Umushinga Oruha Intebe wa Yuya Nakazawa ni uwatsinze igihembo cyubahwa cyane 2026 Igihembo cya A' Design Award cya Zahabu mu Cyiciro cy'Ihiganwa cya Igishushanyo cy'Imitako.

ZahabuImitako· 2026

Oruha Intebe

na Yuya Nakazawa

Umukiriya: Yedit

Uwatsinze Igihembo cya A' Design Award cya Zahabu mu Cyiciro cya Imitako

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Sura Urubuga Reba kuri A' Design Award Itangazo ry'Ikinyamakuru Ikimenyetso cy'Igihembo

Amabara

Imigereranyo

Ibyerekeye Oruha Intebe

Iyi gishushanyo cyerekana intebe yatekerejweho nk'ahantu h'ibanga rusange, hatanga ubuhungiro bwite mu turere dusangiwe. Imiterere yayo iringaniza ubwiza bw'igishushanyombonera n'iboneza ryifuzwa, igashyigikira ikoreshwa ry'igihe kirekire no guhuza imibanire y'abantu. Imbaraga zigoramye n'ibice byapimwe neza bigenera umumaro w'ahantu hugarijwe mu gihe bikomeza kuba bifunguye. Imisozo isanzwe yongera ubudahangarwa, koroshya ubufasha bwo kubungabunga, no gusaza mu buryo bwiza, bigatuma iki gice cyinjira mu byumba byo kubamo bya buri munsi mu gihe kibungabunga ubushyuhe bw'ukugukoraho.

Ishimwe

Ibyerekeye Igihembo cya A' Design Award cya Zahabu

Oruha Intebe ni uwegukanye Igihembo cya A' Design Award cya Zahabu, ishimwe ry'agaciro gakomeye ritangwa ku bishushanyo biri ku rwego rwa mbere, bitangaje kandi by'indashyikirwa. Abegukanye Zahabu ni ibihangano birimo udushya twinshi, bifite icyerekezo kandi bimurika, bigaragaza impano, ubwenge n'ubuhanga bw'ababihanze. Oruha Intebe biteganyijwe ko izaba igihangano gishimwa cyane, gishyiraho imigendekere mishya kandi gitanga agaciro katigeze kaboneka. Iki gishushanyo cyegukanye Zahabu ni umushinga utangaje kandi wubahwa ugura imbibi z'ubuhanzi, ubumenyi, ubushushanyo n'ikoranabuhanga. Oruha Intebe itera ibyifuzo bikomeye, ikangura ishyaka, ishishikariza guhanga kandi igatwara imitima yacu.

Inyuma y'Imigereranyo

Dosiye y'Itangazamakuru

Amazina y'abagize uruhare, abagize itsinda n'amakuru y'ubuhanga byatanzwe n'umuhanzi.

Ibintu Bidasanzwe: 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.
Ibipimo n'Ipaki: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Ibibazo Fatizo: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Ikoranabuhanga ryo Guteza Imbere: 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.
Ikibazo cy'Ishusho: 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.
Ubushakashatsi: 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.
Ibyatumye Habaho: 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.
Igihe cy'Umushinga: The project began in Kanagawa in January 2025 and ended in October 2025.
Uburyo bw'Imikorere: 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.
Abafotoye: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025