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Photos from DA LUXE's post 11/05/2026

(khmer below)
Architectural visualization is not only about showing how a building will look. It’s about revealing how it will feel. That’s why choosing the right rendering style plays a key role in telling the story behind a design. The selected architectural rendering style shapes the mood, the atmosphere, and the emotional impact of the project.

In this blog, we’ll explore a variety of rendering styles, rendering techniques, and artistic renderings used in architectural presentation. You’ll see how different render styles, from realistic to conceptual, illustrative, or expressive, serve different design goals. We’ll also show you how to create all these types of rendering effortlesslyαŸ”
This group of rendering styles focuses on clarity, accuracy, and emotional impact. They are ideal for presentations where the goal is to convey trust, quality, and a realistic vision of the project.

1.Photorealistic
Purpose: Used mainly for marketing materials and client presentations where a lifelike impression is essential.
Focus: Relies on correct lighting, natural shadows, and realistic material textures to reflect true physical conditions.
Impact: Creates a believable atmosphere that helps clients easily imagine the final built space.
2.Hyperrealistic
Purpose: Often used when a project needs to display an almost exaggerated level of clarity. Minor imperfections, subtle material flaws, and tiny surface variations are intentionally shown to enhance realism and strengthen the emotional connection.
Focus: Centers on microscopic details such as pores, scratches, reflections, and fine-textured surfaces, combined with pronounced atmospheric effects like haze, depth, and volumetric light.
Impact: Delivers a striking visual intensity that goes beyond standard architectural rendering, making the design feel tactile, close-up, and visually immersive.
αž€αžΆαžšαž˜αžΎαž›αžƒαžΎαž‰αžŸαŸ’αžαžΆαž”αžαŸ’αž™αž€αž˜αŸ’αž˜αž˜αž·αž“αžαŸ’αžšαžΉαž˜αžαŸ‚αž”αž„αŸ’αž αžΆαž‰αž–αžΈαžšαžΌαž”αžšαžΆαž„αž’αž‚αžΆαžšαž“αŸ„αŸ‡αž‘αŸαŸ” αžœαžΆαž“αž·αž™αžΆαž™αž’αŸ†αž–αžΈαž€αžΆαžšαž”αž„αŸ’αž αžΆαž‰αž–αžΈαž’αžΆαžšαž˜αŸ’αž˜αžŽαŸαžšαž”αžŸαŸ‹αžœαžΆαŸ” αž“αŸ„αŸ‡αž αžΎαž™αž‡αžΆαž˜αžΌαž›αž αŸαžαž»αžŠαŸ‚αž›αž€αžΆαžšαž‡αŸ’αžšαžΎαžŸαžšαžΎαžŸαžšαž…αž“αžΆαž”αŸαž‘αŸ’αž˜αž”αž„αŸ’αž αžΆαž‰αžαŸ’αžšαžΉαž˜αžαŸ’αžšαžΌαžœαžŠαžΎαžšαžαž½αž“αžΆαž‘αžΈαž™αŸ‰αžΆαž„αžŸαŸ†αžαžΆαž“αŸ‹αž€αŸ’αž“αž»αž„αž€αžΆαžšαžšαŸ€αž”αžšαžΆαž”αŸ‹αžšαžΏαž„αžšαŸ‰αžΆαžœαž“αŸ…αž–αžΈαž€αŸ’αžšαŸ„αž™αž€αžΆαžšαžšαž…αž“αžΆαŸ” αžšαž…αž“αžΆαž”αŸαž‘αŸ’αž˜αž”αž„αŸ’αž αžΆαž‰αžŸαŸ’αžαžΆαž”αžαŸ’αž™αž€αž˜αŸ’αž˜αžŠαŸ‚αž›αž”αžΆαž“αž‡αŸ’αžšαžΎαžŸαžšαžΎαžŸαž”αž„αŸ’αž€αžΎαžαž’αžΆαžšαž˜αŸ’αž˜αžŽαŸ αž”αžšαž·αž™αžΆαž€αžΆαžŸ αž“αž·αž„αž•αž›αž”αŸ‰αŸ‡αž–αžΆαž›αŸ‹αž’αžΆαžšαž˜αŸ’αž˜αžŽαŸαž“αŸƒαž‚αž˜αŸ’αžšαŸ„αž„αŸ”

