由設計師 Hana Mitsui 創作嘅 Pixel Weave Monalisa 地毯係備受推崇嘅 2025 A' Design Award 銅獎得獎作品，獲獎類別為紡織設計。

銅紡織· 2025

Pixel Weave Monalisa 地毯

由 Hana Mitsui

客戶: Hana Material Design Laboratory inc.

紡織類別嘅 A' Design Award 銅獎得獎者

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經驗證嘅獲獎者

驗證設計 #170574 嘅獲獎狀態

訪問網站喺 A' Design Award 查看新聞稿獎項徽章

色彩

設計

關於 Pixel Weave Monalisa 地毯

三井花以藺草編織成像素化嘅蒙娜麗莎,重新演繹日本傳統榻榻米編織工藝。佢同榻榻米工匠合作,探索呢種歷經歲月嘅物料如何同當代視覺語言產生對話。透過留意榻榻米編織紋理同數碼像素網格之間嘅視覺相似性,三井發展出一套方法,以觸感豐富、猶如像素嘅形態去表現細膩色調。呈現出嘅作品,凸顯咗傳統與現代視角之間一場靜謐嘅對話。佢嘅創作實踐,反映咗佢一直以嚟對將文化傳承轉化為嶄新視覺表達嘅濃厚興趣。

榮譽認可

關於A' Design Award 銅獎

Pixel Weave Monalisa 地毯是 A' Design Award 銅獎得主，這是授予以創造力、獨創性和敏銳見長的傑出設計的極具聲望的認可。銅獎得主是技藝嫻熟、創意驚人的作品，印證了其設計師豐富的經驗、想像力與機智。預計Pixel Weave Monalisa 地毯將成為一件備受推崇、令人欽佩且被珍愛的物品，兼具顯著的專業性與創新性。這件贏得 A' Design Award 銅獎的設計融入藝術、科學、設計和技術領域的最佳實踐，並因注重細節而出類拔萃。Pixel Weave Monalisa 地毯出色地滿足需求，觸動渴望，迷住情感，並吸引好奇心。

設計背後

新聞資料包

由設計師提供嘅製作人員名單、團隊成員同技術詳情。

獨特屬性: 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.
尺寸同包裝: Dimensions: 1,760 mm (W) × 880 mm (H) × 5 mm (D)
標籤: Weave, Textile, Pixel, Craft, Rug, Art, Mona Lisa, Igusa grass, Tatami
生產技術: 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.
設計挑戰: 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.
研究: 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.
靈感: 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.
項目時長: 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.
操作流程: 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.
專利: [Copyrights : Hana Mitsui,2025]
圖片來源: [ Image#1,2,3,4 and 5 : Photographer:Naoaki Yokota]