Oruha Fonksyon Prensipal: Chèz pa Yuya Nakazawa

Dizayn Oruha Fonksyon Prensipal: Chèz pa Yuya Nakazawa se yon gayan ki gen anpil estim nan konpetisyon trè prestijye 2026 A' Design Award Lò nan Kategori Konpetisyon Dezayn Mèb.

LòMèb· 2026

Oruha Fonksyon Prensipal: Chèz

pa Yuya Nakazawa

Kliyan: Yedit

Gayan A' Design Award Lò nan Kategori Mèb

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Verifye Estati Pri pou #178435

Vizite Sit la Gade sou A' Design Award Kominike Laprès Badj Prim

Koulè

Konsepsyon an

Konsènan Oruha Fonksyon Prensipal: Chèz

Tèks Liv: Konsepsyon an prezante yon chèz ki te panse kòm yon baz sekrè piblik, ki ofri yon refij pèsonèl andedan anviwònman pataje yo. Estrikti li balanse prezans eskilti ak konfò fonksyonèl, ki sipòte itilizasyon pwolonje ak entèraksyon sosyal. Sifas koube yo ak eleman ki gen pwopòsyon byen pase yo kreye yon sans fèmen pandan y ap kenbe yon ouvèti. Finisyon natirèl yo amelyore dirabilite, fasilite antretyen, ak yon vyeyisman grasye, sa ki pèmèt pyès la entegre nan espas lavi chak jou pandan l ap prezève chalè taktil li.

Rekonesans lan

Konsènan A' Design Award Lò

Oruha Fonksyon Prensipal: Chèz se yon ganyan A' Design Award Lò, yon rekonesans imans prestijye yo bay design premye klas, mèvèye e eksepsyonèl. Ganyan Lò yo se kreyasyon ki trè inovatè, vizyonè e ki briye ak bèl bagay, ki reflete jeni, sajès ak mèt konpetans designer yo. Yo atann Oruha Fonksyon Prensipal: Chèz pou se yon envansyon ki fè anpil lwanj, ki bay tandans e monimantal ki delivre yon valè san parèy. Design sa a ki ganyen A' Design Award Lò se yon pwojè espektakilè, respekte ki pote anpil benefis e ki pouse limit atizay, syans, design ak teknoloji. Oruha Fonksyon Prensipal: Chèz kreye santiman dezi ki entans, li reveye pasyon, li ankouraje kreyativite e li fasine nou.

Dèyè Konsepsyon an

Dosye Laprès

Kredi, manm ekip ak detay teknik konseptè a bay.

Pwopriyete Inik: 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.
Dimansyon & Anbalaj: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Etikèt: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Teknoloji Pwodiksyon: 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.
Defi Dizayn: 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.
Rechèch: 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.
Enspirasyon: 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.
Dire Pwojè: The project began in Kanagawa in January 2025 and ended in October 2025.
Fliks Operasyon: 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.
Kredi Imaj: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025