Tlanāhuatīlli Soo No. 2 Icpalli ītēchcopa Sangin Park cē cencā mahuizzō tēmacēhualōni īpan huēyi 2026 Mahuizolli A' Design Award Iztacteocuitlatl īpan Caltlapechtli Tlachihchihualiztli Nēhuilīztli Tlamantli.

IztacteocuitlatlCaltlapechtli· 2026

Soo No. 2 Icpalli

īpal Sangin Park

Mahuizolli A' Design Award Iztacteocuitlatl Tēmacēhualōni īpan Caltlapechtli Tlamantli

24,498

Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #179701

Xiquitta Tlahcuilōlcalli Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa Soo No. 2 Icpalli

Soo No. 2 ce icpalli tlachihualli ica cuahuitl inic mochipa ipan motlaliz. Ipan miec icpaltin, in icxitl tlacuitlapan tlejco inic quitlalanaz in tepotzcahualiztli. Ipan Soo No. 2, in icxitl tlacuitlapan ihuan in tepotztlalanque moxeloa ihuan mochihua tlamantli ceceyaca. Inin xeloliztli quichicahua in itlachihualiz ihuan quichihua ce cualli ixnamiquiliztli tlen moitta. In icxitl mimiltic ihuan in netlaliloyan tlamatlachihualli ica Danés mecatl. Nochi in tlazaloliztli mochihua ica mortaja ihuan espiga tlazaloliztli, ihuan in tlazaloliztli tlen panoa quichihua tepitzitzin tlachihualiztli quen diamante ipan itenco in cuauhtlatzacuilotl. In matlalanque ihuan tepotztlalanque motzicoa ica tepitzitzin tepoztlaxichtli tlachihualli ica bronce tlen amo huel moitta.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Iztacteocuitlatl

Soo No. 2 Icpalli ca in quicuic in Mahuizolli A' Design Award Iztacteocuitlatl, hueyi tlamahuizoliztli tlen momaca in huel yectli, tlanextic ihuan mahuiztic tlachihualli. In quicuicah Iztacteocuitlatl ca cenca cualli ihuan cenca yancuic tlachihualli in quinextia in tlamatiliztli, toltecayotl ihuan ixtlamatiliztli intlachihuanime. Ca quinequi in Soo No. 2 Icpalli ca cenca cualli, cenca motequiuhtia ihuan yancuic. Ni dizayno in quicuic Iztacteocuitlatl quihuelitia in toltecayotl, tlamatiliztli, dizayno ihuan teknolohia. Soo No. 2 Icpalli quiyolchicahua in tlacah, quipaquiltia ihuan quitlamahuiztiltia.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: 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.
Huēyiliztli īhuān Tlacualtepēhualli: Width 580mm x Depth 640mm x Height 770mm
Tōcāitl: chair, chair design, woodworking
Tlachīhualiztli Māchiyōtl: 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.
Tlanāhuatīlli Nētēcahuilīztli: 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.
Tlatēmōliztli: 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.
Tēyōllālīliztli: 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
Tēquitl Cāhuitl: 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.
Tēquitl Ōhuitl: 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.