Hönnunarverkið Oruha Stóll eftir Yuya Nakazawa er hávirt verðlaunaverk sem hlaut hin virtu 2026 A' Design Award í gulli verðlaun í keppnisflokknum Húsgagnahönnun.

GullHúsgögn· 2026

Oruha Stóll

eftir Yuya Nakazawa

Viðskiptavinur: Yedit

Handhafi A' Design Award í gulli í flokknum Húsgögn

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Litir

Hönnunin

Um Oruha Stóll

Hönnunin kynnir sæti sem hugsað er sem opinber leynistöð, sem býður upp á persónulegt athvarf innan sameiginlegra rýma. Bygging þess jafnvægir höggmyndalega nærveru við hagnýta þægindi, styður langvarandi notkun og félagsleg samskipti. Bognir fletir og vandlega hlutfallaðir þættir skapa tilfinningu fyrir umlykingu en viðhalda jafnframt opnu yfirbragði. Náttúruleg áferð eykur endingu, auðveldar viðhald og stuðlar að fögrum öldrun, sem gerir verkinu kleift að falla að daglegum búsetusvæðum á sama tíma og það varðveitir áþreifanlega hlýju.

Viðurkenningin

Um A' Design Award í gulli

Oruha Stóll vann A' Design Award í gulli, óendanlega virta viðurkenningu sem veitt er fyrsta flokks, dásamlegum og framúrskarandi hönnunarverkum. Sigurvegarar í gulli eru afar nýstárleg, framsýn og töfrandi glæsileg sköpunarverk sem endurspegla snilld, visku og hæfni hönnuða sinna. Þess er vænst að Oruha Stóll sé mjög lofuð, brautryðjandi og stórfengleg uppfinning sem skilar fordæmislausu virði. Þetta hönnunarverk sem vann A' Design Award í gulli er stórbrotið, virt verkefni sem gagnast mörkum listar, vísinda, hönnunar og tækni mjög vel og færir þau fram á við. Oruha Stóll skapar sterkar þráartilfinningar, vekur ástríðu, hvetur til sköpunar og heillar okkur.

Á bak við hönnunina

Fjölmiðlapakki

Heimildir, hópmeðlimir og tæknilegar upplýsingar frá hönnuðinum.

Einstakar eiginleikar: 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.
Stærðir og umbúðir: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Merki: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Framleiðslutækni: 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.
Hönnunaráskorun: 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.
Rannsóknir: 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.
Innblástur: 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.
Lengd verkefnis: The project began in Kanagawa in January 2025 and ended in October 2025.
Verkflæði: 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.
Myndheimildir: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025