Pixel Weave Monalisa Roog oo uu sameeyey Hana Mitsui

Naqshadda Pixel Weave Monalisa Roog oo uu sameeyey Hana Mitsui waa mid aad u sharaf badan oo ku guulaysatay tartanka qaybta Naqshadeynta Marooyin, Dharka, Muuqaalka iyo Qaababka ee 2025 Abaalmarinta Naxaasta ah ee A' Design Award.

NaxaasMarooyin· 2025

Pixel Weave Monalisa Roog

Hana Mitsui uu sameeyay

Macmiilka: Hana Material Design Laboratory inc.

Ku Guuleystaha Abaalmarinta Naxaasta ah ee A' Design Award ee Qaybta Marooyin

31,646

Ku Guuleystaha Abaalmarinta La Xaqiijiyey

Xaqiiji Xaaladda Abaalmarinta #170574

Booqo Bogga Ka Eeg A' Design Award War-saxaafadeed Calaamadda Abaalmarinta

Midabada

Naqshadeynta

Wax ku saabsan Pixel Weave Monalisa Roog

Hana Mitsui waxay dib ugu fasirtay dharka tatami-ga Jabbaanka ee dhaqameed iyada oo isticmaashay sawirka Mona Lisa oo pixel-yada lagu sameeyey cawska Igusa. Iyada oo ka shaqaynaysa farsamayaasha tatami-ga, waxay baadhaysaa sida uu walaxan muddo fog la ixtiraamo ula macaamiloodan karo luuqadda muuqaalka maanta jirta. Iyadoo ogaatay u ekaysiga muuqaalka ee u dhexeeya dhar-tolida tatami-ga iyo giriidka pixel-yada dijitaalka ah, Mitsui waxay horumarisay hab ay ku muujiso midabyo qarsoodi ah iyada oo adeegsanaysa qaabab taabashada leh oo pixel-yada u eg. Natiijadu waxay muujinaysaa wadahadal aamusnaan leh oo u dhexeeya dhaqanka iyo aragtida casriga ah. Hab-dhaqankeeda wuxuu ka tarjumayaa xiiso joogto ah oo ku saabsan in dhaxalka dhaqanka loo beddelo muujinooyin muuqaal oo cusub.

Aqoonsiga

Wax ku saabsan Abaalmarinta Naxaasta ah ee A' Design Award

Pixel Weave Monalisa Roog waa guuleystaha Abaalmarinta Naxaasta ah ee A' Design Award, aqoonsi sharaf sare leh oo la siiyo naqshado aan caadi ahayn oo lagu garto hal-abuur, hal-abuur cusub iyo caqli. Guuleystayaasha Naxaasta waa shaqooyin xirfad buuxda leh iyo hal-abuur yaab leh oo xaqiijiya khibrad weyn, male-awaal iyo kartida naqshadeeyayaashooda. Pixel Weave Monalisa Roog waa walax la filayo inay noqoto mid aad loo tixgeliyo, la ixtiraamo oo la jecel yahay, xirfad cad leh oo hal-abuur cusub leh. Naqshadahan ku guuleystay Abaalmarinta Naxaasta ah ee A' Design Award wuxuu ku darsadaa hab-dhaqanno ugu wanaagsan farshaxanka, sayniska, naqshadaynta iyo tignoolajiyada wuxuuna ku fiican yahay dhawrista tafaasiisha. Pixel Weave Monalisa Roog si fiican ayay u buuxisaa baahiyaha, taabataa rabitaannada, soo jiidataa dareenka kicinayaanna xiisaha aqoonta.

Gadaasha Naqshadeynta

Xirmada Warbaahinta

Shahaadooyinka, xubnaha kooxda iyo faahfaahinta farsamada ee uu bixiyay naqshadeeluhu.

Sifooyinka Gaarka ah: 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.
Cabbirka & Qaabaynta: Dimensions: 1,760 mm (W) × 880 mm (H) × 5 mm (D)
Summado: Weave, Textile, Pixel, Craft, Rug, Art, Mona Lisa, Igusa grass, Tatami
Tiknoloojiyada Soo Saarka: 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.
Caqabadda Naqshadda: 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.
Cilmi-baadhis: 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.
Dhiirrigelinta: 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.
Muddada Mashruuca: 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.
Socodka Hawlgalka: 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.
Shatiyada: [Copyrights : Hana Mitsui,2025]
Amaanta Sawirrada: [ Image#1,2,3,4 and 5 : Photographer:Naoaki Yokota]