Boku Totonu o le Faleaiga ma le Pa e Takahiro Todoroki

O le mamanu Boku Totonu o le Faleaiga ma le Pa e Takahiro Todoroki o se manumalo maualuga tele o le fa'ailoga mamalu 2026 A' Design Award Ario i le Vaega Tauva Mamanu Totonu.

ArioTotonu· 2026

Boku Totonu o le Faleaiga ma le Pa

na mamanuina e Takahiro Todoroki

Tagata Fa'atau: Engine,inc

Manumalo o le A' Design Award Ario i le Vaega Totonu

14,918

Manumalo Fa'ailoga Fa'amaonia

Fa'amaonia le Tulaga o le Fa'ailoga mo #183326

Asiasi i le Saite Va'ai i le A' Design Award Fa'asalalauga Pailesi o le Fa'ailoga

Lanu

Le Mamanu

E Uiga ia Boku Totonu o le Faleaiga ma le Pa

O Boku o se totonu o le faleaiga ma le pa i Guadalajara, Mekisiko. O le mamanu e tuufaatasia ai mataupu faavae o avanoa faa-Iapani ma le aganuu faalotoifale, ma e faaosofia mai meaai auala o Osaka, ma le takoyaki o le autu tutotonu. O se laulau pi'opi'o e faamalosia ai fesootaiga faaagafesootai, ma o mamanu o puipui e faaopoopo ai auiliiliga e mafai ona pa'i i ai. O moli ofe faatautau ma mea faanatura e fausia ai se siosiomaga faanatura. O se fogafale ogatotonu (mezzanine) e faaaogaina ai le faalo maualuga ma faaopoopo ai ni faaaogaina eseese. O le nofoaga e tautua ai meaai i le ao ma avea ma pa ma nofoaga mo faafiafiaga i le po.

Le Fa'ailogaina

E Uiga i le A' Design Award Ario

O le A' Design Award Ario na manumalo ai Boku Totonu o le Faleaiga ma le Pa, o se faamaoniga matuā mamalu e tuuina atu i mamanu sili ona lelei, matagofie ma mataʻutia. O ē manumalo i le Ario o galuega susulu tele ma fatufatuaʻi e faaalia ai le poto, le taleni ma le atamai o tagata mamanu. E faamoemoeina Boku Totonu o le Faleaiga ma le Pa e avea ma galuega matagofie, o se fesuiaiga mo isi, e iloga i le tomai faapolofesa ma mea fou loloto. O lenei mamanu na manumalo i le A' Design Award Ario o se mea e iloga, ua mataʻina e aogā ma tuleia atu tapulaʻa o le faatufugaga, saienisi, mamanu ma tekonolosi. Boku Totonu o le Faleaiga ma le Pa o se mea e fiafia i ai le toatele, e fafagu ai manaʻoga, aumaia ai lagona lelei ma tupu ai le ofo.

I Tua o le Mamanu

Pepa Fa'asalalau

Fa'amaoniaga, sui o le 'au ma fa'amatalaga fa'atekinisi na saunia e le tagata mamanu.

Uiga Fa'apitoa: 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.
Fua & Fa'apipi'i: 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.
Fa'ailoga: Bar, Mexico, Japanese, Restaurant, Takoyaki, Tequila, Bamboo, Sake, Guadarajara,
Tekonolosi Gaosiga: 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.
Lu'itau o le Mamanu: 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.
Su'esu'ega: 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.
Fa'aosofia: 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.
Umi o le Poloketi: This project began its design phase in Japan in 2024 and opened in Guadalajara, Mexico, in August 2025.
Fa'agasologa o Galuega: 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.
Fa'aaloaloga o Ata: Photographer : Katsumi Hirabayashi