αž“αŸ…αž€αŸ’αž“αž»αž„αž”αŸ’αž›αž€αŸ‹αž“αŸαŸ‡ αž™αžΎαž„αž“αžΉαž„αžŸαŸ’αžœαŸ‚αž„αž™αž›αŸ‹αž–αžΈαžšαž…αž“αžΆαž”αŸαž‘αŸ’αž˜αž”αž„αŸ’αž αžΆαž‰αž‡αžΆαž…αŸ’αžšαžΎαž“αž”αŸ’αžšαž—αŸαž‘ αž”αž…αŸ’αž…αŸαž€αž‘αŸαžŸαž”αž„αŸ’αž αžΆαž‰ αž“αž·αž„αž€αžΆαžšαž”αž„αŸ’αž αžΆαž‰αžŸαž·αž›αŸ’αž”αŸˆαžŠαŸ‚αž›αž”αŸ’αžšαžΎαž€αŸ’αž“αž»αž„αž”αž‘αž”αž„αŸ’αž αžΆαž‰αžŸαŸ’αžαžΆαž”αžαŸ’αž™αž€αž˜αŸ’αž˜αŸ” αž’αŸ’αž“αž€αž“αžΉαž„αžƒαžΎαž‰αž–αžΈαžšαž”αŸ€αž”αžŠαŸ‚αž›αžšαž…αž“αžΆαž”αŸαž‘αŸ’αž˜αž”αž„αŸ’αž αžΆαž‰αž•αŸ’αžŸαŸαž„αŸ—αž‚αŸ’αž“αžΆ αž…αžΆαž”αŸ‹αž–αžΈαž”αŸ’αžšαžΆαž€αžŠαž“αž·αž™αž˜αžšαž αžΌαžαžŠαž›αŸ‹αž‚αŸ†αž“αž·αž αž€αžΆαžšαž”αž„αŸ’αž αžΆαž‰ αž¬αž€αžΆαžšαž”αž„αŸ’αž αžΆαž‰αž’αžΆαžšαž˜αŸ’αž˜αžŽαŸ αž”αž˜αŸ’αžšαžΎαž‚αŸ„αž›αžŠαŸ…αžšαž…αž“αžΆαž•αŸ’αžŸαŸαž„αŸ—αž‚αŸ’αž“αžΆαŸ” αž™αžΎαž„αž€αŸαž“αžΉαž„αž”αž„αŸ’αž αžΆαž‰αž’αŸ’αž“αž€αž–αžΈαžšαž”αŸ€αž”αž”αž„αŸ’αž€αžΎαžαž€αžΆαžšαž”αž„αŸ’αž αžΆαž‰αž”αŸ’αžšαž—αŸαž‘αž‘αžΆαŸ†αž„αž’αžŸαŸ‹αž“αŸαŸ‡αžŠαŸ„αž™αž˜αž·αž“αž…αžΆαŸ†αž”αžΆαž…αŸ‹αž”αŸ’αžšαžΉαž„αž”αŸ’αžšαŸ‚αž„αŸ”
1.Photorealistic
αž‡αžΆαž”αž…αŸ’αž…αŸαž€αž‘αŸαžŸαž˜αžΎαž›αžƒαžΎαž‰αž€αŸ’αž“αž»αž„αžŸαŸ’αžαžΆαž”αžαŸ’αž™αž€αž˜αŸ’αž˜ αžŠαŸ‚αž›αž”αž„αŸ’αž€αžΎαžαžšαžΌαž”αž—αžΆαž–αž“αŸƒαž’αž‚αžΆαžš αž“αž·αž„αž›αŸ†αž αž‡αžΆαž˜αž½αž™αž“αžΉαž„αž–αž“αŸ’αž›αžΊ αžŸαž˜αŸ’αž—αžΆαžšαŸˆ αžœαžΆαž™αž“αž—αžΆαž– αžŸαŸ’αžšαž˜αŸ„αž› αž“αž·αž„αž‘αžŸαŸ’αžŸαž“αŸˆαž€αžΆαž˜αŸαžšαŸ‰αžΆαž”αŸ’αžšαžΆαž€αžŠαž“αž·αž™αž˜ αžŠαŸ‚αž›αž’αŸ’αžœαžΎαž±αŸ’αž™αž€αžΆαžšαžšαž…αž“αžΆαž˜αžΎαž›αž‘αŸ…αžŠαžΌαž…αž‡αžΆαžœαžΆαžαŸ’αžšαžΌαžœαž”αžΆαž“αžαžαžŠαŸ„αž™αž€αžΆαž˜αŸαžšαŸ‰αžΆαž–αž·αžαž€αŸ’αž“αž»αž„αž‡αžΈαžœαž·αžαž–αž·αžαŸ”
2.Hyperrealistic
αž‡αžΆαž€αžΆαžšαž”αž„αŸ’αž€αžΎαžαžšαžΌαž”αž—αžΆαž– 3D αž”αŸ‚αž”αžŸαŸŠαžΈαž‡αž˜αŸ’αžšαŸ…αžŠαžΌαž…αž–αž·αž (Hyper-Realistic Rendering) αž‚αžΊαž‡αžΆαžŠαŸ†αžŽαžΎαžšαž€αžΆαžšαžŒαžΈαž‡αžΈαžαž›αž€αŸ’αž“αž»αž„αž€αžΆαžšαž”αž„αŸ’αž€αžΎαžαžšαžΌαž”αž—αžΆαž–αž…αŸαž‰αž–αžΈαž‚αŸ†αžšαžΌ 3D αžŠαŸ‚αž›αž˜αžΆαž“αž›αž€αŸ’αžαžŽαŸˆαž…αŸ’αž”αžΆαžŸαŸ‹αž›αŸ’αž’αž₯αžαžαŸ’αž…αŸ„αŸ‡ αž“αž·αž„αž˜αž·αž“αž’αžΆαž…αž”αŸ‚αž„αž…αŸ‚αž€αžŠαžΆαž…αŸ‹αž–αžΈαžšαžΌαž”αžαžαž–αž·αžαŸ—αž”αžΆαž“αž‘αžΎαž™αŸ” αž”αž…αŸ’αž…αŸαž€αžœαž·αž‘αŸ’αž™αžΆαž“αŸαŸ‡αžαŸ’αžšαžΌαžœαž”αžΆαž“αž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αž™αŸ‰αžΆαž„αž‘αžΌαž›αŸ†αž‘αžΌαž›αžΆαž™αž€αŸ’αž“αž»αž„αžœαž·αžŸαŸαž™αžŸαŸ’αžαžΆαž”αžαŸ’αž™αž€αž˜αŸ’αž˜ αž€αžΆαžšαžšαž…αž“αžΆαž•αŸ’αž‘αŸƒαž€αŸ’αž“αž»αž„ αž“αž·αž„αž€αžΆαžšαž•αŸ’αžŸαž–αŸ’αžœαž•αŸ’αžŸαžΆαž™αž–αžΆαžŽαž·αž‡αŸ’αž‡αž€αž˜αŸ’αž˜ αžŠαžΎαž˜αŸ’αž”αžΈαž”αž„αŸ’αž αžΆαž‰αž‚αž˜αŸ’αžšαŸ„αž„αž˜αž»αž“αž–αŸαž›αžŸαžΆαž„αžŸαž„αŸ‹αŸ”
αž€αž˜αŸ’αž˜αžœαž·αž’αžΈαžŠαŸ‚αž›αž“αž·αž™αž˜αž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αž‘αž˜αŸ’αžšαž„αŸ‹αž‘αžΆαŸ†αž„αž–αžΈαžšαž“αŸαŸ‡αž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αž€αž˜αŸ’αž˜αžœαž·αž’αžΈαžŸαŸ’αž“αžΌαž›αžŠαžΌαž…αž‚αŸ’αž“αžΆ αž”αŸ‰αž»αž“αŸ’αžαŸ‚αžαž»αžŸαž‚αŸ’αž“αžΆαžαŸ’αžšαž„αŸ‹αž”αž…αŸ’αž…αŸαž€αž‘αŸαžŸ αž“αž·αž„αž–αŸαž›αžœαŸαž›αžΆαžαž»αž”αžαŸ‚αž„αŸ–αž€αž˜αŸ’αž˜αžœαž·αž’αžΈ Render αž’αŸ†αŸ—: Chaos V-Ray αž“αž·αž„ Corona Renderer αžˆαžΆαž“αž˜αž»αžαž‚αŸαž€αŸ’αž“αž»αž„αž€αžΆαžšαž”αž„αŸ’αž€αžΎαžαž‡αž˜αŸ’αžšαŸ…αžŸαžΆαž…αŸ‹αžŸαž˜αŸ’αž—αžΆαžšαŸˆαŸ”αž€αž˜αŸ’αž˜αžœαž·αž’αžΈαž”αŸ‚αž” Real-Time: Enscape ឬ D5 Render αž‡αž½αž™αž±αŸ’αž™αž€αžΆαžšαž”αž„αŸ’αž αžΆαž‰αž‘αž·αžŠαŸ’αž‹αž—αžΆαž– photorealistic αž‘αŸ…αž€αžΆαž“αŸ‹αž’αžαž·αžαž·αž‡αž“αž”αžΆαž“αž›αžΏαž“αžšαž αŸαžŸαŸ”αž”αž…αŸ’αž…αŸαž€αžœαž·αž‘αŸ’αž™αžΆ AI: αž€αž˜αŸ’αž˜αžœαž·αž’αžΈαžŠαžΌαž…αž‡αžΆ Veras αž‡αž½αž™αž‡αž˜αŸ’αžšαž»αž‰αž€αžΆαžšαž”αž“αŸ’αžαŸ‚αž˜αž•αŸ’αž‘αŸƒαžšαžΌαž”αž—αžΆαž–αž±αŸ’αž™αž€αžΆαž“αŸ‹αžαŸ‚αž˜αžΆαž“αž—αžΆαž–αž”αŸ’αžšαžΆαž€αžŠαž“αž·αž™αž˜αž—αŸ’αž›αžΆαž˜αŸ—αž›αžΎαž”αŸ’αž›αž„αŸ‹ BIMαŸ”
____see you next type and video next week

