项目名称: Eiermuseum
建筑设计：gaupenraub +/-
项目地址: Gritsch Mühle 1, 7092 Winden am See
主设计师: Alexander Hagner, Ulrike Schartner
占地面积:13.600 m²
建筑面积: 100 m²
摄影：Patricia Weisskirchner
项目背景
Parcours of the pavilions
项目的委托人Wander Bertoni是位典型的雕塑家，他的作品种类多样、内涵丰富、横跨了多个尺度。在1965年成为维也纳应用艺术大学的雕塑系教授前夕，他买下了奥地利小镇Winden am See一座农场。这里的历史文化氛围浓厚，毗邻一座罗马建筑遗址，也曾出土过奥地利第一台葡萄酒榨汁器。Bertoni在Johannes Spalt的建议下，花费数年时间在此建起了一系列展示他个人作品的博物馆，其中大展馆还获得了2002年Burgenland州最佳建筑的奖项。
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在创作时常常从“蛋”中获取灵感，他认为蛋有着包括生命和希望在内的许多象征意义。他收藏了超过4000只材料、大小各不相同的“蛋”，而Johannes Spalt也为此设计了相应的展馆。然而不幸的是，他的身体状况不足以支持他完成这件作品，其后续工作也只能移交给他曾经的学生，来自gaupenraub +/-事务所、才华横溢的Alexander Hagner和Ulrike Schartner来完成。
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.
连起两代建筑师的作品
Designing through the generations of architects
在经过对场地、周边环境和展品的详细研究后，两位年轻的建筑师提出了一个新的方案： 一个两层的“玻璃巢”。新建筑并没有加入到现有建筑的轴线体系中，甚至微微西移，让出了大展厅的外部轴线空间，与磨坊平行，面向宽广的葡萄园。建筑师意图将基地中的多重轴线关系推到极致，全透明的底层空间让其后建筑的相互关系一览无遗，同时也为身处其中的参观者提供360°的全景视角。呼应现有建筑的方形坡屋顶向下延伸，封闭了二层空间的视线，而其高度也与磨坊塔顶相当，仅在尺度上有所区别。Bertoni夫妇对新方案非常满意，但仍在征得Johannes Spalt的同意后才正式动工。
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.
稳定的建筑结构
Consistent – right down to the columns
Wander Bertoni的花园中没有任何一株灌木，包括接骨木在内的所有植被都以树的形态生长，花园空间广阔而通透。蛋博物馆的承重结构继承并延续了这种表现手法，一层的两根承重柱被涂上了深灰色，如树干般微微倾斜，甚至连尺度都与树干保持了一致。
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.
当然，仅靠两根承重柱难以维持一个稳定的结构体系。如同鸟类用它们的尾羽支撑身体一般，建筑师利用反向倾斜的楼梯让结构系统达到了平衡。然而，三个承重柱依然过于冒险，总会有一个远离支撑结构的角落出现，让建筑难以避免震动和摇摆。来自合作单位Peter Bauer的提议最终解决了这个潜在的危机：承重钢结构微微弯曲形成一定弧度，并在边缘处通过受拉构件与地基相连。预估的荷载量远远超出了建筑活荷载和自重，以保证结构的绝对安全。工人和建筑师联手克服了种种困难，让理论中的可行性最终得以实现。
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
由于展品对温度、湿度的变化并不敏感，而且当天气情况不好时展馆将停止开放，建筑师将地基的范围扩大，越过玻璃墙面形成了一个贯通室内外空间的椭圆形地面。 不能经受阳光直射的展品被移至二层展厅，通过从底部倾斜玻璃折射入内的自然光线和人工照明系统为这个封闭的展厅带来源源不绝的光线。在二楼中部的中空处，连通上下两层的松木楼梯暗示着参观者将进入一个与开敞一层截然不同的空间。量身定制的展示架悬挂在墙壁、天花和栏杆上，大小不同的格子让每一个“蛋”都能找到最适合的容身之处。
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夫妇是最完美的业主，作为设计者的建筑师在与他们的沟通中总是能找到共鸣。
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.
