디자이너 Yuya Nakazawa의 작품 Oruha 의자은(는) 매우 권위 있는 2026 A' Design Award 금상의 가구 디자인 부문에서 탁월한 수상작입니다.

금가구· 2026

Oruha 의자

디자이너: Yuya Nakazawa

클라이언트: Yedit

가구 부문 A' Design Award 금상 수상작

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사이트 방문 A' Design Award에서 보기 보도 자료 수상 배지

색상

디자인

Oruha 의자 소개

이 디자인은 공유 공간 속에서 개인적인 안식처를 제공하는 '공공의 비밀 기지'로 구상된 좌석을 선보인다. 그 구조는 조형적 존재감과 기능적 편안함 사이의 균형을 이루며, 장시간 사용과 사회적 교류를 뒷받침한다. 곡면과 세심하게 비례를 맞춘 요소들은 개방감을 유지하면서도 아늑하게 감싸인 느낌을 자아낸다. 천연 마감은 내구성과 관리 용이성, 그리고 우아하게 나이 들어가는 특성을 높여, 촉각적 온기를 간직한 채 일상의 생활 공간에 자연스럽게 어우러지도록 한다.

수상 인정

A' Design Award 금상 소개

Oruha 의자, 이 작품은 A' Design Award 금상 수상작으로, 일류의 경이롭고 뛰어난 디자인에 수여되는 극히 권위 있는 인정입니다. 금상 수상작은 대단히 혁신적이고 선견지명이 있으며 눈부시게 빛나는 작품으로, 디자이너의 천재성, 지혜, 기량을 반영합니다. Oruha 의자, 이 작품은 가장 높이 평가받는 트렌드 선도적이고 기념비적인 발명품으로서 전례 없는 가치를 제공할 것으로 기대됩니다. 이 금상 수상 디자인은 예술, 과학, 디자인, 기술의 경계를 넓히는 장관을 이루는 존경받는 프로젝트입니다. Oruha 의자, 이 작품은 강렬한 욕망을 불러일으키고 열정을 자아내며 창의성을 북돋우고 매료합니다.

디자인 비하인드

프레스 킷

디자이너가 제공한 크레딧, 팀원 및 기술 세부 사항.

고유 특성: 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.
치수 및 패키징: Width 740mm Depth 550mm Height 760mm Seated height 430mm
태그: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
생산 기술: 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.
디자인 과제: 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.
연구: 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.
영감: 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.
프로젝트 기간: The project began in Kanagawa in January 2025 and ended in October 2025.
운영 흐름: 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.
이미지 출처: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025