Ny endrika Oruha Seza nataon'i Yuya Nakazawa dia mpandresy sarobidy amin'ny 2026 A' Design Award Volamena amin'ny Sokajin'ny Fifanintsanana Famolavolana Fanaka.

VolamenaFanaka· 2026

Oruha Seza

nataon'i Yuya Nakazawa

Mpanjifa: Yedit

Mpandresy A' Design Award Volamena amin'ny Sokajy Fanaka

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Mpandresy Loka Voamarina

Hanamarina ny Sata Loka ho an'ny #178435

Tsidiho ny Tranonkala Jereo ao amin'ny A' Design Award Fanambarana ho an'ny Mpanao Gazety Marika Loka

Loko

Ny Endrika

Momba ny Oruha Seza

Ny famolavolana dia mampiseho seza iray noforonina toy ny toby miafina ho an'ny daholobe, manolotra fialofana manokana ao anaty tontolo iombonana. Ny rafiny dia mampifandanja ny fisehoana sokitra amin'ny fahatomombanana mahasoa, manohana ny fampiasana naharitra sy ny fifandraisana ara-tsosialy. Ny velatra miolikolika sy ireo singa voarefy tsara dia mamorona fahatsapana fanidiana sady mihazona ny fisokafana. Ny famitana voajanahary dia manatsara ny faharetana, ny mora kojakojaina, ary ny fahantitra mendrika, mamela ny zavatra hiditra ao anaty toeram-piainana andavanandro sady mitahiry ny hafanana azo tsapain-tanana.

Ny Fankasitrahana

Momba ny A' Design Award Volamena

Nandresy ny A' Design Award Volamena ny famolavolana Oruha Seza, fankasitrahana malaza indrindra tsy refesi-mandidy omena ny famolavolana kilasy voalohany, mahagaga ary miavaka. Ny mpandresy Volamena dia famoronana vaovao indrindra, mahay mijery lavitra ary mamirapiratra mahafinaritra izay maneho ny fahamoramoran-tsaina, ny fahendrena ary ny fahaizan'ny mpamolavola azy. Andrasana ho fikarohana mahazo ankasitrahana indrindra, mitarika ny fironana ary tsangambato ny famolavolana Oruha Seza izay mamatsy sanda tsy mbola nisy toy izany. Ity famolavolana nandresy ny A' Design Award Volamena ity dia tetikasa mahavariana sy hajaina izay mahasoa be ary mampandroso ny sisintanin'ny zavakanto, ny siansa, ny famolavolana ary ny teknolojia. Ny famolavolana Oruha Seza dia mamorona fihetseham-po mafy momba ny faniriana, mamelona ny ahiahy, mamporisika ny fahaiza-mamorona ary mahasarika antsika.

Ao Ambadiky ny Endrika

Fitaovana ho an'ny Mpanao Gazety

Fankasitrahana, mpikambana ao amin'ny ekipa ary antsipiriany teknika nomen'ny mpanao endrika.

Toetra Manokana: 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.
Refy & Fonosana: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Marika: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Teknolojia Famokarana: 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.
Fanamby Endrika: 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.
Fikarohana: 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.
Aingam-panahy: 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.
Faharetan'ny Tetikasa: The project began in Kanagawa in January 2025 and ended in October 2025.
Fizotr'asa: 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.
Loharanon-tsary: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025