Art Omi Deconstructive Utopia Tlanextilcalli ipan Tlatlaliliztli ītēchcopa Daria Yang Du

Tlanāhuatīlli Art Omi Deconstructive Utopia Tlanextilcalli ipan Tlatlaliliztli ītēchcopa Daria Yang Du cē cencā mahuizzō tēmacēhualōni īpan huēyi 2026 Mahuizolli A' Design Award Iztacteocuitlatl īpan Calchihualiztli, Calmanaliztli ihuan Tlatecpanaliztli Tlachihchihualiztli Nēhuilīztli Tlamantli.

IztacteocuitlatlCalchihualiztli· 2026

Art Omi Deconstructive Utopia Tlanextilcalli ipan Tlatlaliliztli

īpal Daria Yang Du

Tlanāhuatīlli: DD Studio

Mahuizolli A' Design Award Iztacteocuitlatl Tēmacēhualōni īpan Calchihualiztli Tlamantli

23,338

Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #176619

Xiquitta Tlahcuilōlcalli Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa Art Omi Deconstructive Utopia Tlanextilcalli ipan Tlatlaliliztli

Art Omi Deconstructive Utopia ce tlanextilcalli ihuan calli campa monextia tlatlaliliztli tequitl, ca ipan Hudson Valley, quipia canah 12000 pies cuadrados ixtlahuatl. In cuecuelpachtic tepetlatl concreto ica omochiuh omoyocox ica tlayeyecoliztli itech quen cehcemi in balloon, ihuan omopatzcac ica formwork tlen omochihchiuh ica CNC maquina inic huel melahuac in icuelpachca. Itlahco, ce yahualtic coyoctli mopiya quen huey tlanextiloyan ihuan campa calaqui in altepetlacah. Ce ohtli yauh tonatiuh icalaquiyan huic tonatiuh iquizayan, itenco cateh tequitiloyan ihuan tlami itech in atezcatl. In tequitiloyan tlen pilcaticateh quipiyah ecatic tepoztli tlaquetzalli tlen tlapachiuhtoc ica cuahuitl. Totonqui cuauhtlapechtin quiyahualoah in calihtic ihuan quicualtiliah in caquiztli.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Iztacteocuitlatl

Art Omi Deconstructive Utopia Tlanextilcalli ipan Tlatlaliliztli ca in quicuic in Mahuizolli A' Design Award Iztacteocuitlatl, hueyi tlamahuizoliztli tlen momaca in huel yectli, tlanextic ihuan mahuiztic tlachihualli. In quicuicah Iztacteocuitlatl ca cenca cualli ihuan cenca yancuic tlachihualli in quinextia in tlamatiliztli, toltecayotl ihuan ixtlamatiliztli intlachihuanime. Ca quinequi in Art Omi Deconstructive Utopia Tlanextilcalli ipan Tlatlaliliztli ca cenca cualli, cenca motequiuhtia ihuan yancuic. Ni dizayno in quicuic Iztacteocuitlatl quihuelitia in toltecayotl, tlamatiliztli, dizayno ihuan teknolohia. Art Omi Deconstructive Utopia Tlanextilcalli ipan Tlatlaliliztli quiyolchicahua in tlacah, quipaquiltia ihuan quitlamahuiztiltia.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: Beginned by an experimental process of morsal-folly finding process to explore form and movement, the Art Omi Design Gallery reinterprets kinetic gestures into architectural space. The design transitions from a linear system of tensioned strings to a centralized spherical volume, carved out and preserved as the main exhibition space and public entrance. This void becomes the anchor of spatial experience, emphasizing a fluid internal circulation that guides visitors across the site.
Huēyiliztli īhuān Tlacualtepēhualli: Size: 12000ft²
Tōcāitl: Balloon Experiment, Yarn Grid, Deflation Studies, Form-Finding, Curved Concrete, Spatial Void, Floating Studios, Circulation Path, Cultural Landmark, Landscape Integration, Lightness and Memory, Architecture and Movement
Tlachīhualiztli Māchiyōtl: The gallery is built as a curved concrete shell shaped by balloon deflation studies, using CNC-milled formwork for precise curvature. Warm timber panels line the interiors, enhancing acoustics and contrast with the concrete mass. Suspended studios use lightweight steel frames clad in wood, appearing to float above. Foundations integrate with the lakeside landscape, anchoring the structure while respecting natural topography.
Tlanāhuatīlli Nētēcahuilīztli: The challenge was translating a fleeting balloon-and-yarn experiment into a permanent architectural system. Capturing the dynamic shift from expansion to deflation required rethinking geometry, circulation, and structure. Preserving the spherical void while adapting the shifting yarn grid into concrete and timber demanded both technical precision and conceptual clarity, turning ephemeral gestures into a coherent, inhabitable cultural landmark.
Tlatēmōliztli: Each material guided form-finding through its properties. In balloon and yarn experiments, expansion and contraction revealed new spatial opportunities. Placed on flat topography, the balloon’s center aligned with a yarn grid, creating a cloud-like form. Strings attached to it defined smooth paths connecting to the ground. When deflated, shifting strings generated a new landscape, inviting people to walk, sit, lie, and interact with the folly as structure.
Tēyōllālīliztli: Inspired by balloon inflation and deflation studies, the design shifts from a linear system to a central spherical void, preserved as the main exhibition and entrance. A pivoting path extends west to east, flanked by workshops and ending at the lake. Suspended studios echo floating forms, while a curving concrete shell recalls string grids. Warm wood interiors contrast the monolithic frame, guiding visitors through a dynamic spatial journey.
Tēquitl Cāhuitl: Art Omi in Hudson Valley
Tēquitl Ōhuitl: Individual Work
Īxiptla Tlanēxtīlli: All Design & Illustration & Drawing & Physical Model by Daria Yang DU