格特·温高的建筑历程

法尔克·耶格尔/Falk Jaeger

项琳斐 译/Translated by XIANG Linfei

毫无疑问，格特·温高是一个喜欢享受生活的人。在家乡，他知道去哪里买最好的龙虾和最美味的奶酪，艺术博物馆餐厅的厨师也愿意亲自款待他。他喜欢德国跑车。无论在家还是在工作室，他都时刻不离平面显示器。由此看来，他的多数建筑作品中的感性特征正是他自身个性的体现。

格特·温高的生活方式并不完全是瑞典本土的，更令人惊讶的是，至少在几年前，他的生活还是非常安稳的。他出生在离海岸线140km的舍夫德，在哥德堡学习，之后在哥德堡的乌利韦格伦事务所工作，接着在这里创立了自己的事务所，而且在家乡成为大学教授，并担任建筑部门指导委员会的主席。所以，他的事务所在斯德哥尔摩设立一家分部，对他来说是非常大胆的一步。

然而，他不被看成是典型的瑞典建筑师。最初，他就对国际潮流相当敏感，一直都在寻找对他有利的变化和刺激。彼得·布伦德尔·琼斯在英文杂志《建筑评论》中的一篇文章中这样描述，他是“瑞典最活跃并最具创造性的建筑师，他以一系列出人意料的多样、激动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。”

他是如何开始独立执业的？他从一些小的委托项目—商店或餐馆的室内设计起步，在他成立事务所的1977年，建造了哥德堡Fiskeb奵k的汉森别墅。这栋住宅受查尔斯·摩尔在加州设计的海洋农场的启发， 由两个木表皮的体量以锐角相交构成。 虽然这栋房子是以廉价的胶合板建造的，但是已经显露出温高后来的别墅设计的某些特征：入口出人意料的空间效果，嵌入岩石的做法与明亮、开敞及其他温暖舒适的房间形成对比。

莱奥尼的沙拉吧是他的第一个室内设计作品。饭店在空间和视觉上被一侧笔直的镜墙和另一侧起伏的玻璃砖墙限定。“如果算不上是波罗米尼的风格，也带点儿波托盖希的意思吧”， 温高半开玩笑地谈论这个流动空间的特色，提及了巴洛克的大师和当时非常流行的意大利后现代主义建筑师。

莱奥尼的命运与许多短期的商业室内设计作品一样，像1979年设计的奥勒的Marmite餐厅—尽管它直到2009年才重新装修。这里也有镜墙，微凸的天花板下散发出柔和的光线。随后的委托项目是马尔默的克莱默酒店改造，使其满足现代的使用需求，它的设计对其他项目具有深远影响。这个时期的温高已经完全可以被归类为后现代建筑师（在1998年法兰克福的德国建筑博物馆的瑞典展中他就被这样归类，尽管在当时可能已经不算准确了）。这样的归类主要是因为1978年－1981年他在哥德堡建造的努德别墅。这个项目被称为瑞典的第一座后现代主义住宅。当时温高刚从美国回来，非常欣赏文丘里的母亲住宅，并且把对那栋住宅的印象直接体现在自己的项目中。覆盖在建筑表面上构成拱形的木格栅，没有任何明确的合理性，他这种简单随意的做法遭到很多批评。

或许是他认真地接受了那些指责，也或许他很早就意识到了今后的趋势；毫无疑问的是，他很快将有趣的后现代主义形式抛在脑后（在室内设计领域中有些许的回归），尽管他坚持了他用建筑讲故事的愿望，那并非后现代主义的成就。早在1982年，他就在一次访谈中说过：“功能主义的原则，完全可以与坚持房子必须看上去有趣的原则协调一致”。