14/04/2026

αžŸαž½αžŸαŸ’αžαžΈαž†αŸ’αž“αžΆαŸ†αžαŸ’αž˜αžΈ! αž’αž”αž’αžšαžŸαžΆαž‘αžšαž”αž»αžŽαŸ’αž™αž…αžΌαž›αž†αŸ’αž“αžΆαŸ†αžαŸ’αž˜αžΈ αž”αŸ’αžšαž–αŸƒαžŽαžΈαž‡αžΆαžαž·αžαŸ’αž˜αŸ‚αžš πŸ™πŸ‡°πŸ‡­
αž€αŸ’αž“αž»αž„αž±αž€αžΆαžŸαž”αž»αžŽαŸ’αž™αž…αžΌαž›αž†αŸ’αž“αžΆαŸ†αžαŸ’αž˜αžΈ αž”αŸ’αžšαž–αŸƒαžŽαžΈαž‡αžΆαžαž·αžαŸ’αž˜αŸ‚αžš αž†αŸ’αž“αžΆαŸ†αž˜αž˜αžΈ αž’αžŠαŸ’αž‹αžŸαŸαž€ αž–αž»αž‘αŸ’αž’αžŸαž€αžšαžΆαž‡ ្αŸ₯៦៩ αžˆαžΆαž“αž…αžΌαž› ្αŸ₯៧០

Photos from DA LUXE's post 28/03/2026

YuTube Channel αžŠαŸ‚αž›αž“αž·αžŸαŸ’αžŸαž·αžαžŸαŸ’αžαžΆαž”αžαŸ’αž™αž€αž˜αŸ’αž˜αž‚αž½αžšαž˜αžΎαž›αž“αž·αž„αžŠαžΉαž„αŸ”
01: Damilee" https://youtube.com/?si=yp3c9IR0BWzYOmh-
02: 30*40 Design Work shop" https://youtube.com/?si=rZgktWpUwctzy5Eh
03:Buildofy" https://youtube.com/?si=4-HL6T390zmRvscm
04:Show it better" https://youtube.com/?si=4-HL6T390zmRvscm
05"Balkan Architecture" https://youtube.com/?si=5nJ6-Jt5qCdsWtqR
06:Upstair" https://youtube.com/?si=h5xDnt6VE_5BjWZ6

28/03/2026

Introduce: Meet our character β€œOra”, your architecture tour guide!

Name: Mony
Personality: Ambivert, conscientious, a mix of charm and mischief 😼
Faves: Exploring, art, chess, biking… (shh, a private fact!)

Why her?
Ora isn’t just a guide she’s unique, irreplaceable. Her curiosity, cleverness, and charm create a bond with you and the journey she shares. She highlights details others might miss and brings personality to every corner of your architectural world. She complements your perspective, making every tour feel personal and unforgettable.
Insightful, playful commentary that makes learning fun and memorable

Photos from DA LUXE's post 28/02/2026

Back acedemic eraπŸ€
during Learning and know about how to learn.
..

