设计问题是在现代城市昌迪加尔的一个市场综合体中的一个现有的71’x18’的线性街区提出的。851号商店成为店主/客户出售的材料的声音。851号店成为店主/客户出售的材料的声音–他经营单板和胶合板，并讲述了工匠和木材之间的传统关系。其结果是一个瞬间充满诗意的室内装置：一个 “空间矩阵”，有令人回味的木材带在空间内扭曲和转动，几乎像它有自己的思想。

The design problem was posed with an existing 71’ by 18’ linear block in a market complex of the modern city of Chandigarh. SHOP NO. 851 became the voice given to the material sold by the store owner/client—who deals with veneers and plywood, and tells the story of the traditional relationship between the craftsman and wood. The result is an interior-installation instantly poetic: a “spatial matrix” that has evocative ribbons of wood twisting and turning within the space, almost like it has a mind of its own.

由于时代的转变和新的工程材料，木匠和产品之间的对话已经消亡。这个装置是这个问题的副产品，一个元素带，可以成为对话的主题，同时也是对话的促进者。

Due to shift in times and new engineered materials, the dialogue between a carpenter and a product has perished. The installation is a byproduct of this concern, an elemental ribbon that can be the subject of a conversation while being a facilitator of the same.

在这个单间的空间里，设计的流动性哺育了一个非常原始的、功能性的角色，这些诗意的木带变成了展示架、座位空间和会议区等等。这种 “艺术景观”，正如建筑师所称，是由浅色橡木单板组成的，并由黑色金属条固定在一起。这种设计的无限性表现在它能够模糊静态的、可移动的以及建筑空间的这些组成部分的艺术之间的界限。

The fluidity of the design in this single-room space feeds a very primal, functional role in the way that these poetic wooden ribbons turn into display shelves, seating spaces and meeting areas, among others. This “art landscape”, as the architects call it, is made up of light oak veneer and is held together by black metal bars. The limitlessness of this design manifests in its ability to blur the boundaries between the static, the movable and the art in-and-on these components of the built space.

在Grasshopper（一种计算设计工具）定义的帮助下，这些带子被数字化制造出来，这导致了双曲线几何形状的胶合板肋骨的制定，它们以6英寸的间隔交错。这个 “华夫饼结构 “是用19毫米的胶合板肋骨、3毫米的Flexi-ply和1.5毫米的纸皮组装起来的–每个都是由木匠们切割和处理。工匠们进一步在原地用夹具锯开肋骨，呈单向排列。虽然技术制定了设计的发展，但木匠们以他们的经验和 “显而易见的知识 “主导了创作。

The ribbons were digitally fabricated with the help of a definition in Grasshopper, a computational design tool, which led to the formulation of plywood ribs of doubly-curved geometries that interlocked at 6-inch intervals. This “waffle structure” was then put together with use of 19mm plywood ribs, 3mm Flexi-ply, and 1.5 mm paper veneer—each cut and handled by the carpenters. The craftsmen further jig-sawed the rib in-situ, in unidirectional arrangement. While the technology formulated the development of the design, the carpenters took ownership of the creation with their experience and “telltale knowledge”.

商店成为一个适合木匠、终端用户和零售商之间对话的环境，加深了社会参与。当胶合板-木工遇到其熵的螺旋时，SHOP NO. 851希望创造一个机会，重新想象传统曲线的工艺，作为下一代复杂雕刻的火炬手的一个不竭的灵感来源。装置的最后一个音符是一种不确定的噪音，在耳朵里低声说，被灵魂拾起，但几乎总是让人不知不觉。

The shop becomes a setting befitting for a dialogue between the carpenter, the end-user and the retailer deepening social engagement. As plywood-carpentry meets its entropic spiral, SHOP NO. 851 hopes to create an opportunity to re-imagine craft of the traditional curves, as an inexhaustible source of inspiration for the next generation of torchbearers of intricate carvings. The final note for the installation is an uncertain noise whispered in ears subconsciously picked up by the soul, but almost always leaves the mind unaware.

Architects: Studio Ardete
Area : 134 m²
Year : 2019
Photographs :Purnesh Dev Nikhanj
Manufacturers : 3M, Osram, Asian Paints, Kitply, Simpolo, Turakhias Natural veneer
Lead Architects : Badrinath Kaleru, Prerna Kaleru
Electrical Lighting : The Luminars
Design Team : Nisha Singh Sarao, Palak Puri
Client : Bansal Ply Chandigarh
City : Chandigarh
Country : India