ڈیزائن Pixel Weave Monalisa قالین چه ڈیزائنر Hana Mitsui یک باز باایزّتین بُردکار ته 2025 A' Design Award برنجی انعام ته بخش رقابتی ٹیکسٹائل، فیبرک، ٹیکسچرز، پیٹرنز ءِ کلاتھ ڈیزائن اِنت.
برنجٹیکسٹائل· 2025
Pixel Weave Monalisa قالین
چه Hana Mitsui
مشتری: Hana Material Design Laboratory inc.
بُردکار A' Design Award برنجی انعام ته بخش ٹیکسٹائل
تصدیقبوتگین ایوارڈ بُردکار
ایوارڈ حالت تصدیق په #170574ڈیزائن
Pixel Weave Monalisa قالین ءِ بارءَ
Hana Mitsui روایتی جاپانی تاتامی بافندگی یا Igusa گیاہ گوں ساجگ پکسلی مونا لیزا ئی راہ آ نوکیں تشریح دنت۔ تاتامی کاریگراں گوں کار کنگ تہا، او اے پد مزن کنت کہ ای قدیمی ماده چون امروچیں بصری زبانا گوں بنداگ بہ بیت۔ تاتامی ئی بافت و ڈیجیٹل پکسل گریڈاں مانی بصری شباہت یا نگاہ کنگ آ، Mitsui لطیف رنگانی یا لمسی، پکسل دانیں شکلاں راہ آ ابراز کنگ ئے روش جوڑ کرت۔ نتیجہ روایت و نوکیں نظریہ ئی مانی آرامیں گپ یا نماش دنت۔ آیئے کار ثقافتی میراث یا نوکیں بصری ابرازاں تہا ترجمہ کنگ ئے پیہمیں دلچسپی یا زاہر کنت۔
پِجّاری
A' Design Award برنجی انعام ءِ بارءَ
Pixel Weave Monalisa قالین A' Design Award برنجی انعام ءِ ورگ آ انت، باز معزز اعتراف کہ تخلیقی صلاحیت، اختراع ءُ ذہانت گوں ممتاز بہترین ڈیزائناں دیگ بیت۔ برنج ءِ ورگ آ بھرپور مہارت ءِ ءُ نمایاں ڈولا تخلیقی شاہکار انت، کہ وتی ڈیزائنراں ءِ وسیع تجربہ، تخیل ءُ ہوشیاری ءِ تصدیق کننت۔ Pixel Weave Monalisa قالین چہ امید کنگ بیت کہ آ یک باز قدر کنگ بوتگیں، ساراہگ بوتگیں ءُ پیارکنگ بوتگیں چیز بیت، قابل ذکر حد ءَ پیشہ ورانہ ءُ جدت ءِ۔ ای ڈیزائن کہ A' Design Award برنجی انعام ءَ برتگ، فن، سائنس، ڈیزائن ءُ ٹیکنالوجی ءِ بہترین طریقہ شامل کنت ءُ ہورد تفصیلاں ءَ توجہ دیگ ءِ سببا شاندار انت۔ Pixel Weave Monalisa قالین ضرورتاں جوانیں ڈولا پورا کنت، خواہشاں ءَ ہنچیت، جذباں ءَ موہنت ءُ تجسس کشنت۔
ڈیزائن ءِ پُشت سر
پریس کِٹ
اعتبارات، ٹیم ءِ نفر و تکنیکی تفصیلات ڈیزائنر ءِ نیمگا فراهم کنگ بوتگ.
- خاصین بزانتان
- 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. - اندازه ؤ بستهبندی
- Dimensions: 1,760 mm (W) × 880 mm (H) × 5 mm (D)
- ٹیگان
- Weave, Textile, Pixel, Craft, Rug, Art, Mona Lisa, Igusa grass, Tatami
- تولید ٹکنالوجی
- 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. - ڈیزائن چیلنج
- 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. - تحقیق
- 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. - الهام
- 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. - پرۏژه مدّت
- 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. - عملیاتی رۏش
- 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.
- پیٹنٹان
- [Copyrights : Hana Mitsui,2025]
- تصویرانی کریڈٹ
- [ Image#1,2,3,4 and 5 : Photographer:Naoaki Yokota]
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