Ihe emepụtara bụ Osso Oche nke Wongsun Yoo bụ onye meriri a na-asọpụrụ nke ukwuu nke 2025 Ihe Nrite A' Design Award nke Ọlaọcha na Udi Asọmpi Nhazi Ngwá Ụlọ.

ỌlaọchaNgwá Ụlọ· 2025

Osso Oche

nke Wongsun Yoo

Onye Ahịa: Yoo Wongsun

Onye Meriri Ihe Nrite A' Design Award nke Ọlaọcha na Udi Ngwá Ụlọ

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Onye Meriri Onyinye A Kwadoro

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Gaa Saịtị Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Osso Oche

Oche Osso na-adọta uche mmadụ site n'ọdịdị ya pụrụ iche. Oche a jikọtara Baroque na Minimalist ọnụ, nwere osisi gbagọrọ agbagọ, oche gbagọrọ, na azụ okirikiri nke na-arị elu ruo azụ dịka ọkpụkpụ azụ, ya mere a kpọrọ ya Osso. Ọ bụ ezie na njikọta ya yiri ka ọ dị mfe, nhazi a na-agbaso ụkpụrụ ihe owuwu maka ike na usoro, nke na-echetara ihe owuwu ọdịnala Oriental. Na mmekọrịta n'etiti onye nchepụta ọhụrụ na ndị ọkachamara French na-akpụ arịa Brimbois, e mere ka nhazi a dịkwuo mma site n'itinye usoro na mmecha ochie dị narị afọ n'ihe nka nke oge a.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaọcha

Osso Oche meriri A' Design Award nke Ọlaọcha, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa kachasị elu, mara mma ma na-eju anya. Ndị meriri na Ọlaọcha bụ ọrụ na-egbu maramara nke ukwuu ma dị oke nzụlite nke na-egosi ọmarịcha ihe ọmụma, talent na nghọta nke ndị designer ha. A na-atụ anya na Osso Oche ga-abụ ọrụ dị ịtụnanya, ihe nlereanya, nke dị oke ọrụ ma dị omimi n'ihe ọhụrụ. Design a meriri A' Design Award nke Ọlaọcha bụ ihe e mepụtara dị oke ịrịba ama, nke a na-eto nke na-erite uru ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. Osso Oche bụ ihe e kere eke ọtụtụ ndị na-ekwo ekworo ya nke na-akpali ọchịchọ, na-eweta mmetụta ọma ma na-akpali ịtụnanya.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

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

Àgwà Pụrụ Iche: While the joineries appear effortless, much like bones, the framework is informed by architectural principles that enhance structural integrity while creating a visually dynamic rhythm reminiscent of traditional Oriental architecture. Rather than relying on thick, bulky materials for stability, the beams curve and interlace to form a cross-bracing structure. This allows the chair to support a concave seat that follows the contours of human anatomy, reducing pressure points compared to flat seats. The gap between the double columns at the back naturally accommodates the horizontal components, seamlessly supporting the plates and reinforcing the design's harmony.
Nha & Mkpuchi: Width 710mm x Depth 550mm x Height 835mm
Mkpado: Heritage driven design, Fusion of tradition and technology, Ergonomic design, Comfortable seating, Craftsmanship, Timber structure, Sustainability
Teknụzụ Mmepụta: The production process bridges technology and craftsmanship. On one side, a strong focus on geometry and modularity resulted in extrusion based forms from 3 - 5cm planks of timber, that ensures a CNC manufacturing process. On the other, luxurious finishes to seamless joineries were developed in partnership with French cabinetmaker, Brimbois, bringing back century old techniques. The result is a black stained wood adds a modern, minimalist elegance while allowing the grain texture to subtly remain visible.
Ịma Aka Imepụta: The chair’s complexity lies in the precision of its joints, which meticulously connect each component. To achieve a minimal yet effortless silhouette, the design drew inspiration from bone joints where structural integrity is maintained while elements naturally interlock. This concept was expressed through the intentional exposure of rounded edges at the joinery. The prototype’s fabrication involved close collaboration with the manufacturer. Each element was individually stained before assembly, ensuring a uniform, seamless black finish across all joint points.
Nchọpụta: The research aimed to achieve ergonomic comfort in a solid surface, offering an alternative to upholstered furniture. This led to an exploration of seat and backrest angulation, as well as a subtly curved seat plate for better anatomical support. Using VR technology, multiple prototypes were tested to refine ergonomics. In collaboration with French cabinetmakers Brimbois, locally sourced ash wood from Franche-Comte was used. A detachable 3cm upholstered plate was also developed for added versatility. Debuting at Paris Design Week 2023 at the Salon Atelier de France, the chair received valuable feedback from designers, architects, and gallery owners. This led to the addition of 5cm timber toes, which can be trimmed to adjust seat height without altering the design.
Mkpali: Osso draws inspiration from traditional Oriental architecture and the natural bone structures. The design embodies principles of balance, proportion, and craftsmanship, employing wood joineries that exemplify the precision of enduring architectural techniques. The back of the chair is designed as its second façade, where the horizontal structural components come together like the bones of a spine, hence, Osso. These elements combine to create a chair that is both functional and sculptural, blending tradition with nature in a clean and harmonious design.
Oge Ọrụ: The chair was designed in January 2024 and the first prototype was made in June 2024, both in Paris.
Usoro Ọrụ: The chair emphasises on the negative space, of the space that is left from the object. Through its open-back frame and three-legged structure, it embodies openness and lightness. The seat, following a subtle curve seems to float above the frame. This method enhances comfort while creating a striking silhouette imparting a sculptural quality to the object. This dynamic interplay of light and shadow adds depth to the surrounding space, elevating the chair not only as practical furniture but also as a refined architectural statement.
Patentị: Wongsun Yoo
Ndị Otu: Wongsun Yoo
Asụsụ Foto: Wongsun Yoo