Spiral of Life Iṣẹ́ Àkọ́kọ́: Ohun Èlò Oúnjẹ Tí A Fi Gíláàsì Ṣe láti ọwọ́ Keiji Ishikawa

Spiral of Life Iṣẹ́ Àkọ́kọ́: Ohun Èlò Oúnjẹ Tí A Fi Gíláàsì Ṣe láti ọwọ́ Keiji Ishikawa jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2026 Àmì-ẹ̀yẹ Wúrà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Ohun-èlò Ìdáná, Ohun-èlò Oúnjẹ, Ohun Mímu àti Ohun Ìṣe Oúnjẹ.

WúràOhun-èlò Ìdáná· 2026

Spiral of Life Iṣẹ́ Àkọ́kọ́: Ohun Èlò Oúnjẹ Tí A Fi Gíláàsì Ṣe

látọ̀wọ́ Keiji Ishikawa

Oníbàárà: KJ studio

Aṣẹ́gun Àmì-ẹ̀yẹ Wúrà A' Design Award nínú Ẹ̀ka Ohun-èlò Ìdáná

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Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí

Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #181198

Ṣàbẹ̀wò Ojú Òpó Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa Spiral of Life Iṣẹ́ Àkọ́kọ́: Ohun Èlò Oúnjẹ Tí A Fi Gíláàsì Ṣe

Àkọsílẹ̀ Ìwé: Nínú ìdàpọ̀ ìṣètò ìṣirò àti iṣẹ́ ọnà tí ń kó ìgbìmọ̀, ètò Spiral of Life ń ṣàfihàn ọ̀nà tuntun fún ohun èlò gíláàsì Kiriko. Iṣẹ́ yìí gba ìyí adáyébá ti ìṣẹ̀dá mú nínú gíláàsì. Ìdàgbàsókè náà bẹ̀rẹ̀ láti inú ìfọwọ́sowọ́pọ̀ láàrin apẹ̀rẹ̀ àti Ree, oníjó awọ̀. Nípa yíyí àwọn ìlà Fibonacci padà sí ìgbìmọ̀, Ree pèsè àwọn ìlànà èròngbà fún àpẹẹrẹ náà. Nípasẹ̀ àwọn ìpín ìyí 8 sí 13 àti 13 sí 21, oníṣẹ́ ọnà náà ń so iṣẹ́ ọnà ìbílẹ̀ pọ̀ mọ́ ìmọ̀ ìṣirò ìṣẹ̀dá. Ìṣọ̀kan tí ó jáde ń pèsè ìrírí tí ó ní ìlù tí ó ṣàfihàn lílù adáyébá ti ayé.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Wúrà A' Design Award

Spiral of Life Iṣẹ́ Àkọ́kọ́: Ohun Èlò Oúnjẹ Tí A Fi Gíláàsì Ṣe jẹ́ olùborí Àmì-ẹ̀yẹ Wúrà A' Design Award, ìdánimọ̀ olókìkí gan-an tí a fún àwọn àwòṣe ìpele àkọ́kọ́, tó jẹ́ ìyanu tó sì yàtọ̀. Àwọn olùborí Wúrà jẹ́ àwọn ẹ̀dá tó ní ìmúṣẹ̀dá tuntun gidigidi, tó ní ojú-ìwòye tó jìnnà tó sì ń tàn yòò tí wọ́n ń ṣàfihàn ọgbọ́n, òye àti ìjáfáfá àwọn olùṣàwòṣe wọn. A retí pé Spiral of Life Iṣẹ́ Àkọ́kọ́: Ohun Èlò Oúnjẹ Tí A Fi Gíláàsì Ṣe yóò jẹ́ ohun ìmúṣẹ̀dá tí a yìn gidigidi, tó ń gbé ìtẹ̀sí kalẹ̀ tó sì jẹ́ ìrántí tó ń mú iye tí a kò rí rí wá. Àwòṣe tó borí Àmì-ẹ̀yẹ Wúrà A' Design Award yìí jẹ́ iṣẹ́ àkànṣe tó yani lẹ́nu tí a bọ̀wọ̀ fún tó ṣe anfàní gidigidi tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. Spiral of Life Iṣẹ́ Àkọ́kọ́: Ohun Èlò Oúnjẹ Tí A Fi Gíláàsì Ṣe ń dá ìmọ̀lára ìfẹ́ tó lágbára sílẹ̀, ń jí ìtara, ń gbé ìṣẹ̀dá lárugẹ tó sì ń fà wá mọ́ra.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: 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.
Ìwọ̀n àti Àpò: 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.
Àwọn Àkọlé: kiriko, cutglass, japaneseglassware, glassart
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: The double-layered glassware is carefully ground and polished by hand using Japanese Kiriko cut glass technology.
Ìpèníjà Àpèsè: 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.
Ìwádìí: 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.
Ìmísí: 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.
Àkókò Iṣẹ́ Àkànṣe: The project started in December 2025 in Tokushima, Japan, and finished in February 2026.
Ìlànà Ìṣiṣẹ́: 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.
Àwọn Ìwé-ẹ̀rí Ohun-Ìmọ̀: The design is being applied for design registration and will receive copyright protection for registered designs in December 2026 in Japan.
Ìfọwọ́sí Àwòrán: 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.