Oruha Funzjoni Primarja: Siġġu minn Yuya Nakazawa

Id-disinn Oruha Funzjoni Primarja: Siġġu minn Yuya Nakazawa huwa rebbieħ stmat ħafna tal-prestiġjuż 2026 Premju A' Design Award tad-Deheb fil-Kategorija tal-Kompetizzjoni ta' Disinn tal-Għamara.

DehebGħamara· 2026

Oruha Funzjoni Primarja: Siġġu

minn Yuya Nakazawa

Klijent: Yedit

Rebbieħ tal-Premju A' Design Award tad-Deheb fil-Kategorija ta' Għamara

4,237,719

Rebbieħ ta' Premju Ivverifikat

Ivverifika l-Istatus tal-Premju għal #178435

Żur is-Sit Ara fuq A' Design Award Stqarrija għall-Istampa Badge tal-Premju

Kuluri

Id-Disinn

Dwar Oruha Funzjoni Primarja: Siġġu

Test tal-Ktieb: Id-disinn jippreżenta siġġu maħsub bħala bażi sigrieta pubblika, li toffri kenn personali fi spazji kondiviżi. L-istruttura tiegħu tibbilanċja preżenza skulturali ma' kumdità funzjonali, filwaqt li tappoġġja użu fit-tul u interazzjoni soċjali. Uċuħ minċuvati u elementi proporzjonati b'attenzjoni joħolqu sens ta' għeluq filwaqt li jżommu ftuħ. Il-finituri naturali jtejbu d-durabbiltà, il-faċilità tal-manutenzjoni, u t-tixjiħ grazzjuż, li jippermettu lill-biċċa tintegra fl-ispazji ta' kuljum filwaqt li tippreserva s-sħana tattili.

Ir-Rikonoxximent

Dwar il-Premju A' Design Award tad-Deheb

Oruha Funzjoni Primarja: Siġġu huwa rebbieħ tal-Premju A' Design Award tad-Deheb, rikonoxximent prestiġjuż ħafna mogħti lil disinji tal-ewwel klassi, mill-isbaħ u eċċellenti. Ir-rebbieħa tad-Deheb huma ħolqien innovattiv ħafna, b'viżjoni u li jleqqu b'mod li jgħammex, li jirriflettu t-talent, l-għerf u l-ħila tad-disinjaturi tagħhom. Huwa mistenni li Oruha Funzjoni Primarja: Siġġu ikun invenzjoni mfaħħra ħafna, li tistabbilixxi x-xejriet u monumentali li tagħti valur bla preċedent. Dan id-disinn rebbieħ tad-Deheb huwa proġett spettakolari u rispettat li jwessa' l-fruntieri tal-arti, ix-xjenza, id-disinn u t-teknoloġija. Oruha Funzjoni Primarja: Siġġu joħloq xewqa qawwija, iqajjem il-passjoni, iħeġġeġ il-kreattività u jisħer lilna.

Wara d-Disinn

Kit għall-Istampa

Krediti, membri tat-tim u dettalji tekniċi pprovduti mid-disinjatur.

Proprjetajiet Uniċi: 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.
Dimensjonijiet u Ippakkjar: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Tikketti: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Teknoloġija tal-Produzzjoni: 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.
Sfida tad-Disinn: 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.
Riċerka: 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.
Ispirazzjoni: 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.
Tul tal-Proġett: The project began in Kanagawa in January 2025 and ended in October 2025.
Fluss tal-Operazzjoni: 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.
Krediti tal-Immaġni: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025