Umushinga Soo No. 2 Intebe wa Sangin Park ni uwatsinze igihembo cyubahwa cyane 2026 Igihembo cya A' Design Award cya Ifeza mu Cyiciro cy'Ihiganwa cya Igishushanyo cy'Imitako.

IfezaImitako· 2026

Soo No. 2 Intebe

na Sangin Park

Uwatsinze Igihembo cya A' Design Award cya Ifeza mu Cyiciro cya Imitako

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Uwatsinze Igihembo Yemejwe

Emeza Uko Igihembo Gihagaze ku #179701

Sura Urubuga Reba kuri A' Design Award Itangazo ry'Ikinyamakuru Ikimenyetso cy'Igihembo

Amabara

Imigereranyo

Ibyerekeye Soo No. 2 Intebe

Soo No. 2 ni intebe y'ibiti yakozwe kugira ngo ikoreshwe mu kwicara kwa buri munsi. Mu ntebe nyinshi, amaguru y'inyuma akomeza kuzamuka hejuru kugira ngo ashyigikire aho umugongo wegamira. Muri Soo No. 2, amaguru y'inyuma n'inkingi zishyigikira aho umugongo wegamira byatandukanyijwe bikaba ibice byigenga. Uku gutandukana kongera ubudahungabana bw'imiterere kandi bikarema uburinganire bugaragara neza mu maso. Amaguru afite ishusho y'umuzenguruko, naho aho kwicara hazitswe mu migozi ya Danemarke (Danish cord). Aho ibice bihurira byose hakoreshejwe uburyo bwo guhuza ibiti bwa mortise na tenon, kandi imihuza inyuze hagati ikora utumenyetso duto dusa n'inyenyeri ya dayimondi ku mpande z'urusobe rw'intebe. Aho amaboko ashyirwa n'inkingi zishyigikira umugongo bifashwe n'utumambo tw'umuringa dutagaragara cyane.

Ishimwe

Ibyerekeye Igihembo cya A' Design Award cya Ifeza

Soo No. 2 Intebe ni uwegukanye Igihembo cya A' Design Award cya Ifeza, ishimwe ridasanzwe ry'agaciro gakomeye ritangwa ku bishushanyo byo ku rwego rwo hejuru, byiza kandi bikora ku mutima. Abegukanye Ifeza ni ibihangano by'ubuhanga bukomeye kandi bifite guhanga kwinshi, bigaragaza ubuhanga bwimbitse, impano n'ubushishozi bw'ababihanze. Soo No. 2 Intebe biteganyijwe ko izaba igihangano cy'icyitegererezo, gifite ubunyamwuga bukomeye n'udushya twimbitse. Iki gishushanyo cyegukanye Ifeza ni igihangano kizwi kandi gishimwa, gifasha kugura imbibi z'ubuhanzi, ubumenyi, ubushushanyo n'ikoranabuhanga. Soo No. 2 Intebe ni igihangano benshi bifuza, gikangura ibyifuzo, gitanga amarangamutima meza kandi gitera igitangaza.

Inyuma y'Imigereranyo

Dosiye y'Itangazamakuru

Amazina y'abagize uruhare, abagize itsinda n'amakuru y'ubuhanga byatanzwe n'umuhanzi.

Ibintu Bidasanzwe: 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.
Ibipimo n'Ipaki: Width 580mm x Depth 640mm x Height 770mm
Ibibazo Fatizo: chair, chair design, woodworking
Ikoranabuhanga ryo Guteza Imbere: 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.
Ikibazo cy'Ishusho: 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.
Ubushakashatsi: 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.
Ibyatumye Habaho: 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
Igihe cy'Umushinga: 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.
Uburyo bw'Imikorere: 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.