Moralo oa Soo No. 2 Setulo ka Sangin Park ke mohlodi oa khau e hlomphehang haholo ya 2026 Moputso oa Silevera oa A' Design Award Mokhahleong oa Tlhodisano oa Moralo wa Fenitjhara.

SileveraFenitjhara· 2026

Soo No. 2 Setulo

ka Sangin Park

Mohlodi oa Moputso oa Silevera oa A' Design Award Mokhahleong oa Fenitjhara

26,527

Mohlodi oa Khau ea Netefaditsweng

Netefatsa Boemo ba Khau bakeng sa #179701

Etela Sebaka Sheba ho A' Design Award Tokollo ya Boraditaba Baeche ya Moputso

Mebala

Moralo

Mabapi le Soo No. 2 Setulo

Soo No. 2 ke setulo sa lehong se etselitsoeng ho lula letsatsi le letsatsi. Litulong tse ngata maoto a ka morao a tsoela pele ho ea holimo ho tšehetsa setšehetsi sa mokokotlo. Ho Soo No. 2 maoto a ka morao le litšehetsi tsa mokokotlo li arotsoe ka likarolo tse ikemetseng. Karohano ena e ntlafatsa botsitso ba sebopeho 'me e theha tekano e hlakileng ea ponahalo. Maoto a sebopeho sa cylinder 'me setulo se lohiloe ka thapo ea Danish. Manonyeletso ohle a sebopeho a sebelisa mokhoa oa ho kopanya oa mortise le tenon, 'me manonyeletso a phuletseng a theha lintlha tse nyenyane tsa sebopeho sa taemane ka mahlakoreng a foreimi. Litšehetsi tsa matsoho le litšehetsi tsa mokokotlo li tiisitsoe ka lipini tsa boronse tse sa bonahaleng habonolo.

Kamohelo

Mabapi le Moputso oa Silevera oa A' Design Award

Soo No. 2 Setulo ke mohapi oa Moputso oa Silevera oa A' Design Award, kananelo e hlomphehang haholo e fuoang meralo e phahameng ka ho fetesisa, e ntle le e tsosang maikutlo. Bahapi ba Silevera ke mesebetsi e khanyang haholo le e nang le boqapi bo ikhethang e bontšang botsebi, talenta le bohlale ba baqapi ba eona. Soo No. 2 Setulo e lebelletsoe ho ba mosebetsi o motle, oa mohlala, o nang le boprofeshenale bo bonahalang le mehopolo e mecha e tebileng. Moralo ona o hapileng Moputso oa Silevera oa A' Design Award ke mohopolo o hlokomelehang haholo le o ratoang o tlisang molemo mme o sutumelletsang meeli ea bonono, mahlale, moralo le theknoloji. Soo No. 2 Setulo ke mosebetsi oo batho ba bangata ba o lakatsang, o tsosang litakatso, o tlisang maikutlo a matle le o tsosetsang ho makala le ho hlolla.

Ka Mora Moralo

Sete ya Boraditaba

Litlhaku, ditho tsa sehlopha le lintlha tsa botekgeniki tse fanoeng ke moetsi wa moralo.

Boleng bo Ikhethang: 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.
Boholo le Phuthelo: Width 580mm x Depth 640mm x Height 770mm
Lithegi: chair, chair design, woodworking
Theknoloji ya Tlhahiso: 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.
Phephetso ya Moralo: 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.
Dipatlisiso: 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.
Kgothaletso: 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
Nako ya Projeke: 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.
Tsamaiso ya Mosebetsi: 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.