layman, to the building clients. In the past, he drew dramatic city views reminiscent of Piranesi whilst today, the most delightful visualisations can be created digital ly using the computer; Piranesil ike perspect ives have given way to computer visualisations, which, with the same emotionality and a similar appearance, convey imaginary but intense 3-D experiences to the observer.

Comparing Wing宺dh’s dif ferent works to one another, one gets the impression that he can saddle almost any horse－that he has mastered al l methods,styles and typologies. A greater contrast is scarcely imaginable, for example, than the one between his country estate Sand and Vil lAnn, although both are in similar coastal locations with a view of the sea. The first is a highly atmospheric country estate in local t radition, exploiting every mood of the l ight,celebrating cosiness and closeness to nature, and the second is the prototypical ly, cool ly abst ract perfectionist artefact in the style of international Modernism. Ralph Erskine on the one hand and Tadao Ando on the other－or so the two poles might be label led with names of wel l-known protagonists. He is capable of making his architecture accord perfectly with the two opposite lifestyles and approaches to life.

There is something rather playful about the way that he evades the seriousness of a neat ly defined architectonic standpoint and is always seeking out new stimuli, new ideas for every new project, aiming to achieve one thing first and foremost: to do justice to the setting, the usage, and the user. In this context,Wing宺dh likes to cite his Swiss colleagues Herzog & de Meuron, who approach each new task with the same lack of partiality and whose work is therefore characterised by comparable variability.

However, many projects do have something in common, something that plays a part－if not the main part－in his villas. This is Wing宺dh’s irrepressible desire for a truly theatrical staging of the landscape via the backdrop of the house. VillAnn opens out to the afternoon and evening sun across its ful l width like a stage, in order to capture the very last rays of sun-and al lows passers-by on the shore road to participate in its vitality. The country estate Sand is a similar casehere, the fourth wal l facing the sea is replaced by an unframed view. Villa Nilsson and the villa just outside Amund歯 celebrate the panorama in dif ferent waysas an experience of architecture and of landscape. In Vil la Astrid the visitor experiences a release into space af ter having entered the house through a narrow situation f rom above and having climbed down into the widening room.

One site-related theme that Gert Wing宺dh enjoys taking up during his investigation into the topography of the site is that of developed rocky clif fs, which is encountered of ten enough on construction sites in Sweden’s coastal regions. Wing宺dh came into contact with his favoured local limestone at a young age, and was inf luenced by his games in the countryside, and by his father’s factory. He views the landscape as a place to live: for him, man is archaical ly merged with the soil.His houses do not rise to distance themselves from the ground that they are built on－they nest le or even bury into it, becoming one with the place itsel f.Often, his houses fit into the rock formations, and the rocks even grow into the house, conveying the calming sense of being rooted in something to their inhabitants.In Vil la Astrid or in Vil la Nilsson the rocks penetrate into the house and "earth" it. At the Universeum in G歵eborg, he was able to tackle this theme again, but on a larger scale. The building is built on the rock; an outsized glasshouse arches over the rocky rise,protecting the fauna and f lora so that it can develop under tropical conditions.

Wherever there is a need to continue building artificially, he abstracts the rock with his own layers of stone. He piles up stone layers in the form of slabs and steps, which are not placed neatly one above the other in f lights of steps, but rathe－for example in Vil la Nilsson－in an open arrangement, heightening a natural situation in an artistic way. The interior of卛jared Gol f Club is an artistic interpretation of the rocky landscape. The open steps in front of the vil la near Amund歯 appear more geometric. But even the setting of a single, simple step at Sand does not take place without appropriate consideration. Here and there, there are reminders of Carlo Scarpa, who is also one of Wing宺dh’s favourites.

9 贏得德國馬爾雕塑博物館競賽的方案（2006），表面上的凹痕象征周圍的樹木/Winning competition entry for a museum of sculpture in Marl, Germany, from 2006. Excavations in the facade reseblems the trees on the site

There are architects who see their primary task as organising space and preparing it for projected or desirable uses. Some also pay attention to the artistic message and atmosphere. Gert Wing宺dh has a further objective; as he sees it, architecture as a manifestation and quality of experience is definitively dependent on materials and details, as wel l as the way that these are handled. In the Swedish embassy in Ber lin, for example, the wonder ful woodwork on the wal ls and steps of the foyer－in glowing, warm orange birch wood－creates physical wel lbeing. The per fect craf tsmanship of his latest new bui lding for AstraZeneca, the of fice building next to the reception building, contributes to its convincing dignity.Flawlessness can be a form of beauty and Wing宺dh wil l not let it be said of him that he neglects the beautiful things in life.

