瑞典法灵索别墅，艺术家之家 / Strombro Building Workshop

编译：王子萱 | 校对：王子萱 | 2026.04.13 16:02

设计单位 Strombro Building Workshop

项目地点 瑞典斯德哥尔摩

建成时间 2024年

建筑面积 210平方米

场地

项目的场地为一片向西倾斜、坡度为1/10的缓坡，生长着橡树与果树，周边是广阔的牧场景观，背后则是森林环绕。这样的环境决定了建筑需由若干独立体量组成，并精心布置在现有的台地、花坛及地势条件之中。若采用其他方式，势必会形成一座带有地下层的巨墙，从而带来一系列随之而来的问题。

Site - A gentle slope, of 1/10 towards west with oaks, fruit trees, and a vast landscape of pastures, and with a backdrop of forest, inevitably demanded an envelope consisting of individual bodies, carefully situated within existing plateaus, flower beds, and ground conditions. Anything else would have posed as a big wall with a subterranean level, with all the problems that come with it.

建筑

项目最终采用四个体量，并以拱形屋顶加以统一，这既是对数公里外Erskine别墅的致意，也有助于保持丘陵景观的完整性。业主，也就是建筑师的母亲，是一位充满热情的植物学家与艺术家，一生致力于研究与描绘花卉、草木及野生生物，以及它们与照料者——昆虫、大黄蜂，还有那些构成了植物界奇迹的花园小矮人——之间的共生关系。

Building - Four bodies were decided upon with arching roofs, both as an homage to Erskine's villa some kilometers away and to keep the hilly landscape intact. The client, my mother, is a vivid botanist and artist who spent her life studying and drawing flowers, grass, and wildlife and its symbiosis with its caretakers, -insects, bumble bees, and whatever garden gnomes that made up the miracles of the flora.

最初设想为在木纤维保温层外覆灰泥的建筑，白色立面如同她的“画布”，可用于种植她的“活体静物”。随着设计深入，并考虑到建筑规模扩大以容纳居住者及未来继承者的需求，最终改为木板立面，以获得更丰富的细部与肌理。

Originally planned as a stucco on woodfibre insulation building, the white facades would act as her panneau on which she would plant her living still life studies. At closer study, we changed it to a wood panel facade for more detail and texture as the size of the building grew to accommodate all wishes from the resident and its future inheritors.

室内

这些独立体量原本可以排成一列，但在拱形屋顶的引导下，以及树木与花坛的布局需求促使下，最终决定将它们错落有致地分布在笔直的楼梯轴线和一条走廊周围。圆拱在室内转化为尖拱穹顶，横向墙体则化作入口，将后续的空间与功能隐匿其中。从纵向轴线看，这座别墅如同一座微缩而略带夸张的哥特式教堂；而在纵剖面上，则更像一座“玩具屋”。

Interior - The individual bodies could have been placed in line, but by invitation from the arching roofs and the demand from the trees and flowerbeds, a decision was taken to stagger them around a straight axis of stairs and an imagined corridor. The round arches transformed into pointed vaults, and the transversal walls made thresholds, hiding whatever room and function came next. In its longitudinal axis, the villa is a miniature pompous Gothic cathedral. In stark contrast to this, the longitudinal section is a dollhouse.

从朝南的冬季花园望去，走廊将各功能区域尽收眼底，视野开阔，呈180度全景。视野从顶端的厨房开始，穿过设有宏伟壁炉的客厅核心区域，一直延伸至尽头的通透工作室。通往阁楼的延伸楼梯龙骨末端，巧妙呼应了拱形屋顶的设计。

From the south-facing wintergarden, the corridor gives a free 180-degree view of the functions. Starting with the kitchen on top, through the living room core module with its grand fireplace, to the airy ateljé in the end. The end of the extended stair stringer to the loft is a reminder of the arched roof.

通过对各体块的精确布置，建筑的转角得以采用玻璃处理，以框取特定视野、特定树木以及与层叠景观相呼应的“窥视孔”，同时也有选择地遮蔽部分景观。

Careful positioning of the modules/blocks/bodies allowed the corners to be glazed to frame specific views, specific trees, peepholes in line with a layered landscape, and also to hide others.

