Olga Ryukina

来自俄罗斯,，从事建筑与室内设计。她的设计以“节奏”“光线”“触感”为核心，认为空间的意义不在于展示，而在于被真实地“居住”。这一次，她为家人设计的这座森林木屋，成为了这种理念的延伸与印证。在这里，她同时是建筑师、设计师与居住者。房子坐落于一片由百年云杉环绕的空地上，远离城市，却与自然保持着亲密的连接。

Olga Ryukina is a Russian interior designer and architect whose path into design began in construction.For her, space is not a statement but a condition to be lived in.The wooden house she designed for her family is an extension of that philosophy.Here, she acts as architect, designer, and resident at once.Set within a clearing surrounded by century-old spruces, the house stands quietly within the landscape—distant from the city, yet deeply connected to the rhythms of nature.

俄罗斯设计师 Olga Ryukina ，最初在建筑施工领域工作，对材料与结构有着直接的经验与

理解；随后在莫斯科的

Details

室内设计学院深造，逐渐形成了克制、理性、同时又富于感官性的风格

选择在森林

In the Forest

“我不会说我们在找地块时有明确的标准，”Olga 回忆道，“那更多是一种情感上的选择——第一次来到这里时，我们就立刻知道，这就是那个地方。森林的存在让人无法无动于衷，这片土地上那几棵历经百年的云杉，也促使我们决定在此建造房子。”她希望房子能“退后一步”，不去打破自然的秩序，而是让森林成为主角，这种感觉也延伸到了室内。在这里，可以放慢节奏、重新连接自然与亲近的人，也可以有属于自己独处的空间。

“I wouldn’t say we had clear criteria when looking for a plot,” Olga recalls. “It was more of an emotional choice — the moment we came here, we knew it was the place. The forest, with its century-old spruces, made it impossible to remain indifferent and ultimately led us to build our home here.”She wanted the house to step back, not to disrupt the natural order but to let the forest take the lead — a feeling that continues inside. Here, life moves at a slower pace, allowing for reconnection with nature and loved ones, as well as moments of solitude.

客厅里放置着

最具辨识度的复古家具，

Pierre Paulin为Artifort 设计的

Ben

扶手椅 （右），Olga 认为将现代家具、复古设计和标志性物品相结合，使室内装饰看起来不那么过时，而且更加丰富和个性化

在这个项目中，Olga 同时作为建筑师、室内设计师与居住者。“这种身份的重叠既复杂又解放，”她说，“从技术角度看，这并不容易，但它带来了真正的自由——而自由，是创作过程中必不可少的一部分。”

In this project, Olga was simultaneously the architect, designer, and client.“The overlap of roles was both complex and liberating,” she explains.“Technically, it wasn’t easy, but it brought a real sense of freedom—and freedom is an essential part of creation.”

客厅的壁龛虽然不是为孩子而设计，却成了

Olga

儿子最喜欢的角落, 他喜欢钻进去，用枕头搭起小堡垒或在里面读书，这些带有情感记忆的体验，正是童年的温柔印迹

空间与节奏

Circulation and Rhythm

房子的布局以一种自由的流

线组织起来，让家人可以以不同的方式流动。“这种布局看似多余，但实际上非常方便。带着食材可以走最短的路进入厨房；不赶时间时，可以绕道经过客厅。这种自由的流动让空间更有趣，也让家人以自己的节奏去使用它。”对 Olga 来说，这种节奏感不仅是一种设计策略，更是一种生活方式。“我们的儿子喜欢在屋里跑圈，客厅、厨房、走廊都成了他的小世界。

The plan follows a circular flow, allowing movement through multiple routes.“At first, it may seem unnecessary, but it’s actually very convenient,” Olga explains.“When you carry groceries, you take the shortest path to the kitchen; when you’re not in a hurry, you can walk through the living room. This sense of freedom makes the space more engaging.”For her, rhythm is both a design strategy and a way of life.“Our son loves running around the house,” she says. “The rooms have become his own little world.”

主客厅一侧是“小

客厅”，每逢周末全家人会在这里一起看电影——那些温暖又动人的影片。大家一起窝在那个小而舒适的空间里，共享时光的感觉，特别幸福 ，Olag 和我们分享

Olga 坚信设计的直觉性。“我在材质之间寻找平衡时完全凭直觉，没有公式，只有感觉。”建筑的木结构被保留下来，成为空间的一部分。Olga不想遮盖它，而是将其视为优势。客厅的立面墙故意采用更深的色调，这样能强调房子的结构，也提醒人们它的本质是木头。这面墙就像一层幕布，衬托出真正的主角——窗外的森林。

The arrangement of furniture and objects does not follow a single visual logic, but allows elements of different eras, materials, and meanings to coexist naturally in dialogue. Aagnes hopes that each piece can contribute its own voice to an open and harmonious conversation. At the intersection of the self-made, the foreign, and the inherited, they have incorporated works from Mexico, Asia, and Europe. This diversity keeps the space “alive” — not as a static composition, but as something continuously evolving.

客厅里的这把上世纪80年代的 Mats Theselius 藤椅，是

Olga 的

丈夫在新年时送给她的礼物；而藤，是她一直想在空间中融入的元素

在餐厅里，

Elena Shuppo 设计的蓝色装置（右）与 Polina Dolgaya 的雕塑（中）构成了独特的氛围

厨房一侧储物室的窗最初并不在设计里，是

Olga 后来观察到阳光在屋内的移动轨迹时临时决定加上的，她说门上的

缝隙能投射出最美的光影

房子中的每个细节都自然地从设计中生长出来。“门把手、墙龛、家具……这些看似微小的元素，其实定义了整个空间的氛围。”Olga 同时保留了空间中的“空白”。节奏、材料、质感与停顿之间的混合，让空间有机且灵动。

The Every detail in the house seems to grow naturally from the design itself.“Handles, niches, furniture—these small things define the atmosphere,” Olga says.She also values the role of emptiness.The balance between rhythm, material, texture, and pause brings the space to life.

时间

Time and Growth

这座房子并非一次建成，而是在时间中逐渐生长。“对我来说，创造一个室内总是一个漫长的过程。在这段时间里，你自己也在变化，会发现新的物件、艺术家，你的审美也在成长。空间也随之变化，不是突然的调整，而是那些让它更有生命的小补充。”她称这种“缓慢”为一种自然的节奏。空间和居住者一起，会随着时间成长。

The house took shape gradually, not all at once.“For me, creating an interior is always a long process,” Olga reflects.“During that time, you change—you discover new objects and authors, your taste evolves. The interior develops through small additions that bring it to life.”This slowness, she says, is part of the natural rhythm.The space grows with us—it evolves as we do.

对于 Olga Ryukina 而言，这座木屋并非是对都市节奏的逃离，而让她重新学习如何倾听——倾听材料、光线、时间，以及家人之间的感受。“我相信最好的设计不是追求完美，而是让空间被真正地居住；让日常变得有意识，让生活自然地成为设计的延续。“

For

Olga Ryukina

, the house is not an escape but a return.It teaches her to listen again—to materials, to light, to time, and to the rhythm of her family.“I believe the best design isn’t about perfection,” she says,“but about creating spaces that are truly inhabited—where the everyday becomes conscious,and life itself continues the act of design.”