Photos from DA LUXE's post 21/01/2026

αž‚αž˜αŸ’αžšαŸ„αž„ MIRAI Design District – Miami, 2024

αž‚αž˜αŸ’αžšαŸ„αž„ MIRAI Design District αžšαž”αžŸαŸ‹ Kengo Kuma αž‚αžΊαž‡αžΆαž‚αž˜αŸ’αžšαŸ„αž„αžŸαŸ†αžαžΆαž“αŸ‹αž˜αž½αž™αžŠαŸ‚αž›αžαŸ’αžšαžΌαžœαž”αžΆαž“αžšαŸ†αž–αžΉαž„αžαžΆαž“αžΉαž„αžŸαžΆαž„αžŸαž„αŸ‹αž“αŸ…αž…αž»αž„αžšαžŠαžΌαžœαž€αŸ’αžŠαŸ…αž†αŸ’αž“αžΆαŸ† 2024 αž“αŸ…αž‘αžΈαžαžΆαŸ†αž„ 4200 NE Second Avenue, MiamiαŸ” αž‚αž˜αŸ’αžšαŸ„αž„αž“αŸαŸ‡αžαŸ’αžšαžΌαžœαž”αžΆαž“αž€αŸ†αžŽαžαŸ‹αž±αŸ’αž™αž€αŸ’αž›αžΆαž™αž‡αžΆαž˜αž‡αŸ’αžˆαž˜αžŽαŸ’αžŒαž›αž“αŸƒ αž€αžΆαžšαžšαž…αž“αžΆ αž“αž·αž„αžŸαž·αž›αŸ’αž”αŸˆαžŸαž αžŸαž˜αŸαž™ αžŠαŸ‚αž›αž•αŸ’αžαž›αŸ‹αž±αž€αžΆαžŸαžŠαž›αŸ‹αžŸαž αž‚αž˜αž“αŸ αž’αŸ’αž“αž€αžŸαž·αž€αŸ’αžŸαžΆ αž“αž·αž„αž’αŸ’αž“αž€αž…αžΌαž›αžšαž½αž˜αž€αŸ’αž“αž»αž„αžœαž·αžŸαŸαž™αžŸαŸ†αžŽαž„αŸ‹ αž“αž·αž„αžŸαž·αž›αŸ’αž”αŸˆαžŠαžΎαž˜αŸ’αž”αžΈαž‘αž‘αž½αž›αž”αž‘αž–αž·αžŸαŸ„αž’αž“αŸαžαŸ’αž˜αžΈαŸ— αž“αž·αž„αž…αŸ†αžŽαŸαŸ‡αžŠαžΉαž„αžαŸ’αž˜αžΈαŸ—αŸ”
αž‘αžŸαŸ’αžŸαž“αžœαž·αžŸαŸαž™ αž“αž·αž„αž‚αŸ„αž›αž€αžΆαžšαžŽαŸαžšαž…αž“αžΆ

Kuma αž‚αŸ„αžšαž–αž”αŸ’αžšαž–αŸƒαžŽαžΈαž‡αž”αŸ‰αž»αž“ αž“αž·αž„αž‚αž“αŸ’αž›αž„αžšαž…αž“αžΆαž‘αŸ†αž“αžΎαž” αžŠαŸ„αž™αž”αž„αŸ’αž€αžΎαžαž’αžΆαžšαž˜αŸ’αž˜αžŽαŸαž“αŸƒ αž›αŸ†αž αžŸαŸ’αžšαžŸαŸ‹αžŸαŸ’αžšαžΆαž™, αž–αž“αŸ’αž›αžΊαž‘αž“αŸ‹, αž“αž·αž„αž—αžΆαž–αžŸαŸ’αžšαž”αž‘αŸ…αž“αžΉαž„αž”αžšαž·αž™αžΆαž€αžΆαžŸαŸ” αž‚αžΆαžαŸ‹αž”αŸ’αžšαžΎ αž’αž˜αŸ’αž˜αž‡αžΆαžαž· αž“αž·αž„αž”αž…αŸ’αž…αŸαž€αžœαž·αž‘αŸ’αž™αžΆαž‘αŸ†αž“αžΎαž” αžŠαžΎαž˜αŸ’αž”αžΈαž”αž„αŸ’αž€αžΎαžαž›αŸ†αž  αž“αž·αž„αž’αžΆαžšαž˜αŸ’αž˜αžŽαŸαž•αŸ’αž›αžΌαžœαž…αž·αžαŸ’αžαžŸαž˜αŸ’αžšαžΆαž”αŸ‹αž’αŸ’αž“αž€αž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αŸ”

αžŸαž˜αŸ’αž—αžΆαžšαŸˆ: αžαŸ’αž˜, ឈើ, αž€αž‰αŸ’αž…αž€αŸ‹ αž“αž·αž„αžŸαž˜αŸ’αž—αžΆαžšαŸˆαž’αž˜αŸ’αž˜αž‡αžΆαžαž·αž•αŸ’αžŸαŸαž„αŸ—αžŠαŸ‚αž›αž•αŸ’αžαž›αŸ‹αž’αžΆαžšαž˜αŸ’αž˜αžŽαŸαž‘αž“αŸ‹αž—αŸ’αž›αžΊ

αž–αž“αŸ’αž›αžΊ: αžαŸ’αžšαžΌαžœαž”αžΆαž“αž”αž„αŸ’αž€αžΎαžαžŠαŸ„αž™αž€αžΆαžšαžšαž…αž“αžΆαž•αŸ’αž›αžΌαžœαž…αž·αžαŸ’αž αž“αž·αž„αž€αžΆαžšαž…αŸαž‰αž”αž‰αŸ’αž…αžΌαž›αž–αžΈαž’αž˜αŸ’αž˜αž‡αžΆαžαž·

