Sangin ParkによるSoo No. 2 チェアは、家具デザインコンペティションカテゴリーにおける非常に権威ある2026 A' Design Award 銀賞の優れた受賞作品です。

銀家具· 2026

Soo No. 2 チェア

デザイナー： Sangin Park

家具カテゴリーのA' Design Award 銀賞受賞者

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デザイン

Soo No. 2 チェアについて

Soo No. 2は、日常的な座り心地のために設計された木製チェアです。多くの椅子では後脚がそのまま上方へ延びて背もたれを支えますが、Soo No. 2では後脚と背もたれの支持材を独立した要素として分離しています。この分離により構造的な安定性が高まり、明快な視覚的バランスが生まれます。脚は円柱状で、座面はデニッシュコードで編み込まれています。すべての構造接合部にはほぞ組を用い、通しほぞがフレーム側面に小さなダイヤモンド形のディテールを描き出します。アームレストと背もたれの支持材は、控えめな真鍮ピンで固定されています。

受賞

A' Design Award 銀賞について

Soo No. 2 チェアは、見事で印象的なハイエンドのデザインに授与される、非常に権威ある評価である A' Design Award 銀賞の受賞作品です。銀賞の受賞作品は、きわめて輝かしく創造性に富んだ作品であり、デザイナーの傑出した専門知識、才能、洞察力を示しています。Soo No. 2 チェアは、素晴らしい代表作であり、驚くほどプロフェッショナルで、深く革新的であることが期待されます。この A' Design Award 銀賞を受賞したデザインは、非常に注目すべき称賛される発明であり、芸術・科学・デザイン・技術の境界に寄与し、それを前進させます。Soo No. 2 チェアは、多くの人に羨まれる創造物であり、欲求を呼び覚まし、前向きな感情をもたらし、驚きと感嘆を灯します。

デザインの裏側

プレスキット

デザイナーが提供するクレジット、チームメンバー、技術的な詳細。

独自の特性: 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.
寸法とパッケージ: Width 580mm x Depth 640mm x Height 770mm
タグ: chair, chair design, woodworking
製造技術: 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.
デザインの課題: 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.
リサーチ: 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.
インスピレーション: 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
プロジェクト期間: 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.
オペレーションフロー: 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.