Boku Ingaphakathi leRestyu neBhari ngu-Takahiro Todoroki

Uyilo olubizwa ngokuba yi-Boku Ingaphakathi leRestyu neBhari olwenziwe ngu-Takahiro Todoroki ngumwini obekekileyo webhaso elinobukhazikhazi le-2026 Ibhaso Lesilivere le-A' Design Award Kudidi Lokhuphiswano lwe-Uyilo lweNdawo yangaPhakathi kunye noMboniso.

IsilivereIngaphakathi· 2026

Boku Ingaphakathi leRestyu neBhari

ngu Takahiro Todoroki

Umxhasi: Engine,inc

Umwini we-Ibhaso Lesilivere le-A' Design Award Kudidi Lwe-Ingaphakathi

14,918

Umwini Webhaso Oqinisekisiweyo

Qinisekisa Isimo Sebhaso se-#183326

Tyelela iSayithi Jonga kwi-A' Design Award Uxwebhu Lweendaba Ibheji Yembasa

Imibala

Uyilo

Malunga ne-Boku Ingaphakathi leRestyu neBhari

I-Boku yingaphakathi lerestyu nebhari eGuadalajara, eMexico. Uyilo ludibanisa imigaqo yendawo yaseJapan nenkcubeko yasekuhlaleni kwaye luphefumlelwe kukutya kwasesitratweni kwase-Osaka, ne-takoyaki njengomxholo ophambili. Ikhawuntara egobileyo ikhuthaza unxibelelwano loluntu, kwaye imizobo yeendonga yongeza iinkcukacha eziphathekayo. Izibane zebhambhu ezixhonyiweyo kunye nemathiriyeli zendalo zenza imeko-bume yendalo. Imezanini isebenzisa uphahla oluphakamileyo kwaye yongeza iindidi zokusebenza. Le ndawo inikezela ngokutya emini kwaye ibe yibhari nendawo yemisitho ebusuku.

Ukuqatshelwa

Malunga ne-Ibhaso Lesilivere le-A' Design Award

Boku Ingaphakathi leRestyu neBhari ngumphumeleli weIbhaso Lesilivere le-A' Design Award, ukuqatshelwa okuhlonitshwayo ngokungaqhelekanga okunikwa imiyilo yomgangatho ophezulu, entle nechukumisayo. Abaphumeleleyo beSilivere ziimveliso ezikhazimlayo kakhulu nezidala kakhulu ezibonisa ubungcali obuphawulekayo, italente nobukrelekrele babayili bazo. Boku Ingaphakathi leRestyu neBhari iyathenjwa ukuba ibe ngumsebenzi omhle womzekelo, onobungcali obuphawulekayo nezinto ezintsha ezinzulu. Lo myilo uphumeleleyo weIbhaso Lesilivere le-A' Design Award yimveliso ebonakalayo kakhulu, ethandwayo enceda kwaye inyusa imida yobugcisa, inzululwazi, uyilo kunye nobuchwephesha. Boku Ingaphakathi leRestyu neBhari yimveliso enomona omkhulu kuyo evusa iinqwenelo, izisa iimvakalelo ezintle kwaye ivuselela ukumangaliswa nokumangala.

Emva Koyilo

Ikhithi Yeendaba

Iziqinisekiso, amalungu eqela kunye neenkcukacha zobugcisa ezinikezelwe ngumyili.

Iimpawu Ezizodwa: 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.
Imilinganiselo nePakishini: 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.
Iithegi: Bar, Mexico, Japanese, Restaurant, Takoyaki, Tequila, Bamboo, Sake, Guadarajara,
Ubuchwepheshe Bokuvelisa: 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.
Umngeni Woyilo: 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.
Uphando: 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.
Inkuthazo: 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.
Ubude Beprojekthi: This project began its design phase in Japan in 2024 and opened in Guadalajara, Mexico, in August 2025.
Ukuhamba Komsebenzi: 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.
Amagunya Emifanekiso: Photographer : Katsumi Hirabayashi