αž›αŸ†αž : αž€αžΆαžšαž…αŸ†αžŽαžΆαž™αž›αŸ†αž αž’αžΆαž€αžΆαžŸ αž“αž·αž„αž€αžΆαžšαžšαž…αž“αžΆαž‘αžΌαž›αžΆαž™αž€αŸ’αž“αž»αž„αž•αŸ’αž‘αŸƒαž€αŸ’αž“αž»αž„αž“αž·αž„αž€αŸ’αžšαŸ…

αž”αžšαž·αž™αžΆαž€αžΆαžŸ: αž€αžΆαžšαžšαž½αž˜αž”αž‰αŸ’αž…αžΌαž›αž›αŸ†αž αž€αŸ’αž“αž»αž„αž’αž‚αžΆαžš αž“αž·αž„αž€αž˜αŸ’αž–αž»αž‡αžΆ Miami Design District, αžŠαžΎαž˜αŸ’αž”αžΈαžŸαŸ’αžšαž”αž‡αžΆαž˜αž½αž™αžŸαž αž‚αž˜αž“αŸ αž“αž·αž„αž’αž˜αŸ’αž˜αž‡αžΆαžαž·
αž›αž€αŸ’αžαžŽαŸˆαžŸαŸ†αžαžΆαž“αŸ‹αž“αŸƒαžšαž…αž“αžΆαž”αž‘

αž€αžΆαžšαžšαž½αž˜αž”αž‰αŸ’αž…αžΌαž›αžšαžœαžΆαž„αž’αž˜αŸ’αž˜αž‡αžΆαžαž· αž“αž·αž„αž’αžΆαž‚αžΆαžš:
αž’αžΆαž‚αžΆαžšαžαŸ’αžšαžΌαžœαž”αžΆαž“αžšαž…αž“αžΆαž‘αžΎαž„αžŠαŸ„αž™αž˜αžΆαž“ αž›αŸ†αž αž”αžΎαž€ αž“αž·αž„ αž€αž‰αŸ’αž…αž€αŸ‹αž’αŸ’αžœαžΎαž²αŸ’αž™αž˜αžΆαž“αž€αžΆαžšαž…αŸαž‰αž…αžΌαž›αž–αž“αŸ’αž›αžΊαž’αž˜αŸ’αž˜αž‡αžΆαžαž· αž”αž„αŸ’αž€αžΎαžαž‘αŸ†αž“αžΆαž€αŸ‹αž‘αŸ†αž“αž„αž•αŸ’αž‘αŸƒαž€αŸ’αž“αž»αž„-αž€αŸ’αžšαŸ…αž‡αžΆαž˜αž½αž™αž”αžšαž·αž™αžΆαž€αžΆαžŸαŸ”

αž”αŸ’αžšαžΎαžŸαž˜αŸ’αž—αžΆαžšαŸˆαž’αž˜αŸ’αž˜αž‡αžΆαžαž·αž‡αžΆαž‚αž“αŸ’αž›αž„αž…αž˜αŸ’αž”αž„:
Wood, stone, bamboo αž“αž·αž„ glass αžαŸ’αžšαžΌαžœαž”αžΆαž“αž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αžŠαŸ„αž™ αž…αŸ†αžŽαžΆαž™αž›αŸ†αž  αž“αž·αž„αž”αž„αŸ’αž€αžΎαžαž”αž…αŸ’αž…αŸαž€αž‘αŸαžŸαž”αŸ‚αž”αž…αŸ’αž“αŸƒαž”αŸ’αžšαžŒαž·αž αžŠαžΎαž˜αŸ’αž”αžΈαž•αŸ’αžŠαž›αŸ‹αž’αžΆαžšαž˜αŸ’αž˜αžŽαŸαž‘αž“αŸ‹αž—αŸ’αž›αžΊ αž“αž·αž„αžŸαŸ’αžšαž”αž‘αŸ…αž“αžΉαž„ context αž•αŸ’αž›αžΌαžœαž…αž·αžαŸ’αžαŸ”

αž€αžΆαžšαžšαž…αž“αžΆαžŠαŸ„αž™αž•αŸ’αžαŸ„αžαž›αžΎαž’αŸ’αž“αž€αž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹:
αž’αžΆαž‚αžΆαžšαžαŸ’αžšαžΌαžœαž”αžΆαž“αžšαž…αž“αžΆαž‘αžΎαž„αžŠαžΎαž˜αŸ’αž”αžΈαž’αŸ’αž“αž€αž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αž’αžΆαž… αž‘αž‘αž½αž›αž”αž‘αž–αž·αžŸαŸ„αž’αž“αŸαžαŸ’αž˜αžΈαŸ—, αž˜αžΆαž“αž…αž›αž“αžΆαžŠαŸ„αž™αž›αŸ†αž , αž“αž·αž„αž’αžΆαžšαž˜αŸ’αž˜αžŽαŸαžŸαŸ’αžšαž‘αžΆαž”αŸ‹αž›αžΎαž€αžΆαžšαžŸαŸ’αžšαž”αž’αž˜αŸ’αž˜αž‡αžΆαžαž·αŸ”

