Oruha Primary Function: Kadera naébbu Yuya Nakazawa

Oruha Primary Function: Kadera naébbu Yuya Nakazawa iyanaritu pammènangngé iya temmaka riéloinna ri 2026 A' Design Award Ulaweng ri Katégori Kompétisi Desain Furnitur.

UlawengFurnitur· 2026

Oruha Primary Function: Kadera

ᨑᨗ Yuya Nakazawa

ᨀᨒᨗᨕᨙ: Yedit

Pammènangngé A' Design Award Ulaweng ri Katégori Furnitur

4,237,719

Pammènangngé Anugérah Naparessoi

Paressoi Status Anugérah untu #178435

ᨒᨕᨚ ᨑᨗ ᨔᨗᨈᨘ ᨈᨗᨈ ᨑᨗ A' Design Award ᨔᨗᨕᨑ ᨄᨙᨑᨙ ᨅᨙᨍᨗ ᨄᨂᨑᨁ

ᨓᨑᨊ

ᨉᨙᨔᨕᨗᨊᨙ

ᨄᨙᨑᨗᨖᨒ Oruha Primary Function: Kadera

Book Text: Iyaé désainé mappaitang séuwa onrong tudang iya ripikkiri'é selaku séuwa onrong rahasia umum, iya mabbéréngngi onrong assaléwangeng pribadi ri laleng onrong iya risséddiangngé. Sussunanna métingngi antara ennengeng pasti patung sibawa anyamang mappakégunaé, mappésonai paké iya maitta sibawa siruntu'na tau. Bagéang malekko sibawa anu iya napatujué sibawa madécéng pancajiwi rasa rilippu nappa ripatterui ennengeng tabbué. Pammacca alami pédécéngiwi alebbang, magampang riparakai, sibawa toa madécéng, mappésonai iyaé barangngé masséddi ri laleng onrong atuong essoé sibawa tetté' mappésangngi mapella iya ribabba.

ᨄᨂᨑᨁᨙ

ᨄᨙᨑᨗᨖᨒ A' Design Award Ulaweng

Oruha Primary Function: Kadera iyanaritu pakoro A' Design Award Ulaweng, pakalebbi iya malompo tongeng iya ripabbere ri desain kelas pammulang, magello sibawa luar biasa. Pakoro Ulaweng iyanaritu karya iya inovatif, visioner sibawa mallangkara, iya mappakita kecerdasan, pangissengeng sibawa keahlian tau mabbuat. Oruha Primary Function: Kadera ripakkirangngi mancaji penemuan iya lebbi ripuji, mappabbentuk trend sibawa monumental iya mappabbere nilai iya dena na rilebbi. Desain pakoro A' Design Award Ulaweng iyae iyanaritu karya spektakuler iya ripakalebbi iya malompo pawangekeng sibawa mappalaong wates seni, sains, desain sibawa teknologi. Oruha Primary Function: Kadera mappabbentuk perasaan keinginan iya makkasuwiang, mappatettong passiri, mappogau kreativitas sibawa mappagello.

ᨑᨗ ᨆᨘᨋᨗᨊᨙ ᨉᨙᨔᨕᨗ

ᨀᨗ ᨄᨙᨑᨙ

ᨀᨑᨙᨉᨗ, ᨕᨂᨚᨈ ᨈᨗᨆ ᨔᨗᨅᨓ ᨑᨗᨏᨗ ᨈᨙᨀᨊᨗ ᨊᨄᨓᨙᨑᨙ ᨑᨗ ᨉᨙᨔᨕᨗᨊᨑᨙ.

Sipa Khas: Oruha Chair proposes the idea of a private sanctuary within a public space.
While functioning as a sculptural object that shapes the surrounding environment, the chair transforms into an intimate personal zone when occupied.

The form could not have been achieved through linear or parametric design logic. Instead, it emerged through an iterative process of continuous adjustment between visual intensity and physical comfort. The armrests, which receive the most direct contact, maintain sharp visual edges while offering a gentle and secure tactile experience.

This balance allows the chair to exist simultaneously as spatial sculpture and functional furniture.
Ukurang & Kemasang: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Tag: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Téknologi Produksi: Due to its complex organic geometry, Oruha Chair is extremely difficult to reproduce through industrial manufacturing or automated processes.
The chair was realized almost entirely by hand, using traditional Japanese planes and hand tools.

Rather than imposing a fixed form onto the material, the final shape emerged through direct dialogue with the wood, prioritizing tactile quality, structural integrity, and sculptural coherence. This process positions craftsmanship not as decoration, but as a design methodology.
Tantangeng Désain: After extensive sketching and the creation of five clay models, translating the form into wood presented a fundamental challenge. There was no established woodworking methodology capable of directly realizing the intended geometry.

Through repeated trial and error, two full-scale prototypes were abandoned before completing this third iteration.
Because of the organic form, conventional symmetry, reference points, and measurement systems proved ineffective. Ultimately, the process required trusting sensory judgment and material feedback over numerical precision. This approach became inseparable from the final outcome.
Panélitiang: The designer’s background in video editing strongly influenced the conceptual framework of this project. Video editing is a practice of shaping emotional perception by controlling sequence, rhythm, and context.

Oruha Chair applies this editorial thinking to three-dimensional form.
Personal emotions and experiences were deconstructed and reassembled, not as narrative, but as physical tension, curvature, and spatial presence. The result is a chair that communicates emotionally through form rather than explanation.
Inspirasi: Oruha Chair was inspired by the concept of waves, representing continuous transitions between tension and release.
Rather than designing a chair solely from ergonomic data or predefined typologies, this project approaches seating as an emotional and spatial experience shaped by contrast.

The form was developed as a response to the designer’s belief that emotions, like waves, can be edited, reorganized, and translated into physical presence. These transitions were carved directly into solid wood as flowing yet controlled organic curves.

Although the chair presents an edgy, sculptural appearance, sitting in it reveals a smooth, enveloping comfort. This intentional reversal between visual tension and bodily softness defines the core experience of Oruha Chair.
Wettu Proyék: The project began in Kanagawa in January 2025 and ended in October 2025.
Alur Opérasi: Despite its expressive form, Oruha Chair provides stable and comfortable seating suitable for extended use.
Structural stability and load distribution were carefully examined through repeated physical testing, ensuring that the sculptural design does not compromise safety or usability.

Unlike many sculptural chairs that discourage everyday use, Oruha Chair is intended to be touched, sat on, and lived with.
Krédit Gambar: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025