Oruha Función primaria: Cadeira de Yuya Nakazawa

O deseño Oruha Función primaria: Cadeira de Yuya Nakazawa é un estimado gañador do moi prestixioso 2026 A' Design Award de Ouro na Categoría de Competición Deseño de Mobiliario.

OuroMobiliario· 2026

Oruha Función primaria: Cadeira

de Yuya Nakazawa

Cliente: Yedit

Gañador do A' Design Award de Ouro na Categoría Mobiliario

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Cores

O Deseño

Sobre Oruha Función primaria: Cadeira

Texto do libro: O deseño presenta un asento concibido como unha base secreta pública, ofrecendo un refuxio persoal dentro de espazos compartidos. A súa estrutura equilibra a presenza escultórica coa comodidade funcional, favorecendo un uso prolongado e a interacción social. As superficies curvas e os elementos coidadosamente proporcionados crean unha sensación de acubillo mantendo ao mesmo tempo a apertura. Os acabados naturais melloran a durabilidade, a facilidade de mantemento e o envellecemento elegante, permitindo que a peza se integre nos espazos de vida cotiá ao tempo que conserva a calidez táctil.

O Recoñecemento

Sobre o A' Design Award de Ouro

Oruha Función primaria: Cadeira gañou o A' Design Award de Ouro, un recoñecemento inmensamente prestixioso outorgado a deseños de primeira clase, marabillosos e sobresaíntes. Os gañadores Ouro son creacións sumamente innovadoras, visionarias e glamurosamente deslumbrantes que reflicten o xenio, a sabedoría e a destreza dos seus deseñadores. Espérase que Oruha Función primaria: Cadeira sexa unha invención moi eloxiada, pioneira e monumental que ofrece un valor sen precedentes. Este deseño gañador do A' Design Award de Ouro é un proxecto espectacular e respectado que beneficia moito a arte, a ciencia, o deseño e a tecnoloxía e fai avanzar os seus límites. Oruha Función primaria: Cadeira crea intensos sentimentos de desexo, esperta a paixón, anima a creatividade e fascina.

Detrás do deseño

Kit de prensa

Créditos, membros do equipo e detalles técnicos proporcionados polo deseñador.

Propiedades Únicas: 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.
Dimensións e Embalaxe: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Etiquetas: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Tecnoloxía de Produción: 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.
Reto de Deseño: 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.
Investigación: 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.
Inspiración: 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.
Duración do Proxecto: The project began in Kanagawa in January 2025 and ended in October 2025.
Fluxo de Operacións: 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.
Créditos das Imaxes: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025