Pixel Weave Monalisa Mphasa ndi Hana Mitsui

Dizayini ya Pixel Weave Monalisa Mphasa ndi Hana Mitsui ndi wopambana wotamandika kwambiri pa mphotho yaulemu ya 2025 Mphoto ya Bronze ya A' Design Award mu Gawo la Mpikisano la Mapangidwe a Nsalu, Zovalira, Mitundu ndi Zovala.

BronzeNsalu· 2025

Pixel Weave Monalisa Mphasa

ndi Hana Mitsui

Kasitomala: Hana Material Design Laboratory inc.

Wopambana pa Mphoto ya Bronze ya A' Design Award mu Gawo la Nsalu

31,134

Wopambana Wotsimikizidwa

Tsimikizani Mkhalidwe wa Mphotho ya #170574

Pitani ku Tsamba Onani ku A' Design Award Nkhani Yofalitsidwa Chizindikiro cha Mphotho

Mitundu

Kapangidwe

Za Pixel Weave Monalisa Mphasa

Hana Mitsui amasintha maganizidwe a uluka wa tatami wachikale waku Japan kudzera mu chithunzi cha Mona Lisa chopangidwa ndi ma-pixel pogwiritsa ntchito udzu wa Igusa. Pogwira ntchito ndi amisiri a tatami, amafufuza momwe zinthu zakale zolemekezeka zimenezi zingalumikizidwe ndi njira zamawonekedwe zamasiku ano. Pozindikira kufanana pakati pa kuluka kwa tatami ndi magiridi a ma-pixel a digito, Mitsui adapanga njira yoonetsera mitundu yozama kudzera m'mawonekedwe ang'onoang'ono omwe amamveka pokhudza ngati ma-pixel. Chotsatira chake chikuwonetsa kambirana kodekha pakati pa miyambo yakale ndi maganizidwe amakono. Ntchito yake ikuwonetsa chidwi chopitiriza chotembenuzira cholowa cha chikhalidwe kukhala mawonekedwe atsopano.

Chidziwitso

Za Mphoto ya Bronze ya A' Design Award

Pixel Weave Monalisa Mphasa ndi mmodzi mwa opambana a Mphoto ya Bronze ya A' Design Award, kuzindikirika kolemekezeka kwambiri komwe kumaperekedwa kwa mapangidwe abwino kwambiri omwe amaonekera ndi luso lolenga, kuchenjera ndi nzeru zakuthwa. Opambana a Bronze ndi zinthu zaluso kwambiri ndi zolenga modabwitsa zomwe zimatsimikizira zochitika zazikulu, kulingalira ndi kuchenjera kwa opanga awo. Pixel Weave Monalisa Mphasa akuyembekezeka kukhala chinthu choyamikiridwa, chosirira ndi chokondedwa, chaukatswiri wapadera ndi chatsopano. Mapangidwe opambana Mphoto ya Bronze ya A' Design Award awa amaphatikiza machitidwe abwino kwambiri a luso, sayansi, kapangidwe ndi ukadaulo ndipo ndi abwino kwambiri chifukwa cha kusamala kwawo zazing'ono. Pixel Weave Monalisa Mphasa amakwaniritsa zosowa mokongola, kukhudza zilakolako, kukopa mitima ndi kudzutsa chidwi.

Kumbuyo kwa Kapangidwe

Katundu wa Atolankhani

Umboni, mamembala a gulu ndi zambiri zapadera zoperekedwa ndi wopanga.

