Soo No. 2 Lub Rooj Zaum los ntawm Sangin Park

Qhov qauv tsim Soo No. 2 Lub Rooj Zaum los ntawm Sangin Park yog tus yeej muaj nqis heev ntawm qhov khoom plig 2026 A' Design Award Nyiaj hauv Pawg Sib Tw Tsim Rooj Tog.

NyiajRooj Tog· 2026

Soo No. 2 Lub Rooj Zaum

los ntawm Sangin Park

Tus Yeej A' Design Award Nyiaj hauv Pawg Rooj Tog

26,527

Tus Yeej Khoom Plig Tau Txheeb Xyuas

Txheeb Xyuas Qhov Xwm Txheej Khoom Plig rau #179701

Mus Saib Lub Vev Xaib Saib ntawm A' Design Award Tsab Xov Xwm Daim Phiaj Khoom Plig

Xim

Qhov Tsim

Txog Soo No. 2 Lub Rooj Zaum

Soo No. 2 yog ib lub rooj zaum ntoo uas tsim los rau kev zaum niaj hnub. Feem ntau cov rooj zaum, ob txhais ceg tom qab yuav ncua mus rau saum toj los txheem lub nraub qaum. Hauv Soo No. 2, ob txhais ceg tom qab thiab cov tus txheem nraub qaum raug faib cais ua ob qho khoom nyias nyob nyias. Qhov kev faib cais no ua rau lub rooj zaum ruaj khov zog thiab tsim tau ib qho kev sib npaug pom tseeb rau qhov muag. Cov ceg yog puab kheej kheej thiab lub chaw zaum yog qhaib nrog hlua Danish. Txhua qhov kev sib txuas ntawm cov qauv siv txoj kev sib txuas mortise thiab tenon, thiab cov kev sib txuas tshab plaws ua tau cov duab pob zeb diamond me me raws ob sab ntawm lub qauv. Cov chaw tso caj npab thiab cov tus txheem nraub qaum raug khi ruaj nrog cov tswm tooj liab me me uas tsis pom tseeb.

Qhov Lees Paub

Txog A' Design Award Nyiaj

Soo No. 2 Lub Rooj Zaum yog tus yeej ntawm A' Design Award Nyiaj, ib qho kev lees paub muaj meej mom heev tshaj li qub uas muab rau cov qauv tsim qib siab, zoo nkauj thiab ua rau neeg xav tsis thoob. Cov neeg yeej Nyiaj yog cov haujlwm ci ntsa iab heev thiab tsim tshiab heev uas qhia txog kev paub, kev txawj ntse thiab kev ntse ntawm cov kws tsim qauv. Soo No. 2 Lub Rooj Zaum xav tias yuav yog ib qho haujlwm zoo kawg nkaus uas tsim rau qhia, tshaj lij heev thiab tsim tshiab tob. Cov qauv tsim yeej A' Design Award Nyiaj no yog ib qho khoom tsim uas pom tseeb heev thiab neeg qhuas uas pab tau thiab nthuav dav ciam teb ntawm kev kos duab, kev tshawb fawb, kev tsim qauv thiab thev naus laus zis. Soo No. 2 Lub Rooj Zaum yog ib qho khoom tsim uas neeg coob xav tau, uas ua rau xav, coj kev xav zoo thiab ua rau xav tsis thoob thiab xav paub.

Tom Qab Qhov Tsim

Pob Xov Xwm

Cov credit, cov neeg pab thiab cov ntsiab lus kev txawj ntse muab los ntawm tus tsim.

Yam Tshwj Xeeb: 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.
Qhov Loj & Ntim: Width 580mm x Depth 640mm x Height 770mm
Cov Ntsiab Lus: chair, chair design, woodworking
Thev Naus Laus Zis Tsim Khoom: 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.
Kev Sib Tw Tsim Qauv: 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.
Kev Tshawb Fawb: 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.
Kev Txhawb Siab: 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
Lub Sij Hawm Ua Hauj Lwm: 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.
Txheej Txheem Ua Hauj Lwm: 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.