White Forest Aslugen n Wexxam Agejdan sɣur Po Chuan Kao

White Forest Aslugen n Wexxam Agejdan sɣur Po Chuan Kao d anerbaz yettwaqadren meqqren n 2022 Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Tnaflit n Afeṣṣel n Ugensu, Taddart n Uzenz d Uskan.

LbrunzAgensu· 2022

White Forest Aslugen n Wexxam Agejdan

sɣur Po Chuan Kao

Amsaɣ: ACG Design International

Anerbaz n Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Agensu

11,709

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #127343

Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef White Forest Aslugen n Wexxam Agejdan

Tayerza Tamellalt d aslugen agejdan n wexxam n ugezdu n 42 ping deg Taichung. Aḥric-agi yegber tawwurt n ukcum, takuzint, texxamt n učči, texxamt n usqamu akked texxamt n uɣrid, rnu ɣer-s texxamt tameqqrant n usgen d texxamt n ubeddel akked texxamt tis snat n usgen d texxamt n ubeddel-nni. Iḥudan ur yelli lzum-nsen ttwakksen iwakken ad ttwaseḥḥu ugensu-nni yellan yelḥa yerna yebḍa aṭas seg tazwara. Aẓṭṭa amellal n terrazzo deg tewwurt n ukcum yeqqen takuzint akked texxamt n učči. Amrmer, timraren, tuẓẓal n tzegzawt akked ttis ittwaṣebɣen, ttɛawaden-d s tugniwin n yedɣaɣen, n tiddar n waman akked n yeẓri, ma d izenziyen n weqjun n ualumanyum ttakken tafat yeṣfan i d-yeεdun s tuffra.

Asmekti

Ɣef Tarbaḥt A' Design Award n Lbrunz

White Forest Aslugen n Wexxam Agejdan d amerbaḥ n Tarbaḥt A' Design Award n Lbrunz, tagmat ɛlayen i yisnulfa yelhan, yeṭṭafaren tinawt, tamusni d tezmert. Imerbaḥen n Lbrunz d isnulfa yelhan, ttbanen d timusniwin n tmusni n yimahilen-nsen. White Forest Aslugen n Wexxam Agejdan ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. White Forest Aslugen n Wexxam Agejdan yettemlil ɣef yimawlan, yettwaɛezzen s tmahilt-is.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: After calibrating the design elements exquisitely, the designer applied accurate and coordinated ratio transformations between abstracts and concretes and further delivered a visual depth of field through various methodical features. Meanwhile, the terrazzo base with shades of gray has drawn a parallel towards the odd rocks in forests. Concretes can be seen from the entryway marble facade, artworks of Taiwanese artists that were glaze fired and painted, and the three-stamen furnishing at the vista of the hallway.
Tigejdiwin & Akemmus: The indoor area is around 42 ping; this design included the entryway, the kitchen, the dining room, the living room, and the study of the public space; and the private area including the master bedroom and bathroom, and the secondary bedroom and bathroom.
Tibzimin: flowers blooming, relaxing, silence and pure, pink
Tasnakta n Ufares: Special paint, marbles, jet glasses, hardware, aluminum light band, painted solid wood, mirrors, glass tiles, grindstones, stretch cloth.
Asewḥel n Usnulfu: To combine all individual design elements into the room, the designer has applied metaphor methods to carefully hold onto the ratio of the part. For example, the light band that expands with areas strips that metaphor classic while visually outlining the sense of technology. Meanwhile, the grains and texture on materials symbolized the imagery of flowers, odd rocks, mountain springs, and others within the space. With the ratio arrangements of abstracts and concretes, a progressive depth of field is elaborated; all elements endued with characteristics, and are placed in each corner harmonically.
Anadi: To solve the distorted and multi-partitioned original spatial, the designer has remodified the surface. Abstract designing metaphors are used to elaborate the mountain springs, the odd rocks, the flowers, and other natural sights. The designer applied an open-ended method at the public area; a grindstone base is used as the go-between to create the entryway, the dining room, the kitchen, and other public areas. With the placing position of the desk and the sofa, a hidden border is created to divide the living room and the study.
Aseḥbiber: The designer applied Language of Flowers as the central concept and combined it with the touches of that trip to create layers of emotions. The depth of the elements is composed between abstracts and concretes; the language of flowers is shaped with abstracts, comparing humans to stamens. Within the transformations of lights and shadows, different appearances and colors are shown through the changing of time: Eternity shall bloom in the bottom of one heart, a pure flower with beauty and infinity.
Tanzagt n Usenfar: The project finished in Jun 2021 in Taichung.
Tanila n Umahil: Traffic flow arrangements often affect users emotions and the space practicality. The designer removed unnecessary walls to remodify the structure to solve the originally distorting and blocking spatial issue. Using the gray grindstones of the entryway as the go-between, the kitchen and the dining room are connected. At the same time, the open-end method is applied to weaken formal definitions towards space; overmuch decorations are ignored, while the sofa and the study desk are placed in the middle of the room, allowing children to move within the area freely without limitations.
Igmamen n Terbaɛt: PO-CHUAN KAO
Imsuren n Tugniwin: ACG Design International