温高在1980年代的全部作品几乎都是室内设计，其中一个重要的委托项目是1986年对斯德哥尔摩斯堪迪克皇冠假日酒店（今天的斯德哥尔摩希尔顿Slussen酒店）的更新，原建筑由马茨·艾德布洛姆设计建造。温高在一层覆顶的入口区域使用了圆形，并以此为起点，将圆形当作设计的基本元素。好像他突然热衷于利用所有可能的变化演绎这一主题，他将所有的东西都变成圆形：接待前台和酒吧、门厅、计数器和天花板的镜子，从门廊到卫生间和衣帽间，一切都呈曲线交织蔓延。他甚至将通往地面层的楼梯设计成圆形：一个带有圆形中央高台的凹凸的楼梯，像法国巴洛克风格的延续。他在入口处把一个金色的斯堪迪克皇冠放置在大理石柱上，达到引人注目的效果。客房不要求高贵宁静的设计，因此他在墙壁上使用了活泼、对比鲜明的木板。火焰纹的桦木、深红的樱桃木和意大利核桃木呈条纹状交替出现，目的是让酒店给来往的客人甚至那些经常旅行的人留下深刻印象。新的经营者对室内进行了局部改造，最重要的是让它保持低调并符合“国际口味”。

1984年，他在斯德哥尔摩为罗兰爱思设计了一家婚纱店，木质家具和镶木地板仍然在店面的特色和环境的营造上发挥了重要的作用。这里的环境会让人想到1920年代阿道夫·卢斯在维也纳的室内设计。为了将矩形中并排的4个狭小房间联通，温高只是打开了这些墙的交接点，断开的砖墙被涂上金红色的油漆，光滑闪亮。斯德哥尔摩的罗兰爱思并不比1982年温高在哥德堡为横叶设计的作品留存时间更长。在后者的设计中，温高再次戏剧化地转换了身份，以冷色调的现代派的设计为这家日本鞋店营造出近乎永恒的氛围，只在少数地方呼应了日本风格：鞋架的背墙能让人联想到日本壁纸装饰的墙壁、玻璃和墙面被水平向通长地划分，浅色区域和深色框架形成强烈对比，地面的划分也能让人想起传统日本房间中塌塌米垫子。两个略微倾斜的素混凝土柜台，避免了明显的几何形式，否则所有布局方式都是矩形的模式。自从鞋店在2007年扩大店面之后，横叶店已经成为一个中性的白色店面—屋顶悬挂了一个树枝形的装饰灯。

1 瑞典哥德堡汉森别墅（1977－1978），格特·温高的第一个项目/Vil la Hansson in Gothenburg, Sweden, from 1977-1978. Gert WingŒrdhs first commission

2 瑞典哥德堡横叶鞋店（1982），早期的委托项目之一/Yoko Yap shoestore in Gothenburg, Sweden, from 1982. An assignment from one of the first years

托肯湖游客中心是东约特兰省托肯湖南岸的鸟类保护区。游客中心没有引人注目的外墙，只有茅草屋顶融入到周边的自然环境中。一层平面仿效了农家三合院的形式，以支柱架空在湿地之上，仿佛轻轻地踮起脚尖。旁边观察塔的外墙也以茅草覆盖，游客可以通过一个穿越树林的蜿蜒的木桥到达这里。

1989年，温高事务所迎来了一次飞跃，因为在这一年他们接下了默恩达尔Astra H妔sle实验校园的设计任务，这座新的工业城距离哥德堡南部10分钟车程。这样，温高的主要设计范围在几年之内从室内设计拓展出来。尽管温高对实验建筑缺乏经验，但他还是赢得了邀标的设计竞赛。在接下来的8年中，他不得不将他80%的精力投入到Astra的项目上。然而，在这期间他还完成了其他多达56个项目。那段时间，他没有假期，仍然感觉充满活力，而且积累了丰富的经验并取得了很大的成就。阿斯利康制药公司，让他在1993年第二次获得卡斯帕萨林奖。他认为这次获奖可以证明，他以卛jared高尔夫球俱乐部获得的第一次成功并非昙花一现。

