Cadence of the Spiral Tarmit tanamkant sɣur Yusuke Kamiyama

Cadence of the Spiral Tarmit tanamkant sɣur Yusuke Kamiyama d anerbaz yettwaqadren meqqren n 2026 Tarbaḥt A' Design Award n Lfeṭṭa deg Taggayt n Tnaflit n Afeṣṣel n Teẓuri Tafessast d Usbeddi n Teẓuri.

LfeṭṭaTaẓuri Tafessast· 2026

Cadence of the Spiral Tarmit tanamkant

sɣur Yusuke Kamiyama

Amsaɣ: Spline Design Hub Inc.

Anerbaz n Tarbaḥt A' Design Award n Lfeṭṭa deg Taggayt n Taẓuri Tafessast

19,017

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #182460

Rzu ɣer usmel Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef Cadence of the Spiral Tarmit tanamkant

Aẓawan n umalu issefham akud am taɣawsa yelhan, yeqqnen, yeddren. Tafdist n uzzal aṣilbun yeznazen tettwaseggem ɣer talɣa yettnerni yal tikkelt s wakk sem-uɛecrin n yiɣallen imeknanen. Iɣallen ttembiwilen s waẓawan udmis, yemxallafen di tewsit. Mi yettnefxen umalu, yettnezzic, yettales aseggem n yiman-is, ulac sin n yimuren yemṣadan. Axeddim-agi yekka-d seg yifeggag amraw n tsaɛett tameknant. Yettarra-d uzzal yelwin am usefk n liɛqal yeḥrasen akked yiḥir n wakud. Lḥerka ur tettales ara. Maca, abeddel yettban-d s usenfu yettwasṭafen. Akud ur yettwaktil ara, maca yettwaḥuss.

Asmekti

Ɣef Tarbaḥt A' Design Award n Lfeṭṭa

Cadence of the Spiral Tarmit tanamkant d amerbaḥ n Tarbaḥt A' Design Award n Lfeṭṭa, tagmat ɛlayen i yisnulfa yelhan, yeḥlan s waṭas. Imerbaḥen n Lfeṭṭa d isnulfa yelhan akk, yesɛan tmusni d tazmert. Cadence of the Spiral Tarmit tanamkant ad yili d asnulfu amaynut, yelhan, ad yeǧǧ ddunit tennuɣ.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: A long stainless-steel spiral is dynamically deformed by independently actuated arms, generating continuous reorganization through tension and release. Unlike static sculpture, the form never settles; it is constantly restructured into shifting orders. The spiral functions as a physical model of time—elastic, unstable, and relational. Controlled irregularity replaces mechanical uniformity, allowing viewers to perceive time not as measurement, but as a living and evolving order.
Tigejdiwin & Akemmus: Material: Blast-finished stainless spring steel (0.3 mm thickness, 80 mm width)
Spiral pitch: 100 mm
Number of turns: 10
Control: PC-based control system
Installation footprint: Approx. 2000 mm × 2000 mm × 2000 mm
Power: AC 100–240 V
Tibzimin: Kinetic art, Spiral structure, Time perception, Mechanical rhythm, Parametric design, Stainless steel sculpture, Dynamic installation, Temporal form
Tasnakta n Ufares: A custom-fabricated stainless-steel spiral plate forms the core structure, paired with a bespoke linear actuation system developed for this work. Most mechanical components—including joints, mounts, and structural interfaces—were custom-designed to enable precise distributed deformation. Motion is coordinated through a PC-based control architecture enabling synchronized, phase-shifted oscillations. Parametric modeling and simulation optimized stress distribution and torsional balance.
Asewḥel n Usnulfu: The primary challenge was balancing structural stability with expressive flexibility. The spiral required sufficient rigidity to maintain form, yet enough elasticity to allow dynamic deformation. Managing distributed mechanical stress while achieving organic motion demanded extensive iteration. Technological constraints of synchronized actuation and material fatigue also required innovative solutions to preserve both safety and poetic integrity.
Anadi: This practice-based design research explores time as a spatial and kinetic phenomenon. Through iterative prototyping combining mechanical engineering and artistic experimentation, parametric modeling, structural simulation, and motion analysis were employed. Audience observation during exhibitions informed the study. The research identified perceptual shifts generated by micro-irregular motion, demonstrating how controlled instability enhances emotional engagement and contributes to contemporary kinetic art and experiential design.
Aseḥbiber: Inspired by the mainspring of a mechanical watch, Cadence of the Spiral reconsiders the spiral beyond its functional role. The tightly wound strip of metal appeared as a vessel containing latent energy and rhythm of time itself. When gently lifted, it responded with subtle motion, as if about to begin a heartbeat. The spiral thus emerged not as an object, but as a physical manifestation of invisible time—an embodiment of tension and release within temporal experience.
Tanzagt n Usenfar: The project began in Tokyo in March 2025 and was completed in November 2025. Prototyping and structural validation were conducted in Tokyo. Developed in collaboration with Seiko Watch Corporation to explore the cultural and mechanical heritage of horology, the work was exhibited in Japan and is currently being prepared for international presentation.
Tanila n Umahil: The spiral slowly shifts between tension and release. As the supporting arms extend and retract, the form breathes, twists, and reorganizes itself. There is no fixed choreography; instead, subtle variations create moments of alignment and misalignment. Viewers experience a continuous transformation—sometimes synchronized, sometimes slightly off—evoking the sensation of time that never fully repeats yet always returns.
Ibrivan: Copyrights belong to Spline Design Hub Inc., 2025.
Igmamen n Terbaɛt: Yusuke Kamiyama
Shin Sakamoto
Kaku Murayama
Fumiya Nakano
Imsuren n Tugniwin: IMAGE CREDITS: Daisuke Ohki