Repeatedly, Wing宺dh sees himsel f inspired by his experience of art. The Swedish painter Marcus Larsson painted views out into the wilderness f rom the safety of his Paris studio. At the Citadel l swimming pool in Landskrona, Wing宺dh t ranslates this situation into a view through narrow slits from the domesticated pool to the unrestrained sea. And he cites David Hockney’s pool pictures with the decor of the floor tiles.

He describes his Laura Ashley shop in Stockholm as a col lage of ready-mades, so referring to Marcel Duchamp. This side-glance at that artist’s work is certainly justified, since a desire for artistic expression is one of the essential driving forces behind Wing宺dh’s own work.

Having al ready emphasised sustainabi lity in his ear ly works, he has since become known as an ecological ly oriented architect, al though he has never qui te been a fanat ical ecological activist. 卛jared, Ale, Chalmers and the Universeum are pioneer ing cons t ruc t ions in eco logi ca l terms and Sony Ericsson in Lund was the f irst administrative headquar ters in Sweden to be declared a "green bui lding".

Sometimes Wing宺dh would like to express himself rather than attempting to change the wor ld. It is in this context that one should see his commitment to the (basical ly non-ecological) high-rise buildings that he has planned for G歵eborg and Stockholm. Borne of his enthusiasm for Manhattan, he had suggested highrises for the south bank in G歵eborg as early as 1980.His intention was for a 274-metre-high of fice and residential building－the "Scandinavian Tower" －to rise above Malm Hyl lie He also has various high-rise plans for Stockholm tucked away in a drawer. On the city square Sergels Torg, his idea for the elegant Sergel Tower of apartments was to create more of an international aura in the city. On Heden in G歵eborg,he planned a total of four high-rises with views down to the historic moat and inner city. But his ideas fal l on deaf ears, even today. The high-rise, which he sees as a genuine urban-developmental element of truly big cities, is regarded as un-Swedish, and it wil l probably remain so for a long time, notwithstanding the isolated example of Calatrava’s Turning Torso in Malm For Wing宺dh, therefore, the construction of a high-rise remains the great challenge, an issue that remains open.

Another chal lenge is internationalisation, an expansion abroad which began with his first projects in the rest of Scandinavia in the new mil lennium. Soon the USA, England, Germany, France and Russia joined the agenda.

366 projects are listed in the catalogue of works printed in the publication Thirty years of architecture through four decades, including 152 works for competitions and 52 winning projects. Edited by curator Mikael Nanfeldt, this book appeared in connection with an exhibition in the R歨sska Museum of Design, Fashion and Decorative Arts in G歵eborg, where Wing宺dh presented "Eight houses" in winter 2007－2008; a presentation of his eight favourite houses, subsequently extended by three to "Eleven houses" and shown in Stockholm, Helsinki and other venues. The list may not be complete, but above al l it shows the of fice’s impressive, constantly increasing productivity in the last years before the recession, with an annual increase in working hours of ten to 14 percent.

10 斯德哥爾摩斯文·哈里·卡爾森博物館（2008－2011），在建的住宅、畫廊和博物館綜合體/Sven-Harry Karlsson museum, Stockholm,from 2008-2011. A comination of housing, gallery and museum currently under construction

The assignments are getting bigger; now they include urban-developmental projects like that for Copenhagen, the Maritime Center G歵eborg in 2003, a hospital for Solna, or a multifunctional centre at the Oslo Terminal to Helsingborg in 2005. But he is stil l attracted by smal l works－such as holiday homes,vil las and detached family houses. He also designed three catalogue houses for Arkitekthus in 2004, around three dozen of which have been built.

As always in any architect’s li fe, a lot of imagination and work has been invested for nothingthe majority of designs got no fur ther than the competition or project phase. Nevertheless, the realisation－and detail-planners and the construction managers in the of fice cannot complain that they do not have enough work to do.

