Reka bentuk Oruha Fungsi Utama: Kerusi oleh Yuya Nakazawa ialah pemenang yang sangat dihormati bagi 2026 A' Design Award Emas yang amat berprestij dalam Kategori Pertandingan Reka Bentuk Perabot.
EmasPerabot· 2026
Oruha Fungsi Utama: Kerusi
oleh Yuya Nakazawa
Klien: Yedit
Pemenang A' Design Award Emas dalam Kategori Perabot
Pemenang Anugerah Yang Disahkan
Sahkan Status Anugerah untuk #178435Reka Bentuk
Mengenai Oruha Fungsi Utama: Kerusi
Teks Buku: Reka bentuk ini mempersembahkan tempat duduk yang digubah sebagai pangkalan rahsia awam, menawarkan tempat perlindungan peribadi dalam persekitaran yang dikongsi bersama. Strukturnya mengimbangi kehadiran arca dengan keselesaan berfungsi, menyokong penggunaan berpanjangan dan interaksi sosial. Permukaan melengkung dan elemen yang berkadar dengan teliti mewujudkan rasa tertutup sambil mengekalkan keterbukaan. Kemasan semula jadi meningkatkan ketahanan, kemudahan penyelenggaraan, dan penuaan yang anggun, membolehkan karya ini berpadu ke dalam ruang kehidupan harian sambil memelihara kehangatan sentuhan.
Pengiktirafan
Mengenai A' Design Award Emas
Oruha Fungsi Utama: Kerusi ialah pemenang A' Design Award Emas, pengiktirafan yang amat berprestij yang dianugerahkan kepada reka bentuk kelas pertama, menakjubkan dan cemerlang. Pemenang Emas ialah ciptaan yang sangat inovatif, berwawasan dan berkilau memukau yang mencerminkan kegeniusan, kebijaksanaan dan kepakaran pereka bentuknya. Oruha Fungsi Utama: Kerusi diharapkan menjadi ciptaan yang sangat dipuji, perintis aliran dan monumental yang memberikan nilai tanpa tandingan. Reka bentuk pemenang A' Design Award Emas ini ialah projek yang menakjubkan dan disegani yang memberi manfaat besar kepada dan memajukan batas seni, sains, reka bentuk dan teknologi. Oruha Fungsi Utama: Kerusi mencetuskan perasaan keinginan yang kuat, membangkitkan semangat, menggalakkan kreativiti dan memukau kita.
Di Sebalik Reka Bentuk
Kit Akhbar
Kredit, ahli pasukan dan butiran teknikal yang disediakan oleh pereka.
- Ciri-Ciri Unik
- 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. - Dimensi & Pembungkusan
- Width 740mm Depth 550mm Height 760mm Seated height 430mm
- Tag
- Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
- Teknologi Pengeluaran
- 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. - Cabaran Reka Bentuk
- 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. - Penyelidikan
- 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. - Inspirasi
- 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. - Tempoh Projek
- The project began in Kanagawa in January 2025 and ended in October 2025.
- Aliran Operasi
- 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. - Kredit Imej
- Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025
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