諾德霍芬小屋，靈厄里克，布斯克呂郡，挪威

建筑設計：奧斯陸工作室

諾德霍芬小屋，靈厄里克，布斯克呂郡，挪威

建筑設計：奧斯陸工作室

項目位于赫訥福斯鎮郊外的克羅斯庫根森林中，小屋坐落在一個陡峭的斜坡之上，四下眺望，斯泰因斯蘭湖的美景盡收眼底。

場地四周皆無遮擋，完全曝露在風中。于是，小屋的設計從造型出發，創建出幾個室外空間，用以在一天的不同時段為住戶提供防風和蔭蔽之所。建筑內部是一個由4mm樺木膠合板彎曲塑形而成的連續空間。曲面的墻體和天花連成一體，其幾何結構定義出不同的功能區域。建筑平面依地勢被分成4個主要層面，這些功能區域也因地板的高低不同而被自然劃分。各層中間的過渡區域被設計成不同的臺階，為住戶提供一些可坐可躺的地方。

火爐位于小屋的中心位置。火爐架掛在天花板上，生火區則在底部，位于入口層。這一設計營造出一種仿佛在營火旁的感覺，從屋內不同的地方都可以看到。

大面積的玻璃幕墻位于起居和就餐區域，幕墻的邊框經過仔細的設計被巧妙地隱藏起來，令其無法從室內被看到。這為室內空間和外面的大自然建立了一個直接的聯系。

從外觀看，小屋有著較為規整的幾何外形，墻壁和屋面都覆蓋以20mm的石板，采用挪威西部傳統的鋪設式樣。建筑結構采用層壓板材，基礎支撐材料是科圖構造膠合板。科圖板材是數控銑制的，建筑的內外都由其塑形而成。小屋由鉆入巖石中的鋼管作支撐，鋼管外覆一圈小小的混凝土基礎，用以穩定其結構。

屋子的大部分組成構件都是預制的，由嫻熟的技術工人像拼拼圖般將一個龐大而復雜的小屋拼裝而成。□（王冰 譯）

The project is located in Krokskogen forests, outside the town of H?nefoss. Its location on a steep slope gives a fantastic view over the Steinsforden.

The site is very exposed to the wind and the cabin is shaped to create several outdoor spaces that provide shelter from the wind and sun at diferent times of day. The interior is a continuous space fnished in curved 4mm birch plywood. The curved walls and ceilings form continuous surfaces, while the geometry defnes the diferent functional zones. ese zones are also created by the foor that follows the terrain and divides the plan into four main levels. The transition between levels creates diferent steps, places for sitting and lying down.

The freplace is located at the center of the cabin. The fireplace mantel hangs from the ceiling, while the fire is down at the floor of the access level. This provides the feeling of a campfire in the landscape that can be seen from diferent places.

Large glass walls are located in the living and dining areas and the framing is carefully detailed to avoid seeing it from the inside. is creates a direct relationship with the nature outside.

Outside, the cottage has a more rectangular geometry and the walls and roofs are covered with 20mm stone slabs laid in the traditional Western Norway pattern. The structure is done with laminated wood completed with a substructure of Kerto construction plywood. The Kerto is CNC milled and defnes the geometry both externally and internally.The cabin is supported by steel rods drilled into the rock with a smaller ring concrete foundation through the middle portion that stabilizes them.

The lodge consists mainly of prefabricated elements and is assembled as a large and complex puzzle by skilled craftsmen.□

項目信息/Credits and Data

項目團隊/Project Team: Nils Ole Bae Brandtz?g, Thomas Liu, Marius Mowe, jonas Norsted, juan Ruiz, Bosheng Gan, Sveinn orarinsson

建筑面積/Floor Area: 70m2

委托類型/Comnission Type: 直接委托/Direct assignment, 2010

攝影/Photos: jonas Adolfsen (Fig.2, 5, 6, 7, 8), Atelier Oslo (Fig.3)

1 平面/Plan

2. 3 外景/Exterior view

評論

胡恒：一個“學術性”的小宅子——早期賴特與晚期賴特的綜合。前者是草原住宅的十字風車型平面，且以壁爐為空間旋轉的樞紐。后者是室內無直線的“人體工程學”。只是，建筑師的求全，讓兩方面都略有缺憾。其一，火爐的中心位置，使空間的運動感有余，卻凝聚力不足，喪失火爐的真正功能。即使形式、質感出眾，但臺階的分層消解了其中心價值，難以形成匯聚的場所。如果它的位置偏向起居室與餐廳這邊，可能會更好一些。其二，室內的全曲線應該包括家具、壁柜等……另外，設計者過于考慮每個房間的景觀，室外光線采集過多，削弱了內部空間的北歐式“洞穴感”。在極端的外部環境下（暴雪之類），如果建筑還能留有少許幽暗的小空間，讓燈具施展魅力，創造出溫暖感與向心力，那么，它會更有味道。總的來說，設計者在手法上的雕琢，使建筑過分精美，有如按譜演奏，但也欠缺了一些大度和力量，而這正是其環境的本質。

趙仲貴：冰冷|溫暖，秩序|無序，線性|曲面，一個空間|多個房間：這是一個充滿對立特征的小屋。由于室內在空間和材料方面與外墻的處理迥然不同，顯得有些“裝修”化。壁櫥和衣柜布置在了線性外表皮和自由曲面內膽間的夾層。室內沒有設計門和隔斷，房間之間僅做適當遮擋，墻壁和頂棚表面連續，地面隨坡地而建， 給人以“穴居”的感受，房間中心的“營火”也強化了這一點。但太過流動的處理，讓壁爐周圍難以形成房子的核心空間。

Comments

HU Heng: is is an "academic" cabin – a synthesis of Frank Lloyd Wright's early and late styles. It implies a prairie-style house with its cross-windmill foor plan, and it places a central freplace at the junction of the spatial rotation. The cabin references Wright's later styles by utilizing "ergonomics" to arrange the rooms without resorting to straight lines. But there are slight defects in the architect's pursuit of perfection. First, placing the fireplace in the center of the cabin amplifies the motion of the space but reduces the spatial cohesion. As a result, the real function of the fireplace is lost. Even though it is formally and materially exceptional, the steps surrounding the fireplace highlight the level differences of the room,disrupting its centrality and making it difficult as a gathering place. Furthermore, the curves of the spaces that defne the interior should also apply to furniture, cabinets and other fxtures. Additionally, because the designer was so focused on the exterior views from each room, outdoor lighting relating to these spaces has weakened the Nordic-style "cave feeling" of the cabin. During extreme weather, the building would have been more intriguing if the designer left a few small dark spaces in the house, spaces in which the light from lamps might help create a warm, charming and central force. Overall, the building is carved too delicately and its gestures lack generosity and strength. It misses the essence of its wooded environment.

ZHAO Zhonggui: is is a dwelling full of contrasts: cold and warm; order and license; rectilinear and curvilinear; a singular space and multiple zones. The interior space seems aesthetically determined in light of the completely different treatments of interior and exterior – the rectilinear exterior envelope and curvilinear interior skin. The spaces are reminiscent of cave dwellings – without doors or partition walls, with different zones suggested only by visual cues within the continuous wall and ceiling surfaces and floor levels that follow the natural topography. The central "campfire" hearth contributes to the cave aesthetic while failing to anchor the overly fuid space.

Cabin at Norderhov, Ringerike, Buskerud, Norway, 2013

Architects: Atelier Oslo