αž‘αžŸαŸ’αžŸαž“αžœαž·αžŸαŸαž™αž”αž…αŸ’αž…αž»αž”αŸ’αž”αž“αŸ’αž“αž“αž·αž„αž”αŸ’αžšαž–αŸƒαžŽαžΈ:
αž‘αŸ…αž‡αžΆαž˜αž½αž™αž‘αž·αžŸαžŠαŸ…αž‘αŸ†αž“αžΎαž”αž“αŸ… Miami, αž‚αž˜αŸ’αžšαŸ„αž„αž“αŸαŸ‡αž€αŸαžšαž€αŸ’αžŸαžΆαž•αŸ’αž›αžΌαžœαž…αž·αžαŸ’αžαžšαž”αžŸαŸ‹ Kuma αž€αŸ’αž“αž»αž„αž€αžΆαžšαž‚αŸ„αžšαž–αž”αŸ’αžšαž–αŸƒαžŽαžΈαž‡αž”αŸ‰αž»αž“ αž“αž·αž„αž€αžΆαžšαžšαž…αž“αžΆαž’αžΆαž‚αžΆαžš β€œanti-object” αžŠαŸ‚αž›αž˜αžΆαž“ αž—αžΆαž–αžŸαŸ’αžšαžŸαŸ‹αžŸαŸ’αžšαžΆαž™ αž“αž·αž„αž˜αž·αž“αž’αŸ†αž’αŸαž„αŸ”

αž€αžΆαžšαž”αž„αŸ’αž αžΆαž‰αž’αŸ†αž–αžΈαžŸαž·αž›αŸ’αž”αŸˆ αž“αž·αž„αž€αžΆαžšαžšαž…αž“αžΆ:
αž‚αž˜αŸ’αžšαŸ„αž„αž“αŸαŸ‡αž“αžΉαž„αž€αŸ’αž›αžΆαž™αž‡αžΆαžœαŸαž‘αž·αž€αžΆαžŠαžΎαž˜αŸ’αž”αžΈαž”αž„αŸ’αž αžΆαž‰ αž€αžΆαžšαžšαž…αž“αžΆαžŸαž˜αŸαž™αžαŸ’αž˜αžΈ, αžšαž½αž˜αž”αž‰αŸ’αž…αžΌαž› αž”αž…αŸ’αž…αŸαž€αžœαž·αž‘αŸ’αž™αžΆ, αž€αžΆαžšαžšαž…αž“αžΆαž‘αŸ†αž“αžΎαž”, αž“αž·αž„αžŸαž·αž›αŸ’αž”αŸˆ αžŠαžΎαž˜αŸ’αž”αžΈαž›αžΎαž€αž‘αžΉαž€αž…αž·αžαŸ’αžαž’αŸ’αž“αž€αž…αžΌαž›αžšαž½αž˜ αž“αž·αž„αžŸαž αž‚αž˜αž“αŸαŸ”
αž‚αž˜αŸ’αžšαŸ„αž„ MIRAI Design District αž”αž„αŸ’αž αžΆαž‰αž–αžΈ αž‘αžŸαŸ’αžŸαž“αžœαž·αžŸαŸαž™αžšαž”αžŸαŸ‹ Kengo Kuma αžŠαŸ‚αž›αž•αŸ’αžŠαŸ„αžαž›αžΎ:

αž›αŸ†αž αžŸαŸ’αžšαžŸαŸ‹αžŸαŸ’αžšαžΆαž™ αž“αž·αž„αž€αžΆαžšαžšαž½αž˜αž”αž‰αŸ’αž…αžΌαž›αž“αŸƒαž’αž˜αŸ’αž˜αž‡αžΆαžαž·

αž€αžΆαžšαž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αžŸαž˜αŸ’αž—αžΆαžšαŸˆαž’αž˜αŸ’αž˜αž‡αžΆαžαž· αž“αž·αž„αž”αž…αŸ’αž…αŸαž€αžœαž·αž‘αŸ’αž™αžΆαž•αŸ’αžŸαŸαž„αŸ—

αž‘αŸ†αž“αžΆαž€αŸ‹αž‘αŸ†αž“αž„αžšαžœαžΆαž„αžŸαŸ†αžŽαž„αŸ‹ αž“αž·αž„αž”αžšαž·αž™αžΆαž€αžΆαžŸαž‡αžΆαž€αžΆαžšαž”αž“αŸ’αž

αž”αž„αŸ’αž€αžΎαžαž”αž‘αž–αž·αžŸαŸ„αž’αž“αŸαž•αŸ’αž›αžΌαžœαž…αž·αžαŸ’αžαžŸαž˜αŸ’αžšαžΆαž”αŸ‹αž’αŸ’αž“αž€αž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹

αž‚αž˜αŸ’αžšαŸ„αž„αž“αŸαŸ‡αžαŸ’αžšαžΌαžœαž”αžΆαž“αž–αž·αž…αžΆαžšαžŽαžΆαžαžΆ αž“αžΉαž„αž€αŸ’αž›αžΆαž™αž‡αžΆαž‚αŸ†αžšαžΌαžŸαž˜αŸ’αžšαžΆαž”αŸ‹αž€αžΆαžšαžšαž…αž“αžΆαž’αžΆαž‚αžΆαžšαž‘αŸ†αž“αžΎαž”αž“αŸ…αžŸαž αžšαžŠαŸ’αž‹αž’αžΆαž˜αŸαžšαž·αž€ αžŠαŸ‚αž›αž’αžΆαž…αž”αž„αŸ’αž αžΆαž‰αž–αžΈ αž—αžΆαž–αžŸαŸ’αžšαž”αž’αž˜αŸ’αž˜αž‡αžΆαžαž· αž“αž·αž„αž”αž…αŸ’αž…αŸαž€αžœαž·αž‘αŸ’αž™αžΆ αžŠαŸ„αž™αž˜αž·αž“αž”αžΆαžαŸ‹αž”αž„αŸ‹αžŸαž˜αžΆαžŸαž—αžΆαž–αžŸαž·αž›αŸ’αž”αŸˆ αž“αž·αž„αž”αŸ’αžšαž–αŸƒαžŽαžΈαž‡αž”αŸ‰αž»αž“αŸ”

