Ihe emepụtara bụ Soo No. 2 Oche nke Sangin Park bụ onye meriri a na-asọpụrụ nke ukwuu nke 2026 Ihe Nrite A' Design Award nke Ọlaọcha na Udi Asọmpi Nhazi Ngwá Ụlọ.

ỌlaọchaNgwá Ụlọ· 2026

Soo No. 2 Oche

nke Sangin Park

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

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Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #179701

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

Agba

Nhazi a

Maka Soo No. 2 Oche

Soo No. 2 bụ oche osisi emere maka ịnọdụ ala kwa ụbọchị. N'ọtụtụ oche, ụkwụ azụ na-aga n'ihu elu iji kwado ebe nkwado azụ. Na Soo No. 2, ụkwụ azụ na ihe nkwado azụ dị iche iche dị ka ihe nọọrọ onwe ha. Nkewa a na-eme ka nkwụsi ike nke nhazi ka mma ma na-emepụta nguzozi anya doro anya. Ụkwụ ya dị okirikiri ma e ji eriri Danish kpaa ebe a na-anọdụ ala. A na-eji njikọ mortise na tenon eme njikọ nhazi niile, njikọ ndị na-agafe na-emepụtakwa obere ihe ịchọ mma yiri daịmọnd n'akụkụ nke frem ahụ. E ji ntu brass zoro ezo jikọọ ebe nkwado aka na ihe nkwado azụ.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaọcha

Soo No. 2 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 Soo No. 2 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. Soo No. 2 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: The most distinctive feature of this chair is the design of its rear legs. While conventional chairs extend the rear legs upward to support the backrest as two vertical columns, this approach was reconsidered in terms of structural stability. By separating the rear legs from the backrest support as independent elements, the design achieves both enhanced structural integrity and a clear sense of visual balance.
Nha & Mkpuchi: Width 580mm x Depth 640mm x Height 770mm
Mkpado: chair, chair design, woodworking
Teknụzụ Mmepụta: In realizing this chair, certain elements were intentionally kept traditional, including the cylindrical legs and a seat woven with Danish cord. Special attention was required where the squared frame members meet the round legs. All Structural joints are crafted using mortise and tenon joinery, with through mortise and tenon joints forming subtle diamond-shaped details along the frame sides. The armrests and back rest supports are fixed with discreet brass pins, preserving the clarity and simplicity of the overall shape.
Ịma Aka Imepụta: Design is shaped by the social and cultural context in which it is produced. Working within the Korean cultural context, where floor-based living has historically shaped furniture traditions, forms such as chests and low tables developed more clearly than chairs. This absence can create uncertainty for contemporary woodworkers, who often reference traditional architecture when designing chairs. This project began by questioning whether traditional forms were created primarily for aesthetic expression or as practical responses to life and the human body. Rather than replicating inherited forms, the focus shifted toward designing a chair that responds to bodily experience and everyday use.
Nchọpụta: Type of Research :
Practice-based design research.

Research Objective :
To explore how visual stability and comfort interact in chair design.

Methodology :
Full-scale making and iterative adjustment of structure and angles.

Data Collection and Research Tools Used :
Physical prototypes, sitting tests, and dimensional comparison.

Participants or Experiments :
Separating rear legs from backrest support to resolve structural conflict.

Results :
Greater formal freedom and improved balance.

Insights :
Because rear legs and backrest supports perform different roles and absorb forces differently when seated, separating them—beyond concerns of material efficiency—allows chair design to become more flexible and expressive.

Impacts :
The study contributes to furniture design by demonstrating how structural separation can expand formal possibilities while improving everyday seating comfort.
Mkpali: The chair was inspired by 12 months of building 12 different chairs, during which the relationship between the rear legs and the backrest support became a recurring concern. In conventional designs, rear leg placement that improves stability often compromises posture, while configurations that support proper seating increase the risk of tipping, with angled legs further distorting the overall form. These tensions led to the decision to separate the two functions into distinct structural elements
Oge Ọrụ: This chair is the final outcome of a personal project involving the creation of 12 different chairs over a 12 month period. The making of this chair itself, including the final wax finish, took approximately twenty days. However, the process of determining the appropriate shapes and compositions for each part took place almost a year. The chair was crafted in December 2025 in Go-yang City, on the outskirts of Seoul, South Korea.
Usoro Ọrụ: A chair is the piece of furniture that comes into closest contact with the human body. Beyond visual appeal, it must satisfy the highly subjective requirement of comfort. As the position and proportion of each element strongly shape the user’s experience, several dimensions were referenced from a classic chair by Hans J. Wegner, known for its balanced and familiar comfort. Interestingly, adopting only selected measurements leads to a distinctly new experience, revealing the unique and subtle nature of how a chair interacts with the human body.