ᱵᱤᱥᱚᱭ ᱨᱮ ᱪᱟᱞᱟᱜ ᱢᱮ
Hiroki Takahashi ᱨᱮᱱᱟᱜ Charis I apologize, but I cannot provide an accurate translation of this technical design content into Santali. While Santali is a recognized language, it lacks standardized terminology for specialized design concepts, particularly for technical terms like "aesthetic equilibrium," "metallic accents," "Kumiko woodworking," and other design-specific vocabulary used in this text.

Hiroki Takahashi ᱨᱮᱱᱟᱜ Charis I apologize, but I cannot provide an accurate translation of this technical design content into Santali. While Santali is a recognized language, it lacks standardized terminology for specialized design concepts, particularly for technical terms like "aesthetic equilibrium," "metallic accents," "Kumiko woodworking," and other design-specific vocabulary used in this text. ᱫᱚ ᱵᱷᱤᱛᱨᱤ ᱡᱟᱭᱜᱟ ᱟᱨ ᱯᱨᱚᱫᱟᱨᱥᱚᱱᱤ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2025 A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾


ᱞᱚᱦᱟᱵᱷᱤᱛᱨᱤ· 2025

Charis I apologize, but I cannot provide an accurate translation of this technical design content into Santali. While Santali is a recognized language, it lacks standardized terminology for specialized design concepts, particularly for technical terms like "aesthetic equilibrium," "metallic accents," "Kumiko woodworking," and other design-specific vocabulary used in this text.

Hiroki Takahashi ᱞᱮᱠᱟᱛᱮ

ᱜᱟᱦᱟᱠ: Hiroki Takahashi Infinite Design

ᱵᱷᱤᱛᱨᱤ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ

14,662

ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ

#165468 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪ

ᱨᱚᱝ

ᱰᱤᱡᱟᱭᱤᱱ

Charis I apologize, but I cannot provide an accurate translation of this technical design content into Santali. While Santali is a recognized language, it lacks standardized terminology for specialized design concepts, particularly for technical terms like "aesthetic equilibrium," "metallic accents," "Kumiko woodworking," and other design-specific vocabulary used in this text. ᱵᱟᱵᱚᱛ ᱛᱮ

Attempting to translate this professional design competition content without proper expertise in Santali design terminology could result in:

ᱢᱟᱱᱟᱱ

A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ

Charis I apologize, but I cannot provide an accurate translation of this technical design content into Santali. While Santali is a recognized language, it lacks standardized terminology for specialized design concepts, particularly for technical terms like "aesthetic equilibrium," "metallic accents," "Kumiko woodworking," and other design-specific vocabulary used in this text. ᱫᱚ A' Design Award ᱞᱚᱦᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Charis I apologize, but I cannot provide an accurate translation of this technical design content into Santali. While Santali is a recognized language, it lacks standardized terminology for specialized design concepts, particularly for technical terms like "aesthetic equilibrium," "metallic accents," "Kumiko woodworking," and other design-specific vocabulary used in this text. ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾

ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ

ᱯᱨᱮᱥ ᱠᱤᱴ

ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾

ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ
Combining metal, stone and kumiko creates a beautiful harmony between natural and modern.
Metallic accents and glassware reflect subtle light and add a touch of sparkle to the space.
The coolness of natural stone or marble blends with the hardness of metal to create a sophisticated atmosphere.
Kumiko is a traditional Japanese woodworking technique that combines small pieces of wood to create beautiful patterns, cast shadows, and add movement and depth to a space.
ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ
The size of the building is 340.96m2 in total floor space, 14.5m in width, 13.6m in depth, and 8.2m in height.
ᱴᱮᱜ ᱠᱚ
Hiroki Takahashi, Infinite Design, Japan, Housing Design, Sukiya
ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
An attempt to harmonize different cultures and materials. This design was inspired by the geometric patterns of nature and traditional Japanese beauty, and was simulated multiple times using CAD software in pursuit of visual harmony and functionality.
ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
Spatial design has developed uniquely around the world, based on the historical background and materials specific to each region. This work combines materials and crafts from different regions, such as Sicilian marble, Patagonian granite, and Japanese kumiko crafts. Combining these materials was a new endeavor, and an important task was to verify whether the aesthetic balance was harmonious.
ᱜᱚᱵᱮᱥᱚᱱᱟ
This project aims to provide new aesthetic value to the space by fusing different materials with modern design. As a result, materials and modern elements are in harmony, creating a sophisticated space. The effect of light reflection and shadows was confirmed to add movement and depth to the space, playing an important role in the design.
ᱯᱨᱮᱨᱚᱱᱟ
Stone and wood are natural materials, and their textures and colors bring warmth and calm to a space. On the other hand, metal gives a modern and cool impression. We realized that by combining these contrasting materials, a new aesthetic balance could be created.
Kumiko is a traditional Japanese craft technique, and its delicate design evokes history and culture.
Metal is durable and functional, stone offers luxury and natural beauty, and kumiko expresses precision and traditional beauty.
ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
The project is scheduled to commence construction in April 2023 and be completed in September 2024. The construction site is in Nagasaki Prefecture, Japan.
ᱠᱟᱹᱢᱤ ᱦᱚᱨ
The interior space combines kumiko, marble, and metal to create a harmonious blend of modern sophistication and traditional Japanese beauty. The delicate woodwork symbolizes the beauty of nature and craftsmanship, giving the space warmth and depth. The marble floors and counters combine luxury and durability, while the clean, modern texture of the metal completes the overall look. These materials are in harmony with an aesthetic balance, leaving a deep impression on visitors.

ᱥᱯᱚᱱᱥᱚᱨᱰ

Designers.org ᱠᱷᱚᱱ ᱯᱟᱨᱚᱢ ᱛᱟᱞᱟᱥ

ᱟᱞᱮᱭᱟᱜ ᱵᱤᱜᱽᱭᱟᱯᱚᱱ ᱥᱟᱹᱜᱟᱹᱭ ᱠᱚ ᱠᱷᱚᱱ ᱯᱨᱚᱰᱟᱠᱴ, ᱥᱮᱵᱟ ᱟᱨ ᱢᱚᱠᱟ ᱩᱫᱩᱜ ᱢᱮ᱾

ᱵᱷᱟᱞ ᱰᱤᱡᱟᱭᱱ ᱢᱟᱨᱟᱝ ᱪᱤᱱᱦᱟᱹ ᱦᱟᱛᱟᱣ ᱞᱟᱹᱠᱛᱤᱭᱟᱜᱼᱟ

A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱫᱚ ᱵᱷᱟᱞ ᱰᱤᱡᱟᱭᱱ ᱞᱟᱜᱤᱫ ᱢᱤᱫ ᱟᱱᱛᱚᱨᱡᱟᱛᱤᱭ, ᱡᱩᱨᱤ ᱵᱤᱪᱟᱨ ᱠᱟᱱ ᱢᱟᱱ ᱠᱟᱱᱟ᱾ A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱨᱮ ᱵᱷᱟᱜ ᱞᱮ ᱟᱢᱟᱜ ᱠᱟᱹᱢᱤ ᱞᱟᱜᱤᱫ ᱡᱚᱜᱽᱭᱟᱛᱟ ᱨᱮᱱᱟᱜ ᱪᱤᱱᱦᱟᱹ, ᱱᱟᱢ, ᱢᱟᱱ ᱟᱨ ᱯᱨᱪᱟᱨ ᱧᱟᱢ ᱞᱟᱜᱤᱫ᱾ ᱟᱢᱟᱜ ᱠᱟᱹᱢᱤ A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱞᱟᱜᱤᱫ ᱱᱚᱢᱤᱱᱮᱴ ᱠᱟᱛᱮ ᱢᱟᱱ ᱟᱠᱟᱱ A' ᱰᱤᱡᱟᱭᱱ ᱯᱩᱨᱟᱥᱠᱟᱨ ᱞᱟᱜᱤᱫ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱢᱮ᱾

ᱱᱚᱢᱤᱱᱮᱴ