窗不仅是通向外部的开口，更是一种画框与观察时间的窗口，使季节与日常的变化得以被感知。窗的设置应在一年之中持续塑造室内氛围，避免产生强烈对比、刺眼光线或阴暗角落。

A window is not only to the outside, but a window is a picture frame and a porthole through which the time can be told, both seasonal and daily. A window should define the interior during the year and never create stark contrasts, blinding light, or dark holes.

位于转角的窗带来柔和的漫射光，随着太阳路径变化，在不同墙面上投射光影。同时，拱顶顶部的圆形开口会形成光锥，在一天中的特定时刻投射至对侧墙面，如同侦探小说中揭示隐藏线索的标记。室内尺度在宏大与微缩之间不断切换。

Placed in the corners, they offer ambient light spreading and highlighting the different walls according to the sun's path around the building. This also becomes apparent as the round portholes in the top of the arch create a light cone that can be followed on the opposite wall, in a certain moment of the day, aligning like a sign revealing a hidden treasure in a mystery novel. The interior scale goes from the bombastic to the miniature with a turn of the head.

材料

项目的材料采用Ecococon草捆构件，外侧覆以Tiber板，内侧为三层板。建筑建立在泡沫玻璃基础之上，100毫米边梁之间铺设60毫米厚CLT板。外墙之间设置胶合木拱架，并填充Steico floc木纤维喷吹保温材料，室内侧覆以黄麻织物，并结合70×32木龙骨以改善声学性能。Alutrix防潮层覆盖于第一层泡沫玻璃之上，并焊接至Suterain墙体，形成连续的防水围护体系。Suterain墙体采用三重排水系统，包括碎石中的排水管、isodrän排水板，以及额外的空腔。室内横向墙体底部可便捷拆卸，以便检查潜在渗漏。

Material - Ecococon straw bale elements, on the outside classed with Tiber panel and inside with 3ply. Built on a cell glass foundation, with a slab of 60mm CLT between 100mm edge beams. Glulam arches between outer walls insulated with Steico floc, -woodfibre blow insulation, on the inside clad with a layer of jute fabric under 70x32 battens for acoustics. Alutrix vapour barrier covers the first layer of cell glass and is welded over Suterain walls to form a continuous watertight envelope. Suterain walls tripple drained with pipe in gravel, an isodrän drainage board, and an extra cavity. Bottom of interior transversal walls are easily dismantled for inspection of possible leakage.

建造

建筑尽可能采用定制CNC加工构件、预制部件及生物基材料，并通过常规标准木材完成细部构造，未使用任何定制连接件。

Construction - Building is in all possible parts built out of custom CNC'd parts, prefabricated elements, biomass materials, and with detailing made out of readily available standard lumber. No customised fixings have been used.

写在最后

项目借助高度精细的数字孪生模型，将材料浪费控制在最低水平。通过BIM技术，对每一项施工任务进行精确排布，使团队在不同施工阶段之间转换时保持最佳效率。尽管现场配有施工图纸，但绝大多数指令是通过模型直接传达至施工现场，并结合AR技术用于质量监控。SketchUp贯穿整个设计过程，从早期草图到施工文件、工程量统计、机加工文件、AR应用，以及现场与顾问之间的沟通。结构分析由Timbertech完成。

Conclusion - With the help of an immensely detailed digital twin, the amount of waste has been kept to an absolute minimum. Through the BIM, every task has been carefully timed, allowing optimum construction efficiency as the teams move between building sites. Although drawings were made and available on site, the vast majority of instructions were communicated to the site directly in the model, which was also used in AR for quality surveillance. SketchUp was used throughout the whole design process, from early sketches to building documentation, take-offs, machine files, AR, and communication between the site and consultant. Structural analysis with Timbertech.

通过对BIM技术的严格应用、标准化构件及预制方式的结合，该项目得以在合理规划的时间内建成一座100%生物基建筑，并几乎未产生浪费，同时在有限预算内实现一种富有探索性与趣味性的建筑表达。正如建筑师常说的那句话：“设计不应比必要更昂贵，但应比必需更美观。”

The combination of a stringent use of BIM, standard components, and prefabrication made it possible to construct a 100% bio based building in well planned time, without waste, allowing a playful, exploratory architecture realised well within a limited budget. As the architect often is heard saying: 'Don't design more costly than inevitable, but more beautiful than necessary'.