Keiji Ishikawa ᱨᱮᱱᱟᱜ Spiral of Life ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱠᱟᱪ ᱛᱟᱹᱞᱤ ᱡᱤᱱᱤᱥ

Keiji Ishikawa ᱨᱮᱱᱟᱜ Spiral of Life ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱠᱟᱪ ᱛᱟᱹᱞᱤ ᱡᱤᱱᱤᱥ ᱫᱚ ᱨᱟᱸᱰᱷᱟ ᱥᱟᱢᱟᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2026 A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾

ᱥᱳᱱᱟᱨᱟᱸᱰᱷᱟ ᱥᱟᱢᱟᱱ· 2026

Spiral of Life ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱠᱟᱪ ᱛᱟᱹᱞᱤ ᱡᱤᱱᱤᱥ

Keiji Ishikawa ᱞᱮᱠᱟᱛᱮ

ᱜᱟᱦᱟᱠ: KJ studio

ᱨᱟᱸᱰᱷᱟ ᱥᱟᱢᱟᱱ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ

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#181198 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪ

ᱥᱟᱭᱤᱴ ᱧᱮᱞ ᱢᱮ A' Design Award ᱨᱮ ᱧᱮᱞ ᱢᱮ ᱯᱨᱮᱥ ᱨᱤᱞᱤᱡ ᱯᱩᱨᱥᱠᱟᱨ ᱵᱮᱡ

ᱨᱚᱝ

ᱰᱤᱡᱟᱭᱤᱱ

Spiral of Life ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱠᱟᱪ ᱛᱟᱹᱞᱤ ᱡᱤᱱᱤᱥ ᱵᱟᱵᱚᱛ ᱛᱮ

ᱢᱮᱛᱷᱮᱢᱮᱴᱤᱠᱥ ᱜᱚᱴᱟᱣᱟᱜ ᱟᱨ ᱪᱟᱞᱟᱜ ᱠᱟᱞᱟ ᱨᱮᱭᱟᱜ ᱢᱮᱥᱟ ᱛᱮ, ᱡᱤᱭᱚᱱ ᱨᱮᱭᱟᱜ ᱥᱯᱟᱭᱨᱟᱞ (Spiral of Life) ᱯᱨᱚᱡᱮᱠᱴ ᱫᱚ ᱠᱤᱨᱤᱠᱚ ᱠᱟᱪ ᱡᱤᱱᱤᱥ ᱞᱟᱹᱜᱤᱫ ᱢᱤᱫ ᱱᱟᱶᱟ ᱦᱳᱨ ᱩᱫᱩᱜ ᱮᱫᱟ᱾ ᱱᱚᱶᱟ ᱠᱟᱹᱢᱤ ᱫᱚ ᱠᱟᱪ ᱢᱟᱫᱷᱭᱚᱢ ᱨᱮ ᱯᱨᱠᱨᱩᱛᱤ ᱨᱮᱭᱟᱜ ᱚᱨᱜᱟᱱᱤᱠ ᱪᱟᱞᱟᱜ ᱡᱟᱯᱟᱜ ᱠᱟᱜᱼᱟ᱾ ᱱᱚᱶᱟ ᱩᱰᱷᱟᱹᱣ ᱫᱚ ᱰᱤᱡᱟᱭᱱᱟᱨ ᱟᱨ ᱨᱤ (Ree), ᱢᱤᱫ ᱯᱮᱱᱴ ᱮᱱᱮᱡᱤᱡ, ᱨᱮᱭᱟᱜ ᱢᱮᱥᱟᱠᱟᱹᱢᱤ ᱠᱷᱚᱱ ᱮᱛᱚᱦᱚᱵ ᱞᱮᱱᱟ᱾ ᱯᱷᱤᱵᱚᱱᱟᱠᱪᱤ ᱠᱨᱚᱢ ᱠᱚ ᱪᱟᱞᱟᱜ ᱛᱮ ᱩᱞᱴᱟᱣ ᱠᱟᱛᱮ, ᱨᱤ ᱫᱚ ᱰᱤᱡᱟᱭᱱ ᱞᱟᱹᱜᱤᱫ ᱠᱚᱱᱥᱮᱯᱴᱩᱣᱟᱞ ᱠᱟ�interior ᱮᱢᱟᱜᱼᱟ᱾ ᱘ ᱠᱷᱚᱱ ᱑᱓ ᱟᱨ ᱑᱓ ᱠᱷᱚᱱ ᱒᱑ ᱥᱯᱟᱭᱨᱟᱞ ᱟᱱᱩᱯᱟᱛ ᱛᱮ, ᱠᱟᱨᱤᱜᱚᱨ ᱫᱚ ᱯᱩᱨᱩᱱ ᱠᱟᱹᱢᱤ ᱟᱨ ᱵᱟᱭᱳᱢᱮᱛᱷᱮᱢᱮᱴᱤᱠᱥ ᱡᱚᱲᱟᱣᱮᱫᱟ᱾ ᱡᱟᱦᱟᱸ ᱦᱚᱨᱢᱟᱱᱤ ᱟᱹᱲᱟᱜᱼᱟ ᱚᱱᱟ ᱫᱚ ᱚᱛ ᱨᱮᱭᱟᱜ ᱯᱨᱟᱠᱨᱩᱛᱤᱠ ᱛᱟᱞ ᱡᱟᱯᱟᱜ ᱠᱟᱛᱮ ᱢᱤᱫ ᱨᱤᱫᱢᱤᱠ ᱟᱱᱩᱵᱷᱚᱵ ᱮᱢᱟᱜᱼᱟ᱾

