Ihe emepụtara bụ Great Blue Hole Ihe olu nke Jung Ki Min bụ onye meriri a na-asọpụrụ nke ukwuu nke 2026 Ihe Nrite A' Design Award nke Bronz na Udi Asọmpi Nhazi Ọla Ịchọ Mma.

BronzỌla Ịchọ Mma· 2026

Great Blue Hole Ihe olu

nke Jung Ki Min

Onye Meriri Ihe Nrite A' Design Award nke Bronz na Udi Ọla Ịchọ Mma

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Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #182523

Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Great Blue Hole Ihe olu

Great Blue Hole bụ ihe olu sitere na mmụọ nsinụ ya bụ olulu mmiri oke osimiri nke aha ya bụ otu ahụ dị na Belize. Nhazi a na-atụgharị nnukwu odida obodo okike ka ọ bụrụ ụdị ihe ọkpụkpụ a na-eyi n'ahụ. E buliri mpempe ígwè ndị dị n'ọkwa dị iche iche elu na waya nwere ogologo dị iche iche iji mepụta oke na omimi nwere akụkụ dị iche iche. E ji ịkwọ, ịkpụ ihe, itinye enamel, idowe nkume, chasing na repousse rụọ ụdị ndị ahụ na udidi elu ha. Ihe olu a tọrọ 130 mm n'obosara, 15 mm n'omimi na 75 mm n'ịdị elu, yana eriri pearl nke 450 mm. Mmegharị nke ahụ na-eme ka ìhè gbanwee n'ofe ọkwa ndị ahụ.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Bronz

Great Blue Hole Ihe olu 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 Great Blue Hole Ihe olu 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. Great Blue Hole Ihe olu 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: This piece reinterprets a monumental marine formation as a wearable sculptural structure through layered metal construction and dimensional assembly. Its distinction lies in translating vast geological space into an intimate bodily dimension, where organic irregularity is balanced with controlled craftsmanship to create a tactile landscape experience.
Nha & Mkpuchi: Width 130 mm x Depth 15 mm x Height 75 mm
Pearl string length 450 mm
Mkpado: silver, necklace, jewelry, natural
Teknụzụ Mmepụta: This work involved selecting materials corresponding to the site's visual and spatial characteristics and conducting extensive texture studies. Test pieces were produced to experiment with varied surface treatments and forms. To achieve the desired atmosphere within a limited scale, appropriate techniques were carefully selected. In addition to piecing and sawing, casting, enameling, stone setting, chasing, and repousse were employed. Components were elevated using wires of varying lengths to create dimensional volume and layered depth.
Ịma Aka Imepụta: The primary challenge was developing a structural system capable of integrating diverse elements into a cohesive form. To achieve the intended atmosphere, careful planning was required for stone placement, setting techniques, and layering. Establishing the correct order of fabrication was critical. Through extensive trial and error, I refined the composition so that each element could coexist harmoniously while retaining its individual presence.
Nchọpụta: This project represents a research process aimed at translating distinctive natural landscapes and geological formations into the form of jewelry. Through the harmonious arrangement of diverse materials and techniques, I experimented to determine the optimal color relationships, proportions, and structural balance that could effectively convey the site's atmosphere and defining characteristics. The research also explored multiple approaches to articulating organic forms within a controlled metal framework, seeking methods to express natural irregularity with clarity and precision.
Mkpali: Inspired by the Great Blue Hole in Belize, I was drawn to its ultramarine depth and the diverse ecosystems surrounding it. Through visual research and material experimentation, I sought not only to extract its visual characteristics but also to convey the site's atmosphere and sense of mystery. By combining various materials and metalworking techniques, I harmoniously translated a distant, life filled marine environment into an intimate wearable scale.
Oge Ọrụ: The project started in August 2018 in New York, USA, and was completed in May 2019.
Usoro Ọrụ: Due to its layered colors and condensed elements, the piece offers tactile detail and visual richness to both wearer and viewer. As the body moves, shifting light and depth create subtle variations in perception, inviting closer observation. By bringing a distant landscape into intimate proximity, the work provides a subtle sense of refreshment.
Asụsụ Foto: Image #1: Photographer Jung Ki Min, Great Blue Hole, 2019.
Image #2: Photographer Jung Ki Min, Great Blue Hole, 2019.
Image #3: Photographer Jung Ki Min, Great Blue Hole, 2019.
Image #4: Photographer Jung Ki Min, Great Blue Hole, 2019.
Image #5: Photographer Jung Ki Min, Great Blue Hole, 2019.