Genta Takano nisqap Forest Archetype Wasi diseñon

Genta Takano nisqap Forest Archetype Wasi diseñonqa Wasichiy Kamay Atipanakuy T'aqapi 2026 A' Design Award Burunsi Premiu nisqap ancha chaniyuq atipaqninmi.

BurunsiWasichiy· 2026

Forest Archetype Wasi

Genta Takano rurasqa

Mañakuq: Gla

Wasichiy T'aqapi A' Design Award Burunsi Premiu Atipaq

7,672

Taripasqa Premio Atipaq

#174638 nisqapaq Premio Kayninta Taripay

Sitio Web Qhaway A' Design Award ukhupi Qhaway Prensa Willakuy Premio Unanchay

Llinphikuna

Diseñomanta

Forest Archetype Wasi nisqamanta

Sacha Sapan Kasqan nisqaqa huk tiyana llamk'aymi, sacha kawsay pataq churanata huk pisi wasi kasqaman tikrachin. Kay llamk'ayqa wakichisqam patapatapi kallpasapa sistemawan, mana hina kuska wasi rakiykunawanchu. Sayaq kallpasapa imakunaqa puriyta hinaspa ruwaykunata sut'inchanmi, ukhupi qhawanapi mast'arikuyta hap'ispa. Kay patapata churanaqa kicharisqa ch'usaqkunata hinaspa hawa ch'awpi pachakunata kamarin, sapa p'unchaw mast'arikuq llamk'ayta yanapanankupaq. Sut'i kallpasapa yuyaywan hinaspa pacha qhipanakuywan wasiqa qhapaqyayta hinaspa kicharikuyta tarin, hina sasata kasqanpi tupusqalla qhipaspa.

Riqsichiy

A' Design Award Burunsi Premiu nisqamanta

Forest Archetype Wasi A' Design Award Burunsi Premiu mishak kan, jatun yupaychay, kayta mana shuk shina, mushuk yuyaypi, yuyaypi shinallatak chaskik kaypi riksishka diseñukunaman kun. Burunsi mishak kashkakunaka ruray ushayta charik shinallatak mancharina mushuk rurashkakunami, paykunata rurakkunapak achka yachayta, yuyayta shinallatak ruray ushayta rikuchinku. Forest Archetype Wasi sinchi yupaychashka, kuyashka shinallatak riksishka shuk ruray kanata munanku, ruray yuyaywan shinallatak mushuk yuyaywan. Kay Burunsi Premiu japishka diseñuka arti, siensia, diseñu shinallatak tekinolojíapi ashtawan alli ruraykunata tantachin shinallatak ima ukumanta rikuypi sumak kan. Forest Archetype Wasi mañaykunata alli paktachin, munaykunata llankan, shunkuta kuyachin shinallatak yachayta munayta kallarichin.

Diseño Qhipanpi

Prensa Kit

Diseñadorpa quska créditos, llamk'aq runakunapas técnico willaykuna.

Sapaq Kayninkunamanta: 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.
Tupukuna & P'istuy: 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
Etiquetakuna: house, architecture, forest, spatial structure, timber
Ruway 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 Sasachakuy: 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.
T'aqwiy: 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.
Kallpachay: 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.
Llamk'ay Pacha: The project was completed in 2017 in Sapporo, Hokkaido, Japan.
Purichiy Puriy: 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.
Siq'i Hayñikuna: GLA