Darbs Oruha Krēsls, kura autors ir Yuya Nakazawa, ir augsti novērtēts un ļoti prestižās 2026 Zelta balva A' Design Award ieguvējs kategorijā Mēbeļu dizains.
ZeltaMēbeles· 2026
Oruha Krēsls
Autors: Yuya Nakazawa
Klients: Yedit
Zelta balva A' Design Award ieguvējs kategorijā Mēbeles
Verificēts balvas ieguvējs
Verificēt balvas statusu dizainam #178435Dizains
Par Oruha Krēsls
Dizains piedāvā sēdvietu, kas iecerēta kā publiska slepena bāze, sniedzot personīgu patvērumu kopīgās vidēs. Tās struktūra līdzsvaro skulpturālu klātbūtni ar funkcionālu komfortu, atbalstot ilgstošu lietošanu un sociālo mijiedarbību. Izliektas virsmas un rūpīgi proporcionēti elementi rada apslēptības sajūtu, vienlaikus saglabājot atvērtību. Dabīgie apdares materiāli uzlabo izturību, vieglu kopšanu un graciozu novecošanu, ļaujot izstrādājumam iekļauties ikdienas dzīves telpās, vienlaikus saglabājot taustes siltumu.
Atzinība
Par Zelta balva A' Design Award
Oruha Krēsls ir Zelta balvas A' Design Award ieguvējs, ārkārtīgi prestiža atzinība, ko piešķir pirmšķirīgiem, brīnišķīgiem un izciliem dizainiem. Zelta ieguvēji ir ļoti inovatīvi, tālredzīgi un žilbinoši spoži darbi, kas atspoguļo to dizaineru talantu, gudrību un meistarību. Sagaidāms, ka Oruha Krēsls būs ļoti slavēts, tendenci veidojošs un monumentāls izgudrojums, kas sniedz nebijušu vērtību. Šis ar Zelta balvu apbalvotais dizains ir lielisks, cienīts projekts, kas paplašina mākslas, zinātnes, dizaina un tehnoloģiju robežas. Oruha Krēsls izraisa intensīvu vēlmi, modina kaislību, veicina radošumu un valdzina.
Aiz dizaina
Preses materiāli
Dizainera sniegtie autori, komandas dalībnieki un tehniskie dati.
- Unikālās īpašības
- 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. - Izmēri un iepakojums
- Width 740mm Depth 550mm Height 760mm Seated height 430mm
- Birkas
- Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
- Ražošanas tehnoloģija
- 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. - Dizaina izaicinājums
- 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. - Pētījums
- 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. - Iedvesma
- 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. - Projekta ilgums
- The project began in Kanagawa in January 2025 and ended in October 2025.
- Darbības plūsma
- 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. - Attēlu autori
- Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025
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