ᱢᱟᱱᱟᱱ

A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ

Spiral of Life ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱠᱟᱪ ᱛᱟᱹᱞᱤ ᱡᱤᱱᱤᱥ ᱫᱚ A' Design Award ᱥᱳᱱᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱵᱷᱟᱞᱟᱭ ᱛᱮ ᱵᱷᱟᱞᱟᱭ ᱟᱨ ᱥᱩᱱᱫᱚᱨ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Spiral of Life ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱠᱟᱪ ᱛᱟᱹᱞᱤ ᱡᱤᱱᱤᱥ ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾

ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ

ᱯᱨᱮᱥ ᱠᱤᱴ

ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾

ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ: Fibonacci spirals follow strict mathematical laws yet appear organic and asymmetrical, resisting simple geometric repetition. Traditional Kiriko requires precise vertical and horizontal guidelines before cutting; however, standard grids cannot capture this natural fluctuation while ensuring reproducibility. To solve this, I developed a hybrid approach: maintaining the Fibonacci count with guidelines while manually adjusting each cut to ensure a smooth, living trajectory.
ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ: The product dimensions are as follows: The rock glass is 77mm in diameter and 92mm in height, as shown in the main image. In optional image #1, the wine glass is 58mm in diameter and 150mm in height. In optional image #2, the soba cups are 81mm in diameter and 62mm in height. In optional image #3, the sake cup is 60mm in diameter and 60mm in height. Finally, the top views of the sake cup and soba cup filled with water are shown in optional image #4.
ᱴᱮᱜ ᱠᱚ: kiriko, cutglass, japaneseglassware, glassart
ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ: The double-layered glassware is carefully ground and polished by hand using Japanese Kiriko cut glass technology.
ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ: Through rigorous prototyping, I established a specialized system. Smaller vessels like sake cups use an 8 to 13 spiral ratio, while larger items like wine and rock glasses employ a 13 to 21 ratio to maintain proportion. For vessels with decorative bases, such as a soba cup, I meticulously integrated an 8 to 13 spiral on the bottom to enhance aesthetic coherence. This precise scaling was essential to capturing the Spiral of Life across the entire collection.
ᱜᱚᱵᱮᱥᱚᱱᱟ: A true Fibonacci spiral requires clockwise and counterclockwise counts to be adjacent numbers in the sequence. To ensure visual balance and mathematical integrity, I conducted extensive research to determine the optimal pairings, such as 8 to 13 or 13 to 21, based on specific glass diameters and curvatures. This study ensured that the mathematical beauty remains consistent.
ᱯᱨᱮᱨᱚᱱᱟ: I initially struggled to translate the relationship between the sun and the sunflower into glass. The breakthrough came via my daughter Ree, an artist and paint dancer, who shared my fascination with the sunflower Fibonacci spiral. This pattern blends mathematical law with organic asymmetry. Ree physicalized this sequence by synchronizing her leg drawn spiral counts with Fibonacci numbers. Witnessing this kinetic manifestation inspired me to transpose these complex spirals onto Kiriko glass.
ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ: The project started in December 2025 in Tokushima, Japan, and finished in February 2026.
ᱠᱟᱹᱢᱤ ᱦᱚᱨ: The streamline motifs are executed with wide-angle V cuts. When viewed from the side, patterns on the far surface refract through the front, creating complex layered intersections that evoke the mystery of life. From a top-down perspective, the precise Fibonacci sequence achieves a profound, harmonious balance. The design invokes a rhythmic and engaging experience, mimicking a living pulse. This interaction between light and geometry brings dynamic vitality to the glassware.
ᱯᱮᱴᱮᱱᱴ ᱠᱚ: The design is being applied for design registration and will receive copyright protection for registered designs in December 2026 in Japan.
ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ: Video Credits:
To demonstrate the rhythmic harmony and life-like pulse of the design, the video showcases the glassware in rotation. This highlights how the patterns shift and intersect dynamically as the perspective changes, illustrating the Spiral of Life concept through the interaction of light, shadow, and the intricate Kiriko hand cuts.