Makhalidwe Apadera: Transforming traditional Japanese tatami weaving, I set out to explore new possibilities for Igusa grass.
I noticed a compelling visual similarity between the geometric patterns of tatami and the pixel grid of digital imagery. Inspired by this connection, I developed a weaving technique using Igusa grass that captures painterly impressions through pixel-like expressions.
By carefully blending the natural hues of Igusa, the image of the world-renowned Mona Lisa emerges—subtle, tactile, and reimagined through a uniquely Japanese material language.
The strength of this design lies in its ability to present tatami an everyday, familiar presence in Japanese life from a fresh perspective, refracted through the iconic gaze of the Mona Lisa.
It reveals the untapped potential within our daily surroundings, reminding us that even the most ordinary materials can be transformed into something artistic and profound.
Miyezo ndi Kuphimba: Dimensions: 1,760 mm (W) × 880 mm (H) × 5 mm (D)
Zizindikiro: Weave, Textile, Pixel, Craft, Rug, Art, Mona Lisa, Igusa grass, Tatami
Teknoloji Yopangira: This piece was produced using the same specialized machines used to weave traditional Japanese Tatami and Goza mats. Japan has unique looms specifically designed for Igusa, and these were essential in bringing this design to life. As the Igusa industry is a small, closed circle, collaborations with designers are rare, making this a new creative challenge for the artisans involved.
After choosing the Mona Lisa as the motif, I created a pixelated version and worked closely with the craftspeople to translate it into a weave structure. We exchanged data many times to adjust the pattern, then programmed the loom for production. Since Igusa is resistant to dye, the finished piece was coated to fix the colors. Through many stages, this design was carefully crafted into a new expression of Igusa.
Vuto la Dizayini: This project marked my first experience working with Igusa weaving.
Since Igusa is typically used for everyday household items, creating a large-scale jacquard weave for an artwork like this is quite rare.
Collaborating closely with skilled artisans, I carefully considered the weave structure and color combinations, aiming to achieve maximum expression within the technical limitations of the material.

At the same time, I also focused on ensuring the functionality of the piece as a rug, designing the weave with strength and durability in mind.
This design is the result of merging my background in textile design with newly acquired knowledge of Igusa—bringing together both experience and experimentation in a truly integrated way.
Kafukufuku: Colorfully dyed Igusa mats woven with the Kakegawa-ori technique represent a rare and refined tradition, even within Japan. In recent years, however, many younger generations are unaware of the existence of such vibrant tatami, and the craft itself is at risk of fading into obscurity.

Having grown up in a home without tatami, I had little familiarity with it. It wasn’t until a work trip to Fukuoka that I encountered Kakegawa-ori in daily use. I was deeply moved by the beauty of this weaving method seamlessly integrated into everyday life, and at the same time, I felt a strong sense of loss and urgency in realizing how this cultural heritage is gradually disappearing.

This experience inspired me to launch the project, with the aim of reintroducing the value and beauty of this technique to a wider audience. I selected the Mona Lisa as the central motif because it is an iconic image recognized by virtually everyone, even those with no particular interest in art. It naturally captures attention, and its pixelated form retains a clear visual identity—making it especially well-suited to this method of expression.

The work succeeded in drawing attention at the exhibition, encouraging many viewers to engage with this traditional craft from a fresh perspective.
Chilimbikitso: This work was born out of a deep sense of urgency around the rapid decline of Japan’s Igusa culture.
Traditionally used in tatami mats suited to Japan’s humid climate, Igusa grass has seen a dramatic decrease in demand due to modern lifestyle changes, with farms now reduced to just one-twentieth of their peak.

To keep this heritage material alive for future generations, I sought to reframe Igusa in a contemporary context bridging traditional craftsmanship with digital aesthetics to explore new, sustainable possibilities for this time-honored material.
Nthawi ya Polojekiti: The project began in Fukuoka, Japan in September 2024 and was completed in December 2024.
It was also showcased at a major design event, DESIGNTIDE TOKYO, held in Tokyo in December 2024.
Mdondomeko ya Ntchito: This piece is an art rug made using traditional Japanese tatami techniques. Though it may look like a digital image, it is handwoven entirely from natural Igusa grass. The portrait of the Mona Lisa appears through pixel-like colored squares—abstract up close, but clear from a distance. It requires no special operation and can be used freely as a floor mat or wall piece. The natural texture and scent blend tradition with contemporary design.
Petensi: [Copyrights : Hana Mitsui,2025]
Mwini Zithunzi: [ Image#1,2,3,4 and 5 : Photographer:Naoaki Yokota]