O le mamanu Soo No. 2 Nofoa e Sangin Park o se manumalo maualuga tele o le fa'ailoga mamalu 2026 A' Design Award Ario i le Vaega Tauva Mamanu Meafale.

ArioMeafale· 2026

Soo No. 2 Nofoa

na mamanuina e Sangin Park

Manumalo o le A' Design Award Ario i le Vaega Meafale

24,498

Manumalo Fa'ailoga Fa'amaonia

Fa'amaonia le Tulaga o le Fa'ailoga mo #179701

Asiasi i le Saite Va'ai i le A' Design Award Fa'asalalauga Pailesi o le Fa'ailoga

Lanu

Le Mamanu

E Uiga ia Soo No. 2 Nofoa

O le Soo No. 2 o se nofoa laupapa ua mamanuina mo le nofo ai i aso uma. I le tele o nofoa, e faaauau aga'i i luga vae pito i tua e lagolago ai le faalagolago tua. I le Soo No. 2, ua tuueseeseina vae pito i tua ma lagolago o le faalagolago tua e avea ma vaega tutoatasi. O lenei tuueseeseina e faaleleia ai le mausali o le fausaga ma fausia ai se paleni vaaia manino. E lapotopoto faataamilo vae ma o le nofoaga e lalagaina i le maea Tenimaka (Danish cord). O sootaga uma o le fausaga e faaaogaina ai le auala tuufaatasi o le mortise ma le tenon, ma o sootaga e ui atu i totonu e fausia ai ni faailoga laiti e pei o taimane i itu o le faavaa. O lagolago lima ma lagolago o le faalagolago tua e faamauina i ni pine apamemea le matauina.

Le Fa'ailogaina

E Uiga i le A' Design Award Ario

O le A' Design Award Ario na manumalo ai Soo No. 2 Nofoa, o se faamaoniga matuā mamalu e tuuina atu i mamanu sili ona lelei, matagofie ma mataʻutia. O ē manumalo i le Ario o galuega susulu tele ma fatufatuaʻi e faaalia ai le poto, le taleni ma le atamai o tagata mamanu. E faamoemoeina Soo No. 2 Nofoa e avea ma galuega matagofie, o se fesuiaiga mo isi, e iloga i le tomai faapolofesa ma mea fou loloto. O lenei mamanu na manumalo i le A' Design Award Ario o se mea e iloga, ua mataʻina e aogā ma tuleia atu tapulaʻa o le faatufugaga, saienisi, mamanu ma tekonolosi. Soo No. 2 Nofoa o se mea e fiafia i ai le toatele, e fafagu ai manaʻoga, aumaia ai lagona lelei ma tupu ai le ofo.

I Tua o le Mamanu

Pepa Fa'asalalau

Fa'amaoniaga, sui o le 'au ma fa'amatalaga fa'atekinisi na saunia e le tagata mamanu.

Uiga Fa'apitoa: 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.
Fua & Fa'apipi'i: Width 580mm x Depth 640mm x Height 770mm
Fa'ailoga: chair, chair design, woodworking
Tekonolosi Gaosiga: 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.
Lu'itau o le Mamanu: 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.
Su'esu'ega: 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.
Fa'aosofia: 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
Umi o le Poloketi: 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.
Fa'agasologa o Galuega: 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.