Forest Archetype Ojeguerekóva Tekoha: Óga Genta Takano omba'apóva

Forest Archetype Ojeguerekóva Tekoha: Óga Genta Takano omba'apóva ha'e rembiporuarã oñemba'eguaséva 2026 A' Design Award Brónse pegua Arquitectura, Óga ha Mba'eguasu Jejapo Ñeha'ã Categoría-pe.

BrónseArquitectura· 2026

Forest Archetype Ojeguerekóva Tekoha: Óga

Genta Takano -gua

Mba'eporuhára: Gla

A' Design Award Brónse Rembiporuarã Arquitectura Categoría-pe

7,672

Premio Rembiporuarã Oñemoneĩva

Emoneĩ Premio Reko #174638 Peg̃ua

Eike Tendápe Ehecha A' Design Award-pe Marandu Myasãi Mba'ete Jeguerohory

Sa'y

Diseño

Forest Archetype Ojeguerekóva Tekoha: Óga Rehegua

Forest Archetype ha'e peteî tembiapo oñemboguapývo hendápe, oikuaauka ka'aguy rembi'apoha peteî óga michĩ ha oñembohysýivape. Pe ojeporãva oñembosako'i peteî tembiapo hovakéva rupive, ndaha'éi umi kotypa oñemboja'óva jepivegua. Umi mba'e oñembo'ýva ohechauka jeguata ha tembiapokuéra, upéicharõ jepe oheja peteĩ techapyre oĩmbáva umi kotype. Ko oñembohysýiva ojapo umi henda nandíva ha umi henda mba'evai hyepy oñembokatúva, ohechaukáva tembiapo ára ha ára oñemboporãvo. Peteĩ tembiapoháre hesakãva ha oñembohysýi porãva rupive, pe óga ohupyty imbaretéva ha nandíva, oheja jepe michĩme oñemboguapy.

Jeguerohory

A' Design Award Brónse Rehegua

Forest Archetype Ojeguerekóva Tekoha: Óga ohupyty A' Design Award Brónse, peteĩ ñehechakuaa heta prestigioso oñeme'ẽva diseño sobresaliente-pe ojekuaáva creatividad, ingenio ha astucia rupi. Umi ganador Brónse ha'e artefacto hábil ha creativo ohechaukáva experiencia, imaginación ha recurso umi diseñador-pe. Oñeha'ãrõ Forest Archetype Ojeguerekóva Tekoha: Óga ha'eha peteĩ objeto ojehayhúva, admirado ha estimado, profesional ha innovador. Ko diseño ohupytýva A' Design Award Brónse ombojoaju mejor práctica arte, ciencia, diseño ha tecnología rehegua ha iporãiterei detalle rehe. Forest Archetype Ojeguerekóva Tekoha: Óga ombohory necesidad, ohupyty ipotapy, ombovy'a sentimiento ha ohenói curiosidad.

Diseño Rapykuéri

Marandu Aty

Diseñador ome'ẽva'ekue crédito, aty pegua ha mba'e técnico.

Mba'e Iñambuéva: This project is a residential building that reinterprets the spatial structure of a forest within a compact domestic setting.
Instead of relying on conventional room divisions, the house is organized through a layered structural system that integrates architecture and built in furniture.
Large, trunk like elements form the spatial backbone of the house, enabling diverse activities and visual connections.
By combining structural clarity with spatial flexibility, the design achieves richness and openness while remaining restrained in scale.
Tuichakue ha Ñemyenyhẽ: Number of floors: 2 above ground
Eaves height: 5885mm
Maximum height: 6386mm
Site area: 1293.00m2
Building area: 85.11m2
(Building coverage ratio: 6.58%, allowable: 60%)
Total floor area: 124.14m2
(Floor area ratio: 9.60%, allowable: 200%)
First floor area: 72.16m2 Second floor area: 51.98m2
Construction type: Timber structure
Ñe'ẽ Rape: house, architecture, forest, spatial structure, timber
Ñeapopy Tecnología: The ceiling above the central void was finished with a low gloss metallic surface to control light reflection and enhance spatial depth.
This surface subtly reflects changes in daylight and surrounding vegetation throughout the seasons, contributing to environmental continuity without direct visual imitation.
Large suspended panels beneath the ceiling were designed as abstracted elements derived from surrounding trees, using simplified geometry and controlled spacing.
These elements modulate light, views, and scale, creating differentiated spatial conditions through material treatment rather than enclosure.
Diseño Jepy'apy: The primary challenge was balancing continuity with the forest while maintaining architectural clarity and structural stability.
From a creative perspective, the project required reconciling Japanese spatial traditions, such as the fragmentation of small rooms, with contemporary residential needs.
From a technical standpoint, ensuring sufficient structural performance in a timber building led to the adoption of a reinforced frame using aramid fiber sheets to address lateral forces.
Material selection was also critical, as silver steel surfaces were carefully introduced to reflect seasonal light without overwhelming the interior.
These challenges required close coordination between design intent, structural constraints, and construction feasibility.
Ñesẽheka: This project is based on design research exploring residential architecture adjacent to natural forests.
The objective was to understand how built space can coexist with a forest while maintaining continuity rather than separation.
The methodology involved on-site observation, spatial analysis, and iterative design testing.
Tools included site walks, sketches, physical models, and full-scale spatial studies.
The primary participants were the architect and the future occupants.
The result was a four layered spatial system that aligns architectural elements with the scale of trees.
This research demonstrates how architectural structure can enhance daily comfort and foster a closer relationship between living space and surrounding nature.
Inspiración: This project was inspired by repeated observations of a forest adjacent to the site.
Through walking and spending time within this environment, I became aware of its spatial order, formed by the vertical presence of trees and their layered relationships.

Rather than imitating the forest as a natural form, the design seeks to abstract its vitality into a clear architectural system.
This led to the development of large, trunk like structural elements arranged in layered compositions, responding to the trees along the cliff and translating their spatial logic into architecture.
Proyecto Ára Tuichakue: The project was completed in 2017 in Sapporo, Hokkaido, Japan.
Mba'apo Rape: The house is experienced through movement rather than fixed rooms.
As occupants walk through the interior, the layered walls gradually align with the scale and rhythm of the surrounding trees.
This creates a continuous flow between inside and outside, where built elements and natural scenery visually overlap.

Living within the house involves moving through changing degrees of openness, light, and enclosure.
This interaction allows daily activities to unfold naturally, producing a calm and immersive environment that feels connected to the adjacent forest rather than separated from it.
Ta'ãnga Mba'eñemoneĩ: GLA