尽管，温高一开始就在西海岸获得了地位和声望，但是他必须进军斯德哥尔摩的市场，并且后来将业务范围深入到这里的行政和政府中心。1990年代后期，他开始接到政府的委托项目—柏林大使馆、斯德哥尔摩申办2004年奥运会的体育场和阿兰达指挥塔，并且被冠以“御用”的称号。2000年，他直接为政府工作，改造斯德哥尔摩老虎街的农业和社会事务部的行政中心，在这里增添了一个玻璃屋顶的中庭。这个中心包含了建于19世纪和20世纪的若干栋建筑。

不仅在瑞典，温高也是斯堪的纳维亚地区最具影响力和成功的建筑师之一。华盛顿宏伟的瑞典大使馆自然引起了美国建筑界人士的注意。在瑞典之外，他接到所有著名“大公司”的项目，比如沃尔沃、爱立信和Astra。最终，越来越多的海外建筑项目让他获得了国际声誉。这期间，他往返机场像从家往返国王大街的办公室一样频繁。在那里，一栋1930年代的商业楼中，他的事务所逐渐扩大，几乎占据了所有楼层，并且开始延伸到临近的大楼里。这里很少有大的办公室，多数是可以俯瞰临近街道和屋顶的小房间；总而言之，这里是一个迷宫般的体系，置身其间，周围的老城区成为一种空间比例上的参考。大约有90名员工在哥德堡的事务所里工作，实现他的建筑理想，另外30多名员工在斯德哥尔摩。

温高既不是团队中的一员，也不是高高在上的领导。他不能监督从概念到实施过程中所有的设计，但他认为重要的是保持所有的项目在他的控制之下。他仍然坚持在速写本上画草图、做笔记。他还没有完全转换到计算机主导的工作方式，他不愿意放弃铅笔或钢笔绘图带来的感性体验，在计算机时代之前，他以这种方式完成了大量细致的工作。他总能意识到图像的感染力，图像表现所传达的力量，尤其对于非专业人士、建筑业主来说。过去，他会画出激动人心的城市景观，让人联想到皮拉内西。但是现在，可以利用计算机数字技术创造出更令人惊叹的效果图。皮拉内西的透视图被计算机效果图取代，后者同样具有动人的图像表现力，而且给观者更强烈的三维体验。

比较温高的不同作品，可以看出他非凡的驾驭能力—他能掌握所有的方法、风格和类型。反差之大几乎难以想象，比如他设计的 “沙滩” 和 Vil lAnn两个乡村项目，同样是在靠近海岸拥有海景的位置。第一个项目明显具有当地传统的乡村风格，捕捉每一缕阳光，营造舒适的亲近自然的氛围。第二个项目是典型的现代主义风格，冷色调、完美的人工产物。这两个极端也许可以让人联想到两位著名的代表性人物—一位是拉尔夫·厄斯金，另一位是安藤忠雄。温高可以将两种相反的生活方式和生活态度完美地融入到他的建筑设计中。

3 瑞典斯德哥尔摩斯堪迪克皇冠假日酒店（1986－1989）。向卡罗·斯卡帕致敬的圆形主题/Scandic Crown Hotel in Stockholm, Sweden,from 1986-1989. Circular motifs with reverence to Carlo Scarpa

相当有趣的是，他回避明确定义的、严肃的建筑立场，而是不断为每一个新项目寻找新的刺激、新的想法，首要的目的是协调环境、功能和使用者之间的关系。在一语境下，他经常提及他的瑞士同行赫尔佐格与德梅隆，他们对待每一个新的设计任务都没有特别的偏爱，因此他们的作品具有类似的变化特征。

然而，许多项目确实存在某种共性，在他设计的别墅里多多少少都有些相似点。这就是温高坚持不懈的追求—通过房屋周围的环境呈现出一种真正戏剧化的场景。为了捕捉到落日的余晖，并让从海岸经过的路人也享受到这一景致，Vil lAnn在下午敞开，夕阳全景呈现在眼前，犹如一幕演出。乡村别墅“沙滩”在这方面有相似之处，面向大海的第4面墙被无框的景窗代替。尼尔森别墅和Amund歯别墅之外的别墅以不同的方式演绎全景—一种建筑的和景观的体验。在阿斯特丽德别墅，访客从上部狭窄的空间爬下来进入到宽敞的房间中，感觉豁然开朗。

在调研场所地貌的时候，格特·温高乐于处理岩石丛生的险峻环境，在瑞典的海岸地区经常会遇到这样的建设用地。温高在儿时就接触过本地石灰岩，乡间的玩耍和在父亲工厂中的耳濡目染，使他对这种岩石有所偏爱。他认为景观是居住的场所：对他来说，人生来就与土壤息息相关。他的房子不会升起与地面保持距离，而是紧贴地面甚至埋入土壤，成为所处环境的一部分。通常，他的房子会与岩石的形体吻合，岩石有时甚至嵌入墙体，让居住者有扎根于此的安定感。在阿斯特丽德别墅和尼尔森别墅中，岩石穿进房屋并使其“着陆”。在哥德堡科研中心与水族馆，他再次应对这样的情况，但是建筑的规模更大。房子建造在岩石之上，一个特大的玻璃暖房拱悬于岩石之上，给动植物群提供庇护，使其能在热带环境中生长。

无论哪里需要保留人工的建筑处理，他都利用石料固有的层理将岩石抽象化。他用这些石层组成路面和踏步，但它们不是简单地像台阶一样叠加，而是采用一种开放的布局，比如在尼尔森别墅中，以充满美感的方式强调自然的态势。卛jared高尔夫球俱乐部的室内是对岩石景观艺术化的阐释。Amund歯附近别墅前的台阶看起来更为几何化。但是在“沙滩”别墅中，甚至单独的一个简单的台阶也经过精心设计。处处都能让人联想到卡罗·斯卡帕，他也是温高最喜欢的建筑师之一。

有些建筑师认为，他们的首要任务是组织空间，使其满足预期的功能需要。还有一些建筑师关注艺术主题和氛围的营造。格特·温高的目标更进一步：他认为，建筑是一种表现形式，而体验的结果无疑取决于材料和细节，以及它们的处理方式。比如，柏林的瑞典大使馆，墙面和休息厅台阶精彩的木构造—明亮温暖的橙色桦木—创造出身体的愉悦。他为阿斯利康新设计的办公大楼与接待大楼毗邻，这栋房子精湛的建造技艺让人心悦诚服。完美无缺可以是一种美的形式，温高不会让别人以为他不重视生活中美好的事物。

温高反复运用艺术体验带给他的灵感。瑞典画家马库斯·拉尔森在他的巴黎工作室安稳的环境中创作出了荒野景观。在兰斯克鲁纳的城堡游泳浴池，温高将这种情境转化成通过人工泳池的狭缝一瞥无垠的大海。同时，大卫·霍克尼的泳池绘画被他用作面砖的装饰。

他形容他在斯德哥尔摩设计的罗兰爱思店面是“预制”拼贴画，受到马赛尔·杜尚的影响。的确，一看到这位艺术家的作品就可以证实他的说法，一种对艺术表达的渴望是温高作品背后的原动力之一。

他在早期的作品中就强调了可持续性，因而被看作是生态学方向的建筑师，尽管他从来都不是狂热的生态主义分子。ijared、Ale、瑞典查尔姆斯技术学院学生活动中心和哥德堡科研中心与水族馆是生态学意义上的开拓性作品，隆德的索尼爱立信总部是瑞典首座被称为“绿色建筑”的行政管理总部。

有时候，温高更喜欢表达自己，而并非试图改变世界。这种情况，可以在他为哥德堡和斯德哥尔摩设计的高层建筑的委托项目上看出来。出于对曼哈顿的热爱，他早在1980年就建议哥德堡的南岸建设高层。他的提议是一栋274m高的办公和居住建筑—“斯堪的纳维亚大厦”—在马尔默/Hyl lie上升起。他为斯德哥尔摩设计的各种高层方案也塞满了一个抽屉。在塞戈尔城市广场上，为了在城市中营造更国际化的气氛，他设计了优雅的塞戈尔公寓大楼。在哥德堡的Heden区，他总共设计了4栋俯瞰历史护城河及内城的高层建筑。但是他的构想都没有被采纳，直到今天仍是如此。他认为高层建筑是大城市都市发展的真正要素，但是高层却被认为是非瑞典的—这种观点由来已久，尽管有卡拉特拉瓦设计的马尔默的旋转大厦这样的孤例。因此，对于温高来说，高层建筑仍是一大挑战，是尚未解决的问题。

4 瑞典瓦尔贝里尼尔森别墅（1989－1992），海边的独立住宅/Vi l la Nilsson in Varberg, Sweden, f rom 1989-1992. A detached house next to the sea

另一个挑战是国际化。新千年，他在斯堪的纳维亚的其他地区开始了第一个拓展到海外的项目，不久就发展到美国、英国、德国、法国和俄国。

在出版物《跨越40年的建筑30年》的作品目录中列出了366个项目，包括152个竞赛作品和52个获奖作品。这本由馆长米卡埃尔· 南费尔特编辑的书，与哥德堡的勒斯卡设计、时尚与装饰艺术博物馆的一次展览不无关联，温高在2007年－2008年冬天在此举办了“8栋房子”的展览，展示了他最喜欢的8栋房子，后来增加了3栋成为“11栋房子”，并在斯德哥尔摩、赫尔辛基和其他地方展出。这个目录可能还没有完结，但是它显示出事务所在去年经济衰退期之前不断提高的创作能力，每年的工作时间增加10%～14%，让人印象深刻。

他们接到的委托项目的规模越来越大，目前包括城市开发设计，比如2003年的哥本哈根、哥德堡的海运中心、2005年的索尔纳医院，通往赫尔辛堡的奥斯陆终点站的多功能中心。但是，他仍然对小型的项目感兴趣—比如度假屋、别墅和独立式住宅。他还在2004年为建筑师之家设计了3种类型的住宅，其中大约36座已经建成。

在任何一位建筑师的生涯中，总会有许多设想和作品不能实现—多数设计停留在竞赛或方案阶段。尽管如此，事务所中负责施工和细部设计的人员以及建设主管也不会抱怨没有足够的事情做。

2000年，具有优雅曲线造型的Al lgon办公中心落成，它位于斯德哥尔摩都市区边缘的，毗邻通往诺尔泰利耶的E18和去往芬兰的渡口。孔艾尔夫位于从哥德堡通往北部的E6。在这里，温高运用新的功能概念设计了一个教育文化中心“矿工之家”。他在约塔河对岸N歞inge的Ale文化中心和N歞inge文法学校的建造过程中，运用到过去8年积累下来的经验。各种学院、一个成人教育中心、一所音乐学院、一家剧院和一个图书馆共同构成了这个综合体。明亮、开敞的建筑以开放住宅的原则为基础，使学院和公共区域之间没有空间上的隔阂。扩建综合体分成4个各自独立并相互连接的体量，出入口和路径清晰—即使新来的访客，也不会遇到迷失方向的问题。

事务所最近实现的学校项目在哥德堡南部的孔斯巴卡，是一个始建于1960年代的阿拉纳斯文法学校的改扩建工程。这又是一个全新设计，在既存环境中插入一个鲜明的体量。只有新建部分的首层能够看出是温高的设计—采用了他惯用的石灰岩。至于500座剧场的立面设计，温高同样以新的美学原理进行实验。他在黑色的预制混凝土板墙上用巨大的金属字母拼写出“TEATER”（瑞典语，剧院），正如文丘里可能采用的作法。这一项目获得了2006年的卡斯帕萨林奖。

除了米利茨馆，温高还将在德国建造另一个博物馆。2005年，他赢得了鲁尔地区马尔雕塑博物馆 “玻璃盒子”的竞赛。他设计的老博物馆扩建部分，与鹿特丹建筑师凡·登·布鲁克和巴克马在1962年－1966年设计建造的市政厅相呼应，85m长、管道一样的展览空间在邻近的池塘之上伸出，长长的空间尽端被天光照亮，等待参观者的另一个惊喜是：越过池塘和城市向南眺望的开阔景观。

2007年，温高赢得了默恩达尔新城市中心的竞赛。这个带有商店、居住建筑和公共建筑的项目，立即从他自己构想的节点的西面开始—由此一条设计纽带呈现出来。他的方案设想了一个40层的高层建筑，用来强调这一新的中心。目前还不清楚这次他能否最终成功地实现一个高层的设计。

博物馆建筑是表达建筑理念的最理想的设计对象，温高最近就有这样两个博物馆项目。在斯德哥尔摩的瓦萨公园，斯文·哈里·卡尔森博物馆将被创造成一个“装有财宝的铜盒子”，它是一个多功能的垂直方向展示的博物馆典范。在首层的商业画廊之上是公共艺术画廊，捐赠者的私人藏品被展陈在小隔间里。博物馆的运行成本靠出租12套公寓的房租来提供。金色的、闪闪发光的立面由一种新的铜、铝、锌与锡的合金构成，这种材料不会因为风化而变暗。

与此形成对比的是，拉普兰的游客中心“雪屋”的外观非常贴近自然，这里可以让人感受到萨米文化。其外墙大量木材的运用和它的圆形造型与原有的景观融为一体，并且以感性的方式传达着对萨米家乡与生活方式的深厚感情。展室、礼堂、咖啡厅和服务空间围绕中央庭院布置。

温高再次在哥德堡接受了查尔姆斯理工大学的设计委托。在林德霍尔姆原造船厂的基址上开发的校园里，温高正在建造一个科学家的交流与办公中心，就是众所周知的“齿轮”（Kuggen），这个名字来自于它的平面形状。这栋建筑的构想是具有可持续性，这里将配备光电、太阳能系统和高效的能源管理措施，并且被设计成具有很长的使用期。圆形外观、鲜红色鳞片状的表面和三角形窗使其成为校园中容易识别的地标性建筑。温高的名气远不只是作为一名建筑师，这与他似乎难以被归入任何类型有关，很难给他贴上一个标签。他的建筑形式多变，总是在适应不同的项目，迄今为止他都避免形成个人风格或可以识别的特征，尽管公众甚至建筑领域的专家都有这样的期待。他也从来不参与任何理论上的争辩，不对他的作品作出任何解释或者说明。这便赋予了他所期望的自由：因为他不想建立理论，他想在任何时候自由地做他想做的事情。温高的工作没有任何道德上的制约，也不被任何意识形态束缚。他无需通过自己的作品来表现自己。

他总是采用新的方式着手他的工作， 永远以“敏捷的身心”保持警觉、伺机而变，其他瑞典建筑师则很少能如此灵活地应对客户，倾听他们的意见并且实现他们的愿望，为了能够通过他们的愿望创造出自己的建筑，他在每一个项目中坚持的品质和内心深处渴望实现的是：动用所有感官来体验的建筑。□

5 瑞典Ale艺术中心及中学（1993－1995），以蝴蝶为雕塑和建筑题材/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 赢得德国马尔雕塑博物馆竞赛的方案（2006），表面上的凹痕象征周围的树木/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 斯德哥尔摩斯文·哈里·卡尔森博物馆（2008－2011），在建的住宅、画廊和博物馆综合体/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)□