Ko te hoahoa Oruha Tūru nā Yuya Nakazawa he kaitoa whakahirahira o te 2026 A' Design Award Koura i te Wāhanga Whakataetae Hoahoa Taputapu.
KouraTaputapu· 2026
Oruha Tūru
Kiritaki: Yedit
Kaitoa o te A' Design Award Koura i te Wāhanga Taputapu
Kaitoa Tohu Manatokohia
Manatokohia te Tūnga Tohu mō #178435Te Hoahoa
Mō Oruha Tūru
Ka whakaaturia e tēnei hoahoa he nohonga i whakaarohia hei tūrangawaewae muna mā te iwi whānui, e tuku ana i tētahi piringa whaiaro i roto i ngā wāhi tiritahi. Ka taurite tōna hanganga i te āhua whakairo me te whakamārietanga whaihua, e tautoko ana i te whakamahi roa me te taunekeneke pāpori. Ka hangaia e ngā mata pīkau me ngā wāhanga ine pai tētahi āhua whakakati i te wā e mau tonu ana te tuwhera. Ka whakapakari ngā whakaotinga māori i te pūmautanga, te māmā o te tiaki, me te koroheketanga āhuareka, e taea ai e te taonga te whakauru ki ngā wāhi noho o ia rā me te pupuri tonu i te mahana pā.
Te Whakamihi
Mō te A' Design Award Koura
Ko Oruha Tūru te toa o te A' Design Award Koura, he whakaaetanga tino whai mana e hoatu ana ki ngā hoahoa kōeke tuatahi, whakamīharo me te hiranga. Ko ngā toa Koura he mahi tino auaha, he tirohanga mamao, he kanapa ahi, e whakaatu ana i te pūmanawa, te mātauranga me te tohungatanga o ā rātou kaihoahoa. E tūmanakohia ana ko Oruha Tūru he hanganga tūnga e whakatū ana i ngā ia, he whakanuia rawa, e kawe mai ana i te uara kāore anō kia kitea. Ko tēnei hoahoa i toa i te Koura he kaupapa whakamīharo, whakahonoretia e whakawhānui ana i ngā rohe o te toi, te pūtaiao, te hoahoa me te hangarau. Ka whakaara a Oruha Tūru i te hiahia nui, ka whakaoho i te kaingākau, ka whakatenatena i te auaha, ā, ka whakamīharo i a tātou.
I Muri i te Hoahoa
Kete Pāpāho
Ngā whakamihi, ngā mema o te rōpū me ngā taipitopito hangarau i whakaratohia e te kaihoahoa.
- Āhuatanga Motuhake
- 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. - Inenga & Pēketanga
- Width 740mm Depth 550mm Height 760mm Seated height 430mm
- Tūtohu
- Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
- Hangarau Whakanao
- 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. - Wero Hoahoa
- 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. - Rangahau
- 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. - Whakaaweawe
- 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. - Roanga o te Kaupapa
- The project began in Kanagawa in January 2025 and ended in October 2025.
- Rerenga Mahi
- 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. - Whakamana Whakaahua
- Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025
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