转述与独白
Paraphrasing and monologue
转述，永远存在误解独白，更能触及真实
Paraphrasing, there are always misunderstandings monologues, more touching on the truth
我们希望展示木的质感与构造的工艺，而不只是完全粉饰后的「完美产品」。
We wanted to show the texture and construction of the wood, not just the 「perfect product」 after a complete whitewash.
我们不创造新奇的形式，但力求探索木作展厅的本质。
We do not create novel forms, but strive to explore the essence of the wood exhibition hall.
让形式回归极致的简单与纯粹以呈现木作行业最为基本的属性: 木质与构造
Let the form return to the ultimate simplicity and purity to present the most basic attributes of the wood industry: wood and structure
创造新的形式并不困难，但要把一个空间类型的本质研究透彻则需要付出更深刻的思考。
It is not difficult to create new forms, but to thoroughly study the nature of a spatial type requires deeper thinking.
32mm 系统
32mm system
32mm系统是一种依据单元组合理论，通过模数化、标准化的「接口」来构筑家具的制造系统。这个系统采用32mm 作为基本模数，所以被命名为「32mm系统」。
32mm system is a kind of furniture manufacturing system based on the unit combination theory, through the modular, standardized 「interface」 to build furniture. This system uses 32mm as the basic module, so it is named 「32mm system」.
32mm系统的核心是以柜体的旁板为中心，因为旁板几乎与柜类家具的所有零部件都发生关系。旁板前后两侧加工的排孔间距均为32mm或32mm的倍数。预钻孔分为结构孔和系统孔，分别用于连接水平结构板和安装五金件等。
The core of the 32mm system is the side plate of the cabinet, because the side plate is related to almost all parts of the cabinet furniture. The hole spacing of the front and back sides of the side plate is 32mm or a multiple of 32mm. Pre-drilled holes are divided into structural holes and system holes for connecting horizontal structural plates and installing hardware, respectively.
此外，32mm系统还采用了「对称原则」设计和加工旁板上的安装孔，以提高生产效率、降低成本，并使家具的多功能组合变化成为可能。这个系统已成为家具设计与制造工业化的标志。
In addition, the 32mm system also uses the 「principle of symmetry」 to design and process mounting holes on the side panels to increase production efficiency, reduce costs, and enable versatile combination changes in furniture. This system has become a symbol of the industrialization of furniture design and manufacturing.
木作展厅的方向应该是多元的而不是仅仅是各类生活空间的整合并列展示。
The direction of the wood exhibition hall should be diversified rather than just the integration and juxtaposition of various living Spaces.
我们希望给到品牌方和体验者更多自由。
We want to give brands and experiencers more freedom.
自由才是体验的灵魂，而不是绝对的控制。
Freedom is the soul of experience, not absolute control.
空间的装饰与产品的呈现需要退后，让位于客户的真实体验。
The decoration of the space and the presentation of the product need to step back and give way to the real experience of the customer.
当客户与产品产生真实的互动触觉被放大，体验的记忆通过触觉而加深。
When the customer has real interaction with the product, the sense of touch is amplified, and the memory of the experience is deepened through the sense of touch.
形式
form
是创作的结果，而不是目的。
It is the result of creation, not the purpose.
过度的形式，只会削弱产品本身的特质。
Excessive form will only weaken the character of the product itself.
形式的退让，才能产生更好的互动。
Form of concessions, in order to produce better interaction.
当产品自己可以发声，任何销售的语言都将变得苍白。
When the product itself can speak, any sales language will pale.
转述永远存在误解，独白更能传达真实。
There are always misunderstandings in paraphrasing,Monologues convey more truth.
追逐与反思
Pursuit and reflection
不复制流行，对流行进行反思
不追求永恒，追求功能的永续
Do not copy the popular,Reflect on the popularity
Do not seek eternity,Pursue functional sustainability
木作市场的产品，直接反应了当下市场的审美倾向。审美的背后，是流行的影响。我们无法避开当下流行的趋势和风格于此同时也在不断见证风格的快速更新。
The products of the wood market directly reflect the aesthetic tendency of the current market. Behind the aesthetic is the influence of fashion. We can’t avoid the current trends and styles and at the same time we are constantly witnessing the rapid change of styles.
面对流行，我们的态度与选择决定了一个品牌的方向与未来,也体现一名设计师的态度。
In the face of fashion, our attitude and choice determine the direction and future of a brand, and also reflect the attitude of a designer.
重复流行，意味着迎合，迎合是缺乏思辨态度的行为。
To repeat popularity means to cater, and catering is to act without a critical attitude.
追逐流行，流行一定会毫不留情的甩开你。
Go after fashion, fashion will leave you without mercy.
流行，本身就意味着过时。
Being in fashion itself means being out of fashion.
我们不复制流行，我们希望体现更多对于流行的反思。
We don’t copy fashion, we want to reflect more on fashion.
我们不追求永恒，我们只追求功能的永续以面对未来。
We do not seek eternity, we seek only functional sustainability to face the future.
永恒，难以铸就。
但是 永续，值得探索
Eternal, hard to make.
however Sustainable and worth exploring
当下与未来
Present and future
只有从未来的角度思考当下
行动的脚步才可以更加坚定
Only think of the present in terms of the future
The pace of action can be more firm
曾有一位在木作行业打拼多年的老板表示，一个木作展厅投入巨资，装完 1-2 年后就会面临过时的情况。
A boss who has struggled in the wood industry for many years said that a wood exhibition hall invested heavily and would face obsolescence after 1-2 years of installation.
重装还是保留，是他会持续面临的问题。这背后的思考核心其实是:成本。
Reinstall or keep, is a question he will continue to face. The thinking behind this is really about cost.
盲目跟进流行风格，必然会发生过时的情况。一旦空间需要更新与更换，必然会产生大量的拆改，这背后就是成本的增加。这对任何一个商业机构都是必须面对的情况。
Blindly following popular styles will inevitably lead to obsolescence. Once the space needs to be updated and replaced, it will inevitably produce a large number of demolition and renovation, which is behind the increase in costs. This is a situation that any business organization must face.
作为设计师，我们必须站在未来回看现在。
As designers, we must stand in the future and look back at the present.
一个品牌到底需要怎样的空间?
What kind of space does a brand need?
我们选择用设计的策略去减少成本的无序产生。用模块化的布局、模块化的展示、模块化的活动家具设计去适应不同的场景、不同的人群以及不同的时间。
We choose to use design strategies to reduce the cost of disorderly generation. With modular layout, modular display, modular activity furniture design to adapt to different scenes, different people and different times.
产品可以拆解，可以移动，可以循环利用。
Products can be disassembled, they can be moved, they can be recycled.
场景可以切换，可以改变，可以适应变化。
Scenes can be switched, they can change, they can adapt.
木作展厅需要革新之作。
The wood exhibition hall needs innovation.
项日信息
项目名称：Anone 太原木作展厅
项目面积：1075 平米
设计机构：不或设计；设计总监：倪董波
主材供应：艾诺一宅、普旭智能、感物地板
