Boku Ime Ụlọ Oriri na Nkwari Mmanya nke Takahiro Todoroki

Ihe emepụtara bụ Boku Ime Ụlọ Oriri na Nkwari Mmanya nke Takahiro Todoroki bụ onye meriri a na-asọpụrụ nke ukwuu nke 2026 Ihe Nrite A' Design Award nke Ọlaọcha na Udi Asọmpi Nhazi Ime Ụlọ na Ngosipụta.

ỌlaọchaIme Ụlọ· 2026

Boku Ime Ụlọ Oriri na Nkwari Mmanya

nke Takahiro Todoroki

Onye Ahịa: Engine,inc

Onye Meriri Ihe Nrite A' Design Award nke Ọlaọcha na Udi Ime Ụlọ

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Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #183326

Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Boku Ime Ụlọ Oriri na Nkwari Mmanya

Boku bụ ime ụlọ oriri na nkwari mmanya dị na Guadalajara, Mexico. Nhazi a jikọtara ụkpụrụ nhazi oghere ndị Japan na omenala obodo ahụ, ma sitere na nri okporo ụzọ nke Osaka nweta mmụọ nsinye, ebe takoyaki bụ isi echiche ya. Tebụl gbagọrọ agbago na-akwado mmekọrịta mmadụ na ibe ya, ebe udidi mgbidi na-atụkwasị nkọwa a na-emetụ aka. Ọkụ achara kwụ n'elu na ihe ndị sitere n'okike na-emepụta ọnọdụ ihe okike. Mezzanine na-eji uru elu ụlọ dị elu eme ihe ma na-atụkwasị ọrụ dị iche iche. Ebe a na-enye nri n'ehihie ma na-aghọ ebe nkwari mmanya na ebe mmemme n'abalị.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaọcha

Boku Ime Ụlọ Oriri na Nkwari Mmanya meriri A' Design Award nke Ọlaọcha, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa kachasị elu, mara mma ma na-eju anya. Ndị meriri na Ọlaọcha bụ ọrụ na-egbu maramara nke ukwuu ma dị oke nzụlite nke na-egosi ọmarịcha ihe ọmụma, talent na nghọta nke ndị designer ha. A na-atụ anya na Boku Ime Ụlọ Oriri na Nkwari Mmanya ga-abụ ọrụ dị ịtụnanya, ihe nlereanya, nke dị oke ọrụ ma dị omimi n'ihe ọhụrụ. Design a meriri A' Design Award nke Ọlaọcha bụ ihe e mepụtara dị oke ịrịba ama, nke a na-eto nke na-erite uru ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. Boku Ime Ụlọ Oriri na Nkwari Mmanya bụ ihe e kere eke ọtụtụ ndị na-ekwo ekworo ya nke na-akpali ọchịchọ, na-eweta mmetụta ọma ma na-akpali ịtụnanya.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: This project merges Japanese spatial philosophy with the local culture of Mexico, avoiding superficial Japanese style design. Inspired by Osaka street food culture, the space centers on takoyaki and reinterprets the vitality of octopus as a spatial language. A curved counter evokes tentacles, encouraging social interaction, while wall textures recall suction cups. Suspended bamboo lighting and natural materials create an organic atmosphere. A mezzanine utilizes the high ceiling, adding vertical depth and functional diversity.
Nha & Mkpuchi: Total area: 128 sqm. Ceiling height: 4500 mm. Structure: steel frame. Materials: bamboo, mortar cement, brick, steel, washi, resin, sumi ink, LED neon. Ceiling: brick finish with clear coating. Floor: pigmented mortar with urethane coating. Walls: brick and painted surfaces with artwork. Lighting: 50 lux ambient, 100 lux table, 2700K. Features include sound system with subwoofer, DJ booth, and integrated lighting installations.
Mkpado: Bar, Mexico, Japanese, Restaurant, Takoyaki, Tequila, Bamboo, Sake, Guadarajara,
Teknụzụ Mmepụta: The design process translated traditional Takeakari into a modular ceiling system using parametric modeling and digital fabrication. Bamboo elements were lasercut based on 3D data due to limited local craftsmanship. Detailed drawings were developed to adapt complex geometries to local construction skills. The counter was formed using mortar and cement with curved surfaces requiring precise manual finishing. A mezzanine structure resolves the narrow plan by layering functions vertically. Circulation and visibility were optimized through curved layouts and open kitchen placement.
Ịma Aka Imepụta: The main challenge was bridging the gap between complex design intent and local construction capabilities. Many contractors declined due to the level of detail, and initial cost estimates exceeded the budget. This was resolved by simplifying construction systems and clearly communicating design logic through detailed drawings. Inconsistent schedules and craftsmanship required multiple adjustments and rework. Maintaining design quality under these constraints demanded continuous on-site coordination and adaptive problem-solving throughout the project.
Nchọpụta: This is an applied spatial design research. The objective was to reinterpret Japanese identity in Mexico without cliches while ensuring functional performance. The methodology combined cultural analysis, spatial planning, material testing, and onsite coordination over 3 months design and 5 months construction. Data were collected through site constraints, user flow studies, and mock ups using drawings, 3D modeling, lighting tests, and material comparisons. Experiments included bamboo lighting and steel hand lights. The result improved user stay time, SNS engagement, and cross cultural business value.
Mkpali: The project was inspired by the fusion of Japanese highball culture and takoyaki, aiming to redefine Japanese identity outside Japan. Instead of stereotypical expressions, it integrates subtle cultural elements such as bamboo lighting, ranma lattice, and sumie art. Influenced by Osaka vibrant street stalls, the design reflects warmth, energy, and informality. Traditional Japanese spatial techniques are reinterpreted through contemporary materials and composition, creating a modern space that quietly embodies the essence of Wa within a global context.
Oge Ọrụ: This project began its design phase in Japan in 2024 and opened in Guadalajara, Mexico, in August 2025.
Usoro Ọrụ: The space operates as a restaurant during the day and transforms into a bar and event venue at night. It supports a wide range of users, from individuals to large groups. The open kitchen creates a lively atmosphere where guests can experience the cooking process. The takoyaki grill is placed near the entrance to attract attention and introduce the cuisine. The curved counter allows natural communication between guests, enhancing social interaction and making the space intuitive and engaging.
Asụsụ Foto: Photographer : Katsumi Hirabayashi