Opened in 2000, the elegant ly curving Al lgon of fice centre in R歯ninge T奲y on the edge of the metropolitan area of Stockholm is close to the E18 heading towards Norrt妉je and the ferry to Finland.Kung妉v is located on the E6 f rom G歵eborg to the north. Here, Wing宺dh created the educational and cul tural cent re Mimers Hus, employing a new functional concept. He made use of experience col lected eight years before during the construction of the Ale Cul tural Centre and the Grammar School in N歞inge on the opposite bank of the G歵a 妉v. Various schools, an adult education centre, a music school, a theat re and a l ibrary have been combined into an integral complex. The bright, expansive architecture is based on the open-house principle, creating no spatial separation between school and public uses.The clear system of access in the extensive complex which is divided into four connected but individual volumes-presents no insurmountable problems of orientation even for new arrivals.

The of fice’s most recent school project was real ised in Kungsbacka, south of G歵eborg. It concerned the conversion and extension of Aran妔Grammar School, which dates f rom the sixties. Again,it is a brand new design that demonstrates an intense involvement in the existing situation. Only the ground plan of the new wings, reminiscent of Ale, suggests Wing宺dh as the architect-as of course does the inevitable limestone. For the facade design of the theatre with 500 seats, Wing宺dh also experimented with new aesthetics. He wrote "TEATER" in huge metal let ters on the black wal l of prefabricated concrete panels, as Venturi would perhaps have done. The project was awarded the Kasper Salin Prize 2006.

In addition to the M焤itzeum, Wing宺dh wil l soon be building another museum in Germany. In 2005 he won the competition for the Museum of Sculpture’s"glass box" in Marl, a town in the Ruhr area. His design for the extension of the old museum－buil t to relate to the town hal l by the Rotterdam architects van den Broek and Bakema in 1962－1966－envis ages an 85-metre-long, shaft-like exhibition space projecting over the adjacent pond. At the end of this long space lit by skylights, another surprise lies in wait for visitors: an open view across the pond and the city to the south.

In 2007 Wing宺dh won the competition for the new cent re in M歭ndal. The development with shops,residential buildings and public uses begins immediately west of a junction that he himsel f conceived－and a design link emerges as a result. His project envisages a forty-storey high-rise to accentuate the new centre.It is still not clear whether he wil l final ly succeed in realising a high-rise project this time.

Museum bui ldings are idea l f or making outstanding architectonic statements, and this is also the case with Wing宺dh’s two most recent museum projects. By the Vasapark in Stockholm, the Sven Harry Kar lsson Museum is being created as a"brass box containing treasure" and is one example of a vertical ly laid-out museum with various functions.Above the commercial gal leries on the ground f loor one finds the public art gal lery. The donor’s private col lection is exhibited in the penthouse. The costs wil l be met by renting out twelve apartments. The golden, shimmering facade consists of a new al loy of copper, aluminium, zinc, and tin, which wil l not darken as a resul t of weathering.

By contrast, a facade very close to nature wil l be provided for The Snow Trap, a visitor centre in Lapland where it is possible to experience the Sami culture.Its exterior wal ls of stacked timbers and its round form mean that it fits into the original landscape and conveys an intense feel for the lifestyle and homeland of the Sami in a sensual way. Exhibition rooms,auditorium, cafe and service areas are set around a central atrium.

Wing宺dh has also worked for Chalmers Technical University in G歵eborg once again. On the campus that has developed on the former dockyard site of Lindholmen, Wing宺dh is building a communications and of fice centre for scientists, known as the "Kuggen"(cog) because of the shape of its ground plan. The building is envisioned to be extremely sustainable. It wil l be equipped with photovol taic, thermal solar usage and highly ef ficient energy management; it is conceived for a long life. Its round form, bright red scaled facade and triangular windows make it into a landmark for the campus that is easily recognisable.Wing宺dh’s reputation has not yet caught up with his significance as an architect. This may have something to do with the fact that he does not seem to fit into any category, and it is dif ficult to pin a label on him.His formal diversity, always oriented to the task in hand, has so far prevented the development of an individual style or a recognisable signature,whereas the publ ic－and even exper ts in the field－tend to expect this. Nor does he participate at al l in theoretical debates and provides no explanations or interpretations of his works. This gives him the f reedom he desires: because he does not theorise, he is free to do whatever occurs to him at any one time. Wing宺dh labours under no moral imperative and does not feel bound to any ideology.He has no need to measure himsel f against the manifestations of his own work.

He always sets about things in a new way, with a certain "lightness of being", always alert and ready to react. Very few other Swedish architects react so f lexibly to clients, listening to them and realising their wishes; in order to create his own architecture from those wishes, he asserts his demands for quality and realises what is close to his heart with every task: architecture to experience with al l the senses.(Original ly published in Falk Jaeger: Wing宺dhs.Jovis Portfolio 2010)□