建筑設(shè)計(jì)：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(shè)計(jì)：奧斯陸工作室

項(xiàng)目位于赫訥福斯鎮(zhèn)郊外的克羅斯庫(kù)根森林中，小屋坐落在一個(gè)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(chǎng)地四周皆無(wú)遮擋，完全曝露在風(fēng)中。于是，小屋的設(shè)計(jì)從造型出發(fā)，創(chuàng)建出幾個(gè)室外空間，用以在一天的不同時(shí)段為住戶(hù)提供防風(fēng)和蔭蔽之所。建筑內(nèi)部是一個(gè)由4mm樺木膠合板彎曲塑形而成的連續(xù)空間。曲面的墻體和天花連成一體，其幾何結(jié)構(gòu)定義出不同的功能區(qū)域。建筑平面依地勢(shì)被分成4個(gè)主要層面，這些功能區(qū)域也因地板的高低不同而被自然劃分。各層中間的過(guò)渡區(qū)域被設(shè)計(jì)成不同的臺(tái)階，為住戶(hù)提供一些可坐可躺的地方。

火爐位于小屋的中心位置?；馉t架掛在天花板上，生火區(qū)則在底部，位于入口層。這一設(shè)計(jì)營(yíng)造出一種仿佛在營(yíng)火旁的感覺(jué)，從屋內(nèi)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(qū)域，幕墻的邊框經(jīng)過(guò)仔細(xì)的設(shè)計(jì)被巧妙地隱藏起來(lái)，令其無(wú)法從室內(nèi)被看到。這為室內(nèi)空間和外面的大自然建立了一個(gè)直接的聯(lián)系。

從外觀看，小屋有著較為規(guī)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(tǒng)的鋪設(shè)式樣。建筑結(jié)構(gòu)采用層壓板材，基礎(chǔ)支撐材料是科圖構(gòu)造膠合板?？茍D板材是數(shù)控銑制的，建筑的內(nèi)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(chǔ)，用以穩(wěn)定其結(jié)構(gòu)。

屋子的大部分組成構(gòu)件都是預(yù)制的，由嫻熟的技術(shù)工人像拼拼圖般將一個(gè)龐大而復(fù)雜的小屋拼裝而成?！酰ㄍ醣?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(xiàng)目信息/Credits and Data

項(xiàng)目團(tuán)隊(duì)/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(lèi)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(píng)論

胡恒：一個(gè)“學(xué)術(shù)性”的小宅子——早期賴(lài)特與晚期賴(lài)特的綜合。前者是草原住宅的十字風(fēng)車(chē)型平面，且以壁爐為空間旋轉(zhuǎn)的樞紐。后者是室內(nèi)無(wú)直線(xiàn)的“人體工程學(xué)”。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(yùn)動(dòng)感有余，卻凝聚力不足，喪失火爐的真正功能。即使形式、質(zhì)感出眾，但臺(tái)階的分層消解了其中心價(jià)值，難以形成匯聚的場(chǎng)所。如果它的位置偏向起居室與餐廳這邊，可能會(huì)更好一些。其二，室內(nèi)的全曲線(xiàn)應(yīng)該包括家具、壁柜等……另外，設(shè)計(jì)者過(guò)于考慮每個(gè)房間的景觀，室外光線(xiàn)采集過(guò)多，削弱了內(nèi)部空間的北歐式“洞穴感”。在極端的外部環(huán)境下（暴雪之類(lèi)），如果建筑還能留有少許幽暗的小空間，讓燈具施展魅力，創(chuàng)造出溫暖感與向心力，那么，它會(huì)更有味道?？偟膩?lái)說(shuō)，設(shè)計(jì)者在手法上的雕琢，使建筑過(guò)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(huán)境的本質(zhì)。

趙仲貴：冰冷|溫暖，秩序|無(wú)序，線(xiàn)性|曲面，一個(gè)空間|多個(gè)房間：這是一個(gè)充滿(mǎn)對(duì)立特征的小屋。由于室內(nèi)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(xiàn)性外表皮和自由曲面內(nèi)膽間的夾層。室內(nèi)沒(méi)有設(shè)計(jì)門(mén)和隔斷，房間之間僅做適當(dāng)遮擋，墻壁和頂棚表面連續(xù)，地面隨坡地而建， 給人以“穴居”的感受，房間中心的“營(yíng)火”也強(qiáng)化了這一點(diǎn)。但太過(guò)流動(dòng)的處理，讓壁爐周?chē)y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