Ihe emepụtara bụ Elsewhere Ngwa Iri Nri nke Yuhua Li bụ onye meriri a na-asọpụrụ nke ukwuu nke 2024 Ihe Nrite A' Design Award nke Bronz na Udi Asọmpi Nhazi Ngwá Ịme Achịcha, Ngwá Tebụl, Ngwá Ịṅụ Ihe na Ngwá Esi Nri.

BronzNgwá Kichin· 2024

Elsewhere Ngwa Iri Nri

nke Yuhua Li

Onye Ahịa: Ke Tong

Onye Meriri Ihe Nrite A' Design Award nke Bronz na Udi Ngwá Kichin

24,176

Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #157088

Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Elsewhere Ngwa Iri Nri

Elsewhere bụ setịnụ ngwa iri nri e ji ọla porselin (porcelain) mee, nke jikọtara nka tii na nka okoko osisi. Setịnụ a gụnyere ite ọkọkọ, ite tii, ihe ọkụkọ tii, iko, na efere iko. A na-eji "bone china" na-eji usoro "slip casting" a kpụọ akụkụ ọ bụla, ma ha agafee ọkụ ugboro anọ. Agba ọcha na-adịghị egbukepụ ehihie na-enye elu ihe ndị a àgwà dị ka ivory. Ụdị e wepụtara na obere oghere ndị a gbupụtara na-egosipụta ọkwa dị n'ime, na-emepụta ọdịiche dị n'etiti ihe siri ike na ohere efu. Ụdị ndị a na-eso usoro porselin ndị China oge ochie, ebe oghere ndị ahụ na-emebi nhata ha iji gosipụta ohere dị n'ime ohere.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Bronz

Elsewhere Ngwa Iri Nri meriri A' Design Award nke Bronz, nnabata dị oke ugwu e nyere design ndị pụtara ìhè nke a ma ama maka nzụlite ihe, ọgụgụ isi na nghọta. Ndị meriri na Bronz bụ ihe e mere nke ndị nwere nka nke ukwuu ma dị mma n'imepụta nke na-egosi ahụmahụ buru ibu, echiche na ọgụgụ isi nke ndị designer ha. A na-atụ anya na Elsewhere Ngwa Iri Nri ga-abụ ihe a na-asọpụrụ nke ukwuu, a na-eto na a hụrụ n'anya, nke dị oke ọrụ ma dị ọhụrụ. Design a meriri A' Design Award nke Bronz na-agụnye ụzọ kacha mma n'ime nka, sayensị, design na teknụzụ, ma dị mma nke ukwuu maka nlebara anya ya n'obere ihe. Elsewhere Ngwa Iri Nri na-emezu mkpa nke ọma, na-emetụ ọchịchọ aka, na-adọrọ mmetụta obi ma na-adọta ọchịchọ ịmara.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: Elsewhere is a porcelain tableware set that blends tea and floral art. It draws from the Chinese aesthetics and philosophy, but also subverts them with a daring design. The pieces have a white finish and an indented design with small cut-outs showing an inner layer. The cut-outs contrast the solid and the void, the perfect and the imperfect, the real and the imaginary. They lure the user to discover the hidden beauty and meaning of the objects, and to flee from the dull reality to a different world. Elsewhere is not just a functional and elegant tableware set, but also a poetic and symbolic expression of the human condition.
Nha & Mkpuchi: vase:150 mm x 150 mm x 250 mm; teapot: 170mm x 120 mm x 130 mm; tea container: 110 mm x 100 mm x 110 mm; cup: 120 mm x 70 mm x 60 mm; cup plate: 130 mm x 130 mm x 15 mm.
Mkpado: Chinese Tea Ceremony, Ikebana, Bone china, Aesthetics in life, Ceramic design
Teknụzụ Mmepụta: This design is made of bone china using the slip casting technique. It went through four firings: the first one was a high-temperature sintering, the second one was a medium-temperature glazing, the third one was a low-temperature decalcomania, and the fourth one was a low-temperature silver plating. Unlike ordinary bone china glazes, the design chooses to use a non-glossy white glaze with the intention of displaying a kind of ivory texture, and an indented design with small cut-outs revealing an inner layer. The cut-outs contrast the solid and the void, the perfect and the imperfect, the real and the imaginary. Wish to express the theme of elsewhere, a space within a space, a solid nothingness, a reality that is cut off. It drew inspiration from the Chinese traditional aesthetics and philosophy, but also challenged them with a bold and innovative design.
Ịma Aka Imepụta: The hardest part of this design were
1. To create a design that matched the Chinese traditional aesthetics and philosophy, but also challenged them.
2. To do in-depth user research to understand the needs, preferences, and experiences of tea and floral art lovers from different cultural backgrounds.
3. To use materials and techniques that suited my design concept and theme.
4. To balance functionality and aesthetics, as well as tradition and innovation.
Nchọpụta: Elsewhere is a design research to create a porcelain tableware set that combines tea and floral art, drawing from and subverting the Chinese aesthetics and philosophy. I used a mixed-methods approach with 40 participants from different cultural backgrounds. The results showed that my design was appreciated by both groups, as it enhanced their tea and floral art experience, and created a sense of ritual and elegance. It offers a new way of enjoying tea and floral art.
Mkpali: Elsewhere is a fable, a space within a space, a solid nothingness, a reality that is cut off. It is a faithful reproduction of classic Chinese porcelain shapes, embodying the Confucian aesthetics of dignity, fullness, steadiness, and calmness. But Elsewhere also breaks perfection - a part of perfection is cut off, revealing the content of the entity, which is: a person looking away from this world, towards a hard pot or the emptiness in it. The cut-off part is the soul out of the body.
Oge Ọrụ: The project started in May 2015 in Nanjing and finished in March 2016 in Nanjing.
Usoro Ọrụ: This object is a set of porcelain tableware that can be operated by pouring hot water into the teapot and the vase, and adding tea leaves and flowers. The object transforms by creating a visual and aromatic contrast between the tea and the floral art, and by revealing the inner layer of the pieces through the small cut-outs. The interaction happens by inviting the user to appreciate the beauty and meaning of the objects, and to enjoy the tea and the floral art. The key frames are the moments when the user pours the water, adds the tea leaves and the flowers, and sees the inner layer of the pieces. This object deals a better result by adding a sense of ritual and elegance to the normal functionality of the tableware, and by making the tea and the floral art more decorative. It performs better by expressing the theme of elsewhere, a space within a space, a solid nothingness, a reality that is cut off.