架构师提供的文本描述。客户把他的花园城地一分为二，把老房子搬到了一个。另一个有一个更嵌入的位置，包括一个大的老橡树在中间。

Text description provided by the architects. The client had split his garden city plot in two and moved the old house to the one. The other had a more embedded position, including a big old oak tree in the middle.

 © Åke E:son Lindman

C.E：Son Lindman

必须充分利用建筑津贴总额，以便为日益壮大的家庭创造一个足够大的住房。当然，到物业线的规定距离限制了从两边的位置，而保护老橡树的愿望阻碍了中间的位置。

The gross building allowance had to be fully exploited in order to create a large enough home for the growing family. The stipulated distance to the property line of course limited the positioning from the sides, while the desire to preserve the old oak tree blocked the middle.

 © Åke E:son Lindman

C.E：Son Lindman

弯曲的L形完全不符合分区规定。实际的弯道给了房子一个内部的空间流动，如果我们选择一个锐角的话，它就会被打破。当然，弯曲也使一个标志性的和雕塑的外观-这是客户特别要求。

The curved L-shape stems completely out of the zoning regulations. The actual bend gives the house an interior spatial flow that would have been broken if we’d chosen a sharp corner. The curving of course also makes for an iconic and sculptural exterior - something that the client specifically requested.

 © Åke E:son Lindman

C.E：Son Lindman

另一个特色是正面的颜色。垂直板涂上不同的法轮红色调。从宽板到暗红色(窄板)的不规则过渡从卧室的一端到客厅的末端。这种颜色混合的灵感来源于瑞典儿童读物“高叔叔的帽子在哪里？”。

Another distinctive feature is the facade colour. Vertical boards are painted in different Falun red shades. An irregular transition from ocher (wide boards) to dark red (narrow boards) happens from the bedroom end to the living room end. The inspiration for the colour mixture was taken from the Swedish children's book ‘Where's the Tall Uncle’s Hat? ‘.

 © Åke E:son Lindman

C.E：Son Lindman

这房子的尽头有两层楼。你在那里可以找到卧室等等。在第二低端，上层楼的尽头是一个阳台，面向室内起居室，天花板很高。屋顶有对角线，螺距；从一端到另一端，也是向后的。这扭曲了房子的山墙，但也使不断变化的房间几何，因为一个人通过房子。

The house has two floors in its tall end. That’s where you find bedrooms etcetera. In the second lower end, the upper floor terminates with a balcony facing the interior living room with its high ceilings. The roof has a diagonal, pitch; from one end to the other and also backwards. This skews the house's gables but also makes for the constant changing of room geometry as one moves through the house.

 © Åke E:son Lindman

C.E：Son Lindman

这所房子的腰围是厨房和书架后面的楼梯。因此，厨房是非常开放的，而楼梯到更多的私人空间是更多的侧。随着它缓慢的爬升，楼梯给你一种‘前进’的感觉，而不是在水平之间行走。

The house's waistline houses the kitchen and, behind a bookcase, stairs. The kitchen thus is very much open while the stairs up to the more private spaces are more to the side. With its slow climb, the stairs gives a you a feeling of ‘proceeding’ rather than walking between levels.

 © Åke E:son Lindman

C.E：Son Lindman

所有的开口/玻璃都要小心放置，以避免从邻居那里看到。这也创造了一种感觉，房子位于一个比现实中人口稀少得多的地方。好像只有房子和户外。

All openings / glazing is carefully placed so that visibility from neighbours is avoided. This also creates a feeling that the house is located in a place far more sparsely populated than the area in reality is. As if it was just the house and the outdoors.

 © Åke E:son Lindman

C.E：Son Lindman

而不是更多的传统窗户，其余的位置是慷慨的玻璃。例如，客厅是完全玻璃朝向一个温室。作为客厅的外部延伸。

Instead of a larger number of conventional windows, the remaining placements are generously glazed. For example, the living room is completely glazed toward a conservatory. As an outside extension of the living room.

 © Åke E:son Lindman

C.E：Son Lindman

入口的地板是用卡拉拉大理石做的。瓷砖垂直于主立面，即使在房间弯曲的地方(就像风扇)。一个完整的血红色书架和楼梯流入楼上一层同样血红的木地板。浴室的瓷砖(地板，墙壁和天花板)与马拉喀什设计收藏的克劳松科伊维斯托卢恩不同的模式。

The entrance floor is made of Carrara marble. The tiles are laid perpendicular to the main facade, even where the room bends (like a fan). An integrated blood-red bookcase and staircase flows into an equally blood-red wood floor upstairs. The bathrooms are tiled (floor, walls and ceiling) with different patterns from Marrakech Design’s collection by Claesson Koivisto Rune.

 © Åke E:son Lindman

C.E：Son Lindman

我们把这座房子看作是自己设计的，它既不是特别奇怪，也不是极端。但其他人显然都不同意。当房屋完工或接近完工时，三辆汽车驶入街道外的混凝土砌块，以防止该地区的高速行驶。三名司机，三次不同的场合，他们无法保持他们的眼睛在路上。

We thought of the house as if it designed itself; that it was neither particularly strange or extreme. But everyone else evidently did not agree. When the house was finished or nearly finished three cars drove into the concrete blocks placed on the street right outside to prevent high speed in the area. Three drivers, three different occasions, who could not keep their eyes on the road.