挪威诺特岛极简私宅

摘要：一座位于挪威诺特岛的极简风格住宅，由 KOHT Arkitekter 建筑事务所设计。这座住宅的设计巧思并非一眼可见，而是循序渐进地铺展 —— 恰如观察一件工艺精湛的橱柜，每一处榫卯、每一寸表面，都兼顾着实用功能与设计理念的表达。住宅外墙采用刷有绿漆的木质板材

栖于诺特岛 | KOHT Arkitekter

挪威诺特岛极简私宅

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一座位于挪威诺特岛的极简风格住宅，由 KOHT Arkitekter 建筑事务所设计。这座住宅的设计巧思并非一眼可见，而是循序渐进地铺展 —— 恰如观察一件工艺精湛的橱柜，每一处榫卯、每一寸表面，都兼顾着实用功能与设计理念的表达。住宅外墙采用刷有绿漆的木质板材，与周边建筑形成自然对话，完美诠释了当代设计如何在呼应环境的同时，不失自身独特风格。从街道上看，这六扇方形窗看似朴素，实则是精心调校的采光与观景媒介 —— 每一扇都是特意为窗外四季流转打造的 “画框”，将时序变迁的景致定格其中。

House at Nøtterøy is a minimal home located in Nøtterøy, Norway, designed by KOHT Arkitekter. The house reveals its intentions gradually, much like examining a finely made cabinet where each joint and surface speaks to both function and philosophy. The exterior’s green-painted timber cladding establishes an immediate dialogue with its neighbor, demonstrating how contemporary design can acknowledge context without surrendering identity. Those six square windows, seemingly modest from the street, operate as carefully calibrated instruments of light and view – each one a deliberate frame for the changing seasons beyond.

该项目的独特之处，在于对 “创造性限制” 的接纳与运用。源于场地限制与预算实际，建筑采用了紧凑的占地面积，而这恰恰成为空间创新的核心动力。建筑师对此的应对方式，是打造出Kazuo Shinohara所说的 “裂隙空间”—— 即中央那处双层高的空廊，它拒绝单一功能界定，同时承担着入口、工作区与起居区的功能。这种多功能设计思路，让人联想到日本的 “间”概念：即空间的意义并非由预设定义，而是通过使用赋予。

What distinguishes this project is its embrace of what might be called productive limitation. The compact footprint, born from site constraints and budget realities, becomes the very engine of spatial innovation. The architects have responded by creating what Kazuo Shinohara termed “fissure space” – that central double-height void that refuses singular definition, serving simultaneously as entrance, workspace, and living area. This kind of multifunctional thinking recalls the Japanese concept of ma, where space gains meaning through use rather than prescription.

材料选用堪称克制的宣言。橡木地板在主要楼层无缝延伸，形成了一整块连贯的地面 —— 如同一张 “生活之桌”，足以容纳各类居家活动。浴室的石灰石瓷砖并非突兀的存在，而是恰到好处的点缀；下方嵌入当地骨料的抛光混凝土，则从字面与象征意义上，为整体空间奠定了沉稳基底。这并非将极简主义作为美学姿态，而是将其化作 “实用的诗意”：每种材料的存在，皆因兼具美感与实用价值而名副其实。

The material palette reads like a manifesto for restraint. Oak flooring flows uninterrupted across the main level, creating what amounts to a single, continuous surface – a table for living that accommodates the full spectrum of domestic activity. The limestone bathroom tiles provide punctuation rather than disruption, while the polished concrete below, embedded with local aggregate, grounds the composition literally and figuratively. This is not minimalism as aesthetic pose but as practical poetry, where every material earns its place through both beauty and purpose.

划分上层空间的四扇通高橡木推拉门，尤为值得关注。这四扇门采用制造商可提供的最大高度（2.65 米），将 “围合空间” 这一动作，转化成了一种近乎仪式感的体验。关闭时，它们划分出私密独立的空间；开启时，便隐入橡木饰面的洞口 —— 既保持了空间的视觉连贯性，又赋予其功能灵活性。这种设计，是将 “家具化思维” 融入建筑设计的体现：其核心在于，优秀的设计应主动适配使用者，而非要求使用者去适应设计。

The four full-height sliding oak doors that define the upper level deserve particular attention. Operating at the maximum height the manufacturer could supply (2.65 meters), they transform the act of enclosure into something approaching ritual. When closed, they create intimate chambers; when open, they dissolve into the oak-lined openings, maintaining visual continuity while providing functional flexibility. This is furniture thinking applied to architecture – the understanding that the best designs adapt to their users rather than demanding adaptation from them.