Keiji Ishikawa tarapyndan Spiral of Life Aýna Saçak Gap-Gaçlary

Keiji Ishikawa tarapyndan döredilen Spiral of Life Aýna Saçak Gap-Gaçlary dizaýny Bişiriş, Saçak, Içgi Gaplary we Nahar Bişiriş Enjamlary Dizaýny Bäsleşik Kategoriýasynda 2026 A' Design Award Altyn Baýragy baýragynyň abraýly ýeňijisidir.

AltynAşhana Enjamlary· 2026

Spiral of Life Aýna Saçak Gap-Gaçlary

dizaýner: Keiji Ishikawa

Müşderi: KJ studio

Aşhana Enjamlary Kategoriýasynda A' Design Award Altyn Baýragy Ýeňijisi

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Sahypa giriň A' Design Award-da görüň Metbugat beýannamasy Baýrak nyşany

Reňkler

Dizaýn

Spiral of Life Aýna Saçak Gap-Gaçlary hakynda

Matematiki gurluşyň we kinetik sungatyň birleşmesinde, Ömrüň Spiraly taslamasy Kiriko aýna önümleri üçin täze ugry hödürleýär. Bu iş tebigatyň organiki üýtgemesini aýna serişdesinde ele alýar. Ösüş dizaýner bilen boýag tansçysy Ree-niň hyzmatdaşlygyndan gözbaş aldy. Fibonaççi yzygiderliliklerini hereketa geçirmek arkaly, Ree dizaýn üçin konseptual çarçuwany üpjün etdi. 8-den 13-e we 13-den 21-e çenli spiral gatnaşyklary arkaly ussa däp bolan senedi biomatematika bilen baglanyşdyrýar. Netijede döreýän sazlaşyk dünýäniň tebigy urgusyny şöhlelendirýän ritmiki tejribäni hödürleýär.

Ykrar etme

A' Design Award Altyn Baýragy hakynda

Spiral of Life Aýna Saçak Gap-Gaçlary A' Design Award Altyn Baýragynyň ýeňijisidir; bu birinji derejeli, ajaýyp we tapawutly dizaýnlara berilýän aşa abraýly ykrarnamadyr. Altyn ýeňijileri dizaýnerleriniň alymlygyny, paýhasyny we ussatlygyny görkezýän aşa täzelikçi, uzakgörüjilikli we göz gamaşdyryjy eserlerdir. Spiral of Life Aýna Saçak Gap-Gaçlary deňi-taýy ýok gymmat berýän, köp öwülýän, ugur kesgitleýän we ýadygärlik ýaly oýlap tapyş bolmagy garaşylýar. A' Design Award Altyn Baýragyny gazanan bu dizaýn sungatyň, ylmyň, dizaýnyň we tehnologiýanyň çäklerine uly peýda berýän we ony öňe sürýän ajaýyp, hormatly taslamadyr. Spiral of Life Aýna Saçak Gap-Gaçlary güýçli isleg duýgularyny döredýär, höwesi oýarýar, döredijiligi höweslendirýär we bizi haýran edýär.

Dizaýnyň sahna arkasy

Metbugat toplumy

Dizaýner tarapyndan berlen kreditler, topar agzalary we tehniki maglumatlar.

Üýtgeşik Aýratynlyklar: Fibonacci spirals follow strict mathematical laws yet appear organic and asymmetrical, resisting simple geometric repetition. Traditional Kiriko requires precise vertical and horizontal guidelines before cutting; however, standard grids cannot capture this natural fluctuation while ensuring reproducibility. To solve this, I developed a hybrid approach: maintaining the Fibonacci count with guidelines while manually adjusting each cut to ensure a smooth, living trajectory.
Ölçegler we Gaplama: The product dimensions are as follows: The rock glass is 77mm in diameter and 92mm in height, as shown in the main image. In optional image #1, the wine glass is 58mm in diameter and 150mm in height. In optional image #2, the soba cups are 81mm in diameter and 62mm in height. In optional image #3, the sake cup is 60mm in diameter and 60mm in height. Finally, the top views of the sake cup and soba cup filled with water are shown in optional image #4.
Bellikler: kiriko, cutglass, japaneseglassware, glassart
Önümçilik Tehnologiýasy: The double-layered glassware is carefully ground and polished by hand using Japanese Kiriko cut glass technology.
Dizaýn Kynçylygy: Through rigorous prototyping, I established a specialized system. Smaller vessels like sake cups use an 8 to 13 spiral ratio, while larger items like wine and rock glasses employ a 13 to 21 ratio to maintain proportion. For vessels with decorative bases, such as a soba cup, I meticulously integrated an 8 to 13 spiral on the bottom to enhance aesthetic coherence. This precise scaling was essential to capturing the Spiral of Life across the entire collection.
Gözleg: A true Fibonacci spiral requires clockwise and counterclockwise counts to be adjacent numbers in the sequence. To ensure visual balance and mathematical integrity, I conducted extensive research to determine the optimal pairings, such as 8 to 13 or 13 to 21, based on specific glass diameters and curvatures. This study ensured that the mathematical beauty remains consistent.
Ylham: I initially struggled to translate the relationship between the sun and the sunflower into glass. The breakthrough came via my daughter Ree, an artist and paint dancer, who shared my fascination with the sunflower Fibonacci spiral. This pattern blends mathematical law with organic asymmetry. Ree physicalized this sequence by synchronizing her leg drawn spiral counts with Fibonacci numbers. Witnessing this kinetic manifestation inspired me to transpose these complex spirals onto Kiriko glass.
Taslama Dowamlylygy: The project started in December 2025 in Tokushima, Japan, and finished in February 2026.
Iş Akymy: The streamline motifs are executed with wide-angle V cuts. When viewed from the side, patterns on the far surface refract through the front, creating complex layered intersections that evoke the mystery of life. From a top-down perspective, the precise Fibonacci sequence achieves a profound, harmonious balance. The design invokes a rhythmic and engaging experience, mimicking a living pulse. This interaction between light and geometry brings dynamic vitality to the glassware.
Patentler: The design is being applied for design registration and will receive copyright protection for registered designs in December 2026 in Japan.
Surat Awtorlary: Video Credits:
To demonstrate the rhythmic harmony and life-like pulse of the design, the video showcases the glassware in rotation. This highlights how the patterns shift and intersect dynamically as the perspective changes, illustrating the Spiral of Life concept through the interaction of light, shadow, and the intricate Kiriko hand cuts.