这座位于挪威西部乌尔维克的小屋是对乡村道路建筑的致敬。鲁道夫-奥尔加蒂的作品是重要的灵感来源；它融合了乡土建筑和历史设计原则，以及汉斯-古德的浪漫民族主义绘画。后者既是直接的景观方式，也是更抽象的设计传统，是一种缓慢而稳定的进展方法。
This cabin in Ulvik, Western Norway, is a homage to country-road architecture. Important as sources of inspiration are the works of Rudolf Olgiati; with its blend of vernacular architecture and historical design principles, as well as the romantic nationalism paintings of Hans Gude. The latter both in a direct, landscape way and in a more abstract way being within the tradition of design as a method of slow and steady progression.
秋天，赭黄色的墙壁在杨树林中是纯粹的伪装，周围景观的石墙的长线条被建筑的南墙遮挡住，并被打断。这种朝向主导风和雨的超厚保护墙的方式是这个地区的典型。对面屋檐墙上的斜梁在同一方向上给建筑以支持性的推动，从而进一步强调了决定性的天气条件。这最后一个元素是双重功能的，因为它也容纳了屋顶的排水管。
In fall the ochre yellow walls are pure camouflage in the aspen forest, and the long lines of the stone walls of the surrounding landscape are met, and interrupted, by the shielding southern wall of the building. This way of making an extra thick and protective wall towards the dominating wind and rain is typical for this area. The slanted beam on the opposite gable wall gives the building a supportive push in the same direction, and thereby further underlines the defining weather conditions. This last element is double functional as it also holds the drainage pipe from the roof.
作为一个综合体，小木屋和它的附属建筑有一个传统的小规模农场的构成，由通路连接。小木屋是粉黄色的，是这种农场的传统房屋（通常涂成白色）和谷仓（通常涂成温暖的红色）之间的融合。小木屋在20世纪中期被引入这个地区，作为中上层阶级的休闲场所，其功能介于房屋的舒适性和谷仓的粗糙性之间。这种中间状态也可以从这座建筑的立面构成中找到，有些特征是谷仓中常见的，有些则是房屋中常见的。
As a complex, the cabin together with its annex has the composition of a traditional small-scale farm linked by the access road. Being pinky-yellow the cabin is a merge between the traditional house on such a farm, normally painted white, and the barn normally painted a warm red. Cabins as such were introduced to this area in the middle of the 20th-century as recreation for the upper-middle class, were meant to function somewhere between the comfort of a house, and the roughness of a barn. This intermediate state can also be traced in the facade composition of this building with some features commonly found in barns and others commonly found in houses.
这座建筑面向峡湾的立面既具有代表性又具有平民性，这进一步表明了该建筑的模糊性特征。大门上方的檐口被抬高到护栏，以示入口和尊严，而大窗户上方的屋檐给人一种低调的印象（同时也为窗户提供了庇护）。
Further pointing to the ambiguous character of the building the facade facing the fjord is both representative and plebeian. The cornice over the main door is lifted to a parapet to signal entrance and dignity, while the eaves over the large window give a low-key impression (as well as provide shelter for the window).
玻璃外墙内的混凝土拱门更微妙地平衡了外面的斜梁，但与木梁的咄咄逼人形成对比的是，拱门的形状和特征被收回来，为门提供了空间。至于内部和外部的构成，该建筑更多的是普通元素的并置，而不是独特的展示。更多的是对现成物品的深思熟虑的使用，而不是量身定做的解决方案，尽管即使在这一点上也不纯粹。
More subtle the concrete arch inside the glass facade balance the slanted beam on the outside, but, contrasting the aggressiveness of the wooden beam, the arch is withdrawn in shape and character to provide room for the door. As for composition, inside and outside, the building is more juxtaposition of ordinary elements than a display of the unique. More thoughtful use of off-the-shelf items than tailor-made solutions, although not pure even in this
Architects: Rever & Drage Architects
Area: 142 m²
Year: 2021
Photographs: Tom Auger
Manufacturers: nordvestvinduet
Design Team:Tom Auger, Martin Beverfjord, Eirik Lilledrange
City:Ulvik
Country:Norway