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αž›αŸ„αž€ Kengo Kuma (αž€αžΎαžαž†αŸ’αž“αžΆαŸ† 1954 αž“αŸ… Kanagawa αž”αŸ’αžšαž‘αŸαžŸαž‡αž”αŸ‰αž»αž“) αž‚αžΊαž‡αžΆαžŸαŸ’αžαžΆαž”αžαŸ’αž™αž€αžšαž‡αž“αž‡αžΆαžαž·αž‡αž”αŸ‰αž»αž“αž˜αŸ’αž“αžΆαž€αŸ‹αŸ” αž”αž“αŸ’αž‘αžΆαž”αŸ‹αž–αžΈαž”αžΆαž“αž”αž‰αŸ’αž…αž”αŸ‹αž€αžΆαžšαžŸαž·αž€αŸ’αžŸαžΆαžαŸ’αž“αžΆαž€αŸ‹αž’αž“αž»αž”αžŽαŸ’αžŒαž·αžαž•αŸ’αž“αŸ‚αž€αžŸαŸ’αžαžΆαž”αžαŸ’αž™αž€αž˜αŸ’αž˜αž“αŸ…αžŸαžΆαž€αž›αžœαž·αž‘αŸ’αž™αžΆαž›αŸαž™αžαžΌαž€αŸ’αž™αžΌαž€αŸ’αž“αž»αž„αž†αŸ’αž“αžΆαŸ† 1979 αž‚αžΆαžαŸ‹αž”αžΆαž“αž’αŸ’αžœαžΎαž€αžΆαžšαž˜αž½αž™αžšαž™αŸˆαž“αŸ… Nihon Sekkei αž“αž·αž„ TODA CorporationαŸ” αž€αŸ’αžšαŸ„αž™αž˜αž€αž‚αžΆαžαŸ‹αž”αžΆαž“αž•αŸ’αž›αžΆαžŸαŸ‹αž‘αŸ…αž‘αžΈαž€αŸ’αžšαž»αž„αž‰αžΌαžœαž™αŸ‰αž€αžŠαžΎαž˜αŸ’αž”αžΈαžŸαž·αž€αŸ’αžŸαžΆαž“αŸ…αžŸαžΆαž€αž›αžœαž·αž‘αŸ’αž™αžΆαž›αŸαž™ Columbia αž€αŸ’αž“αž»αž„αž“αžΆαž˜αž‡αžΆαž’αŸ’αž“αž€αžŸαŸ’αžšαžΆαžœαž‡αŸ’αžšαžΆαžœαž‘αžŸαŸ’αžŸαž“αž€αž·αž…αŸ’αž…αž–αžΈαž†αŸ’αž“αžΆαŸ† 1985 αžŠαž›αŸ‹αž†αŸ’αž“αžΆαŸ† 1986αŸ”

αž“αŸ…αž†αŸ’αž“αžΆαŸ† 1987 αž‚αžΆαžαŸ‹αž”αžΆαž“αž”αž„αŸ’αž€αžΎαž Spatial Design StudioαŸ” αž“αŸ…αž†αŸ’αž“αžΆαŸ† 1990 Kengo Kuma & Associates αžŠαŸ‚αž›αž‡αžΆαžŸαŸ’αž‘αžΌαžŒαžΈαž™αŸ„αž•αŸ’αž‘αžΆαž›αŸ‹αžαŸ’αž›αž½αž“αžšαž”αžŸαŸ‹αž‚αžΆαžαŸ‹αžαŸ’αžšαžΌαžœαž”αžΆαž“αž”αž„αŸ’αž€αžΎαžαž‘αžΎαž„αŸ” αž€αŸ’αž“αž»αž„αž’αŸ†αž‘αž»αž„αž†αŸ’αž“αžΆαŸ†αžŸαž·αž€αŸ’αžŸαžΆ 1998-1999 αž‚αžΆαžαŸ‹αž‚αžΊαž‡αžΆαžŸαžΆαžŸαŸ’αžαŸ’αžšαžΆαž…αžΆαžšαŸ’αž™αž‘αžŸαŸ’αžŸαž“αž€αž·αž…αŸ’αž…αž“αŸ…αž˜αž αžΆαžœαž·αž‘αŸ’αž™αžΆαž›αŸαž™αž–αŸαžαŸŒαž˜αžΆαž“αž”αžšαž·αžŸαŸ’αžαžΆαž“αž“αŸ…αžŸαžΆαž€αž›αžœαž·αž‘αŸ’αž™αžΆαž›αŸαž™ KeioαŸ” αž“αŸ…αž†αŸ’αž“αžΆαŸ† 2008 Kuma αž”αžΆαž“αž‘αž‘αž½αž›αžŸαž‰αŸ’αž‰αžΆαž”αžαŸ’αžšαž”αžŽαŸ’αžŒαž·αžαž–αžΈαžŸαžΆαž€αž›αžœαž·αž‘αŸ’αž™αžΆαž›αŸαž™ KeioαŸ”

αž‚αŸ„αž›αžŠαŸ…αžŠαŸ‚αž›αž”αžΆαž“αž”αž‰αŸ’αž‡αžΆαž€αŸ‹αžšαž”αžŸαŸ‹αž›αŸ„αž€ Kuma αž‚αžΊ "αžŸαŸ’αžαžΆαžšαž”αŸ’αžšαž–αŸƒαžŽαžΈαž“αŸƒαž’αž‚αžΆαžšαž‡αž”αŸ‰αž»αž“" αž“αž·αž„αž”αž€αžŸαŸ’αžšαžΆαž™αžœαžΆαž‘αžΎαž„αžœαž·αž‰αžŸαž˜αŸ’αžšαžΆαž”αŸ‹αžŸαžαžœαžαŸ’αžŸαžšαŸαž‘αžΈ 21αŸ” αžŠαžΎαž˜αŸ’αž”αžΈαžŸαž˜αŸ’αžšαŸαž…αž”αžΆαž“αž“αžΌαžœαž‚αŸ„αž›αžŠαŸ…αž“αŸαŸ‡ Kengo Kuma αž‘αž‘αž½αž›αž”αžΆαž“αž€αžΆαžšαž”αŸ†αž•αž»αžŸαž‚αŸ†αž“αž·αžαžšαž”αžŸαŸ‹αž‚αžΆαžαŸ‹αž–αžΈαž–αž“αŸ’αž›αžΊ αž“αž·αž„αž’αž˜αŸ’αž˜αž‡αžΆαžαž·αŸ”
αž‘αŸ„αŸ‡αž”αžΈαž‡αžΆαž›αŸ„αž€ Kuma αž“αŸ…αžαŸ‚αžšαž€αŸ’αžŸαžΆαžšαžΌαž”αž˜αž“αŸ’αž αž“αž·αž„αž”αŸ’αžšαž–αŸƒαžŽαžΈαž‡αž”αŸ‰αž»αž“αž€αŸ’αž“αž»αž„αž€αžΆαžšαžšαž…αž“αžΆ αž“αž·αž„αž•αŸ’αžŠαž›αŸ‹αž…αŸ’αž”αžΆαžŸαŸ‹αž›αžΆαžŸαŸ‹αž›αžΎαžŠαŸ†αžŽαŸ„αŸ‡αžŸαŸ’αžšαžΆαž™αžαž·αž€αžαžΌαž“αž·αž… αž›αŸ„αž€αž˜αž·αž“αž”αžΆαž“αž…αžΆαŸ†αž”αžΆαž…αŸ‹αžŠαžΆαž€αŸ‹αž€αŸ†αžŽαžαŸ‹αžαŸ’αž›αž½αž“αž€αŸ’αž“αž»αž„αž€αžΆαžšαž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αžŸαž˜αŸ’αž—αžΆαžšαŸˆαžŠαŸαžŸαžΆαž˜αž‰αŸ’αž‰ αž“αž·αž„αž˜αžΆαž“αž—αžΆαž–αžŸαŸ’αžšαž–αž·αž…αžŸαŸ’αžšαž–αž·αž›αž‘αŸαŸ” αž•αŸ’αž‘αž»αž™αž‘αŸ…αžœαž·αž‰ αž›αŸ„αž€αž”αžΆαž“αž’αž—αž·αžœαžŒαŸ’αžαž“αŸαž‡αž˜αŸ’αžšαŸ…αž€αŸ’αž“αž»αž„αž€αžΆαžšαž”αž„αŸ’αž€αžΎαžαž›αŸ†αž  αž“αž·αž„αž–αž„αŸ’αžšαžΈαž€αž›αž‘αŸ’αž’αž—αžΆαž–αžšαž”αžŸαŸ‹αžŸαž˜αŸ’αž—αžΆαžšαŸˆαŸ” αž›αŸ„αž€αž”αŸ’αžšαžΎαž”αŸ’αžšαžΆαžŸαŸ‹αž”αž…αŸ’αž…αŸαž€αžœαž·αž‘αŸ’αž™αžΆαž‘αŸ†αž“αžΎαž”αžšαž½αž˜αž‡αžΆαž˜αž½αž™αžŸαž˜αŸ’αž—αžΆαžšαŸˆαž’αž˜αŸ’αž˜αž‡αžΆαžαž·αžŠαžΌαž…αž‡αžΆ αžαŸ’αž˜ ឈើ αž“αž·αž„αž€αž‰αŸ’αž…αž€αŸ‹ αžŠαžΎαž˜αŸ’αž”αžΈαž”αž„αŸ’αž€αžΎαžαž’αžΆαžšαž˜αŸ’αž˜αžŽαŸαž“αŸƒαž–αž“αŸ’αž›αžΊ αž“αž·αž„αž—αžΆαž–αž‘αž“αŸ‹αž—αŸ’αž›αžΊαž•αŸ’αž’αŸ‚αž˜αž›αžΎαž›αŸ†αž αŸ”

αž›αŸ„αž€ Kuma αž–αŸ’αž™αžΆαž™αžΆαž˜αž”αž„αŸ’αž€αžΎαžαž’αžΆαžšαž˜αŸ’αž˜αžŽαŸαž“αŸƒαž—αžΆαž–αžŸαŸ’αžšαžŸαŸ‹αžŸαŸ’αžšαžΆαž™ αž“αž·αž„αž—αžΆαž–αž˜αž·αž“αžŸαŸ†αžαžΆαž“αŸ‹αžαžΆαž„αž›αŸ†αž  αžŠαŸ‚αž›αž˜αžΆαž“αž”αŸ’αžšαž—αž–αž–αžΈ β€œαž’αž˜αŸ’αž˜αž‡αžΆαžαž·αž—αžΆαž‚αž›αŸ’αž’αž·αžβ€ αž“αŸƒαž–αž“αŸ’αž›αžΊ αž αžΎαž™αž”αž„αŸ’αž€αžΎαžαž‘αŸ†αž“αžΆαž€αŸ‹αž‘αŸ†αž“αž„αž’αž˜αŸ’αž˜αž‡αžΆαžαž·αžŸαŸ’αžšαž”αž…αŸ†αžŽαž»αž…αžšαžœαžΆαž„αž›αŸ†αž  αž“αž·αž„αžŸαŸ†αž—αžΆαžšαŸˆαŸ”
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Photos from DA LUXE's post 03/01/2026

αž’αŸ’αžœαžΈαž‡αžΆβ€‹αžŸαŸ’αžαžΆαž”αžαŸ’αž™αž€αž˜αŸ’αž˜?
αžαžΎαžŸαŸ’αžαžΆαž”αžαŸ’αž™αž€αž˜αŸ’αž˜αž˜αžΆαž“αž”αŸ‰αž»αž“αŸ’αž˜αžΆαž“αž”αŸ’αžšαž—αŸαž‘?πŸ•΅οΈβ€β™€οΈπŸ›οΈπŸ“πŸ“βœ’οΈ

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