Ishidaya Tawuri Tagejdant: Asečču Ajapuni sɣur Atsushi Kawaguchi

Ishidaya Tawuri Tagejdant: Asečču Ajapuni sɣur Atsushi Kawaguchi d anerbaz yettwaqadren meqqren n 2026 Tarbaḥt A' Design Award n Lbrunz deg Taggayt n Tnaflit n Afeṣṣel n Ugensu, Taddart n Uzenz d Uskan.

LbrunzAgensu· 2026

Ishidaya Tawuri Tagejdant: Asečču Ajapuni

sɣur Atsushi Kawaguchi

Amsaɣ: Ishidaya

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

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Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #180958

Rzu ɣer usmel Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

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Afeṣṣel

Ɣef Ishidaya Tawuri Tagejdant: Asečču Ajapuni

Aḍris n Udlis: Ishidaya d asečču ajapuni deg wammas n temdint n Hanoi. Asenfaṛ yesseqdac Taisho Roman, yiwet n tallit anida mlalent yidelsan ijapuniyen d wid n Umalu, d taɣessa-ines, yetteddun gar tfeṣṣugt tajapunit d ṭṭbiɛa tamalut n lebni. Yiwet n tɣessa n wesɣar sennig lkuntwar tesdukkul lebni aqbur d tenzeggit n Art Deco yerna tettixeḍ am uferdis aẓawan agejdan. Mačči d ccbaḥa, maca tessalaɣ tamuɣli s tafat d yiswiren yettbeddilen. Igmaḍ d yiwen n wemkan iḥellen i yessersen tummiwin idelsanen yerna yefka-d asegzi ibanen n učči atrar deg Hanoi.

Asmekti

Ɣef Tarbaḥt A' Design Award n Lbrunz

Ishidaya Tawuri Tagejdant: Asečču Ajapuni 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. Ishidaya Tawuri Tagejdant: Asečču Ajapuni ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. Ishidaya Tawuri Tagejdant: Asečču Ajapuni 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: This design is a spatial centerpiece that quietly responds to people rather than technology. Its form never moves, yet it feels different from every position, shaped by light, shadow, and human presence. Unlike decorative elements that are simply observed, this design creates a subtle dialogue with its surroundings, offering depth, calm, and a lasting sense of place through simplicity and restraint.
Tigejdiwin & Akemmus: Renovation of existing buildings
Tibzimin: Timeless atmosphere, Changing perception, Sense of depth, Quiet interaction
Tasnakta n Ufares: The design process began not with form, but with experience. We first observed how people move, pause, and look within the space. Instead of adding complexity, simple elements were repeated and layered so perception changes as people move. The design does not rely on mechanisms or instructions; human presence itself creates variation. This approach results in a calm, durable, and lasting spatial experience.
Asewḥel n Usnulfu: In designing ISHIDAYA we faced challenges from both cultural context and practical limits. The building showed Western decorative traces while the space required a Japanese aesthetic. To connect these influences we adopted the idea of Taisho Roman, a period when East and West blended naturally. This concept guided choices in materials colors light and space. Through close work with craftsmen and repeated testing the design was refined into a space that respects cultural roots and feels natural to use.
Anadi: For ISHIDAYA the research began by understanding the building and its use. The structure showed traces of Western decoration, while the design required a Japanese sensibility. To connect these elements we studied moments in history when East and West blended naturally. This led to Taisho Roman, which guided choices in materials colors and mood, creating a space that feels unified clear and suited to present day Hanoi.
Aseḥbiber: ISHIDAYA is a Japanese restaurant located in the center of Hanoi. Inspired by Taisho Roman, a period when Japanese and Western cultures intersected, the design harmonizes Japanese aesthetics with the building’s original Western character. A sculptural wooden framework above the counter combines traditional Japanese construction with Art Deco geometry, creating a refined space where dining, drinking, and cultural storytelling come together in contemporary Hanoi.
Tanzagt n Usenfar: The project started in August 2024 in Hanoi and finished in April 2025.
Tanila n Umahil: Hanged wood frame is not something you press or control.
It responds simply to people being there. As you walk, sit, or look up, its shape feels different. From one angle it looks calm, from another it feels complex, and from below it seems to float.
Nothing actually moves, but your position changes how it appears. Light and shadow shift naturally, creating a quiet interaction. Because it relies on people, not machines, it stays simple, stable, and always engaging.
Imsuren n Tugniwin: All photos / HIROYUKI OKI