Oruha Funksioni Parësor: Karrige nga Yuya Nakazawa

Dizajni Oruha Funksioni Parësor: Karrige nga Yuya Nakazawa është një fitues shumë i vlerësuar i çmimit prestigjioz 2026 Çmimi i Artë A' Design Award në Kategorinë e Konkurrimit Dizajni i Mobiljeve.

AriMobilje· 2026

Oruha Funksioni Parësor: Karrige

nga Yuya Nakazawa

Klienti: Yedit

Fitues i Çmimi i Artë A' Design Award në Kategorinë Mobilje

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Fitues i Verifikuar i Çmimit

Verifiko Statusin e Çmimit për #178435

Vizitoni Faqen Shikoni në A' Design Award Komunikatë për Shtyp Stema e Çmimit

Ngjyrat

Dizajni

Rreth Oruha Funksioni Parësor: Karrige

Teksti i Librit: Dizajni paraqet një ulëse të konceptuar si një bazë sekrete publike, që ofron strehë personale brenda mjediseve të përbashkëta. Struktura e saj balancon praninë skulpturore me rehatinë funksionale, duke mbështetur përdorimin e zgjatur dhe ndërveprimