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环境背景 | ARCHITECTURE IN ALPINE CONTEXT

对于高山环境中的建筑而言，可达性是设计中的关键因素。在高山上建造的项目随着人们的需求变得愈发具有挑战性，与此同时，空中索道技术也在不断发展与更新。在高山环境中，建筑与自然之间的联系会比在其他环境中更强，因此每一个干预的步骤也都与环境有着更加密切的关系。

An increasing trend in alpine context is the accessibility of mountain peaks. The demand for challenging projects within the alpine environment has significantly increased, along with the need for ultramodern cableway technology. In alpine environment, the connection between architecture and the natural element is a stronger than in other contexts, and therefore also the relevance of each intervention in relation to the environment.

▼博物馆坐落在海拔3040m的山地上，the museum is located at 3040 meters above sea level ©Christoph Nosig

在该背景下，建筑扮演了一种象征性的角色，它可以被视为一种用于向世界展示地域身份的有效营销工具。这要求建筑师能够对区域特征进行准确的分析，并将这一过程中遇到的困难和问题转化为鼓舞人心的建筑成果。成功的建筑不仅能够成为一个地方的“地标”，同时还能够促进其在经济与文化方面的发展。媒体对于地标建筑的大规模报道便是这种趋势的一种例证。就该项目来看，奥茨塔尔阿尔卑斯山脉之所以能够成为旅游胜地，也要归功于当代地标建筑所产生的影响力。

In this context, relevant architecture assumes a symbolic role, as one of the most effective marketing tools for defining regional identities and for projecting their resonance to the world. The ability to lead an accurate analysis of local features, detecting problems and translating potential challenges into inspiring outcomes, is a mandatory process for ‘authentic’ architecture. Successful architectural projects become ‘landmarks’, dynamic engines essential for the recognition value of a region and its local economies. Increasing interest from the media and reports on architectural highlights confirm and support this trend. Tourism resorts in the Ötztal Alps benefit enormously from the reach generated by contemporary landmarks.

▼博物馆由9个以山间坡道相连的独立混凝土体量构成，the result was nine free concrete chambers connected by ramps and located in the mountain ©Christoph Nosig

该项目旨在打造一座能够充分适应场地的创新型建筑。设计团队将每项任务视作独一无二的挑战，并为之量身定制解决方案。建筑的形成源于对场地具体特征的考量和分析、对于环境影响的细致评估以及富有责任感的回应方式。

Our approach strives to achieve innovative, site-responsive architecture. We handle each assignment as a unique challenge, requiring tailor-made solutions. Our definition of ‘genuine’ architecture is arising from a thoughtful analysis of local specific characteristics, connecting and evaluating the environmental impact of the intervention and replying to it with a responsible gesture.

愿景与方法 | VISION AND METHODOLOGY

基于可持续的设计宗旨，设计团队通过跨学科的交流实现了高度创新的设计方案与施工方案，并且兼顾了能源优化与材料的选择问题。在007 Elements博物馆中，富有戏剧感的自然环境被充分引入到建筑内部。宽阔的窗面带来山谷的壮观景色，同时冰河路、冰Q餐厅、Ventertal及Rettenbachtal谷地形成视觉上的连接——这些都是电影《007：幽灵党》的实际取景地。声学舞台的建造则进一步增强了这种感官和视觉体验。

Our approach to architecture believes in sustainable responsibility: we require highly innovative solutions in design and engineering, as well as energy optimisation and thoughtful choice of materials. To achieve this goal we favour an interdisciplinary exchange. With 007 Elements, the desire to realise a project with impressive architecture was present from the start. We were willing to incorporate the dramatic natural environment in the interior spaces. Wide openings selectively frame spectacular views, establishing visual connections to the film locations of Spectre: the Glacier Road, the ice Q Restaurant, the Ventertal and Rettenbachtal Valleys. The acoustic staging enhances this sensorial and visual experience. Design criteria precisely regulated in other building typologies, such as structural and physical requirements, had to be newly developed for this extreme location. Designing at high altitude is an adventurous journey. Curiosity and a passionate approach were our driving forces.

▼“枪管”舱体入口，Barrel of the Gun ©Kristopher Grunert

▼博物馆大厅，lobby ©Kristopher Grunert

设计团队希望创造一个富有冲突性的空间，以此来展示出007电影中的多面场景。最初，团队从007电影艺术指导Ken Adam的作品中寻找灵感。为了以最佳方式呈现出装置和道具中所蕴含的哲学，团队还与博物馆策展人Neal Callow（最近四部007电影的创意及艺术总监）以及Tino Schaedler（创意公司Optimist Inc的设计总监）进行了激烈的讨论与交流。团队从一开始便拒绝使用制冷或制热系统，为的是让高山上的空气直接渗透进博物馆内部，从而使观众对这座位于3040m高山上博物馆产生难以忘怀的印象。

While designing the architecture for 007 Elements, we wanted to create ambivalent spaces, where to experience the multifaceted realities of James Bond. Initially we were looking for inspiration in the work of the Bond Production Designer Ken Adam.To best embody the philosophy of the installation’s contents, curated by Neal Callow (Creative and Art Director on the last four Bond films) and Tino Schaedler (Head of Design at creative agency Optimist Inc.), we kept an intense and open exchange-process. Our initial idea to exclude heating or cooling systems was to let the natural element and the alpine climate permeate the interiors, to make sure that visitors inside would not forget where 007 Elements is located, on a 3040m high mountaintop.

▼内向式的空间序列能够进一步刺激感官，为参观者带来沉浸式的体验，spatial sequences have been planned as mainly introverted spaces, to allow the senses to sharpen up and fully commit to the Bond world ©Kristopher Grunert

设计过程 | DESIGN PROCESS

007 Elements是一个电影式的场馆，比起传统的博物馆来说，它的体验更接近于电影本身。设计团队希望打造一个与众不同的展览空间，使当下的现实和未来的虚拟世界能够相互交融。内向式的空间序列能够进一步刺激感官，从而让参观者完全沉浸在詹姆斯邦德的世界当中。

007 Elements is a cinematic installation, the experience is closer to a film than a museum in the traditional sense. Its location at 3040 meters above sea level, the breath taking natural scenery and the dramatic climate changes make the whole setting unique and spectacular. We wanted to create an exhibition reality differing from usual installations, a place where opposites can coexist, where contemporary reality and futuristic, virtual worlds could merge. Spatial sequences have been planned as mainly introverted spaces, to allow the senses to sharpen up and fully commit to the Bond world.

▼指挥室，Briefing room ©Kristopher Grunert

最初的设计方案是在山脊上建造一个双层的混凝土立方体，使其两端悬浮在深渊之上，并通过悬索桥来连接空间。后来由于地质环境等因素的限制，该方案没有被实现出来。经过一系列的研究和调查之后，设计团队为方案引入了“在山间”和“冰山原理”两个概念，最终打造出9个由山间坡道相连的独立混凝土体量。平缓的坡道使参观者在观展过程中几乎觉察不到水平面的变化，而跌宕起伏的空间体验却在其中交替展开：时而逼仄昏暗，时而宽阔敞亮，时而真实，时而虚幻，时而高耸，时而狭长，时而紧凑，时而伸展，时而空间变成多边形，时而又变成圆柱形。在旅程结束时，参观者们将突然置身于陡峭的山顶，将山峦的壮观美景尽收眼底。

▼宽阔的窗面带来山谷的壮观景色，wide openings selectively frame spectacular views ©Kristopher Grunert

Our first design proposal was a two-storey concrete cube, piercing the ridge, projecting on both sides beyond the abyss, with exhibition spaces connected by suspended bridges. Then the geological circumstances led to several alternative solutions. Various studies, exploring spectacular approaches near the cable car station, proved to be not suitable for the existing ensemble at the summit. Following the philosophy of the creative concept, we developed new ideas. In the final design, we developed the concepts ‘inside the mountain’ and ‘iceberg principle’. Nine free concrete chambers were the result of this process, connected by ramps and located in the mountain. The path through the exhibition unfolds through slightly inclined, almost unnoticeable descending levels, an alternation of sophisticated spatial sequences: sloping-narrow, dark, wide-bright-extroverted, real-virtual, slender-high, compact-stretched, polygonal, cylindrical and so on. At the end of this journey, a steep stunning mountain panorama suddenly stands at the visitor’s feet.

▼科技实验馆，Tech Lab ©Kristopher Grunert

▼行动大厅，Action Hall ©Kristopher Grunert

▼放映室，screen room ©Kristopher Grunert

实际建造 | MATERIALISATION AND ENGINEERING

该设计方案的一个重要思路是使用尽可能简单的材料，包括混凝土，钢材和玻璃。原始、简约而裸露的环境与博物馆内充满科技感和创新感的展览形成一种戏剧化的对比，同时能够承受极端的温度变化。展厅和家具均是由预制的混凝土结构建造而成，超大尺寸的不锈钢门强调出每个舱体之间的空间转换。悬浮式天花板则选用了穿孔的黑色钢板，能够起到隔音的作用。

A reduced material’s selection — concrete, steel and glass — was an essential component of the design concept. We chose a raw, minimalist and bare setting, hosting and contrasting with high technology, timeless and innovative elements, able to withstand extreme temperature fluctuations. Exhibition rooms and furnishings are made of precast-concrete. Oversize stainless steel doors emphasize the transition spaces through the chambers, while perforated black steel panels, used for suspended ceilings and acoustic claddings, enhance the soundproofing. We created contrasts of light and dark.

▼室内空间，interior view ©Schreyer David

▼原始、简约而裸露的环境与博物馆内充满科技感和创新感的展览形成一种戏剧化的对比，a raw, minimalist and bare setting, hosting and contrasting with high technology, timeless and innovative elements ©Schreyer David

▼遗产展馆，Legacy Gallery ©Schreyer David

设计团队需要在海拔3040米的高地上解决冻土层的问题。对于这种不稳定的土壤，团队延续了Gaislachkogl缆车站台和冰Q餐厅的做法，使用了能够自然通风的基座，并通过能够适应砾岩运动的结构将建筑的混凝土体量固定在山体上。施工过程中也遇到了许多困难。由于气候等原因，施工团队需要轮班工作。施工期间还遇到了当地5年来最恶劣的天气状况，7月份便开始降雪。在冬季，风暴和大雪使车辆无法到达现场，因此团队不得不使用直升飞机来运送混凝土。最终的建筑体积达到8500立方米，其中展览空间面积约1200平方米。

▼建造过程，construction phase ©Rudi Whyhlidal

At an altitude of 3040 meters, we have been dealing with permafrost. This unstable soil, a frozen rock conglomerate in perpetual adjustment to temperature fluctuations, is a challenging foundation to build on. As with the Gaislachkogl Cable Car Stations and the ice Q restaurant, we have again employed naturally ventilated foundations. Cuffs adjusting to the movements of the rock conglomerate flexibly connect the concrete cubes. The project faced significant construction obstacles. Geological fault lines, the exposed location on the peak and the extremely short building span created huge challenges. The crew could not work for more than a few weeks at a time, therefore the people-crew on site had to work on rotation shifts. During the construction phase, the weather turned out as one the worst winters in the last 15 years, snowfall started in July, while in winter, storms and massive snowfall prevented us from getting vehicles to the site, so we ended up having to fly the concrete in by helicopter. The structure reaches a volume of ca. 8.500 m3 and the exhibition surface counts approximately 1200 m2.

▼3D模型，3D model

▼场地平面图，site plan

▼首层平面图，plan level 1

▼二层平面图，plan level 2

▼剖面图1，section 1

▼剖面图2，section 2

▼剖面图3，section 3

Client: Ötztaler Gletscherbahn Ges. mbH & Co. KG. Sölden
Location: Sölden, Tyrol, Austria
Completion: spring 2018
OMO Team: Christoph Neuner, Andreas Norz, Robert Wibmer, Harald Brutscher
Photographer: Christoph Nosig, Kristopher Grunert, Schreyer David, Rudi Whyhlidal

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