Ny endrika Soo No. 2 Seza nataon'i Sangin Park dia mpandresy sarobidy amin'ny 2026 A' Design Award Volafotsy amin'ny Sokajin'ny Fifanintsanana Famolavolana Fanaka.

VolafotsyFanaka· 2026

Soo No. 2 Seza

nataon'i Sangin Park

Mpandresy A' Design Award Volafotsy amin'ny Sokajy Fanaka

26,527

Mpandresy Loka Voamarina

Hanamarina ny Sata Loka ho an'ny #179701

Tsidiho ny Tranonkala Jereo ao amin'ny A' Design Award Fanambarana ho an'ny Mpanao Gazety Marika Loka

Loko

Ny Endrika

Momba ny Soo No. 2 Seza

Ny Soo No. 2 dia seza vita amin'ny hazo natao ho fipetrahana isan'andro. Amin'ny ankamaroan'ny seza dia mitohy miakatra ny tongony aoriana mba hanohana ny fiankinan-damosina. Ao amin'ny Soo No. 2 dia sarahina ho singa mahaleo tena ny tongony aoriana sy ny mpanohana ny fiankinan-damosina. Io fisarahana io dia manatsara ny fahamafisan'ny rafitra sady miteraka fifandanjana hita maso mazava. Boribory lava ny tongony ary voatenona amin'ny tady danoà ny fipetrahana. Ny fitohizan'ny rafitra rehetra dia mampiasa fanakambanana mortise sy tenon, ary ny fitohizana mamaky dia mamorona haingo kely miendrika diamondra manamorona ny sisin'ny rafitra. Ny fitehenan-tanana sy ny mpanohana ny fiankinan-damosina dia raiketina amin'ny fantsika varahina tsy dia miharihary.

Ny Fankasitrahana

Momba ny A' Design Award Volafotsy

Nandresy ny A' Design Award Volafotsy ny famolavolana Soo No. 2 Seza, fankasitrahana malaza be omena ny famolavolana ambaratonga ambony, tsara tarehy ary mahavariana. Ny mpandresy Volafotsy dia asa mamirapiratra dia mamirapiratra ary mamorona dia mamorona izay maneho ny fahaizana, ny talenta ary ny fahamaotinan-tsain'ny mpamolavola azy. Andrasana ho asa mahagaga, ohatra tsara, mahay amin'ny asa ary vaovao amin'ny halalin-tsaina ny famolavolana Soo No. 2 Seza. Ity famolavolana nandresy ny A' Design Award Volafotsy ity dia fikarohana miavaka be ary ankafizina izay mahasoa ary mampandroso ny sisintanin'ny zavakanto, ny siansa, ny famolavolana ary ny teknolojia. Ny famolavolana Soo No. 2 Seza dia famoronana mahazo fitaka be izay mamaly ny faniriana, mitondra fihetseham-po tsara ary mamelona fahagagana sy fahatalanjonana.

Ao Ambadiky ny Endrika

Fitaovana ho an'ny Mpanao Gazety

Fankasitrahana, mpikambana ao amin'ny ekipa ary antsipiriany teknika nomen'ny mpanao endrika.

Toetra Manokana: 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.
Refy & Fonosana: Width 580mm x Depth 640mm x Height 770mm
Marika: chair, chair design, woodworking
Teknolojia Famokarana: 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.
Fanamby Endrika: 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.
Fikarohana: 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.
Aingam-panahy: 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
Faharetan'ny Tetikasa: 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.
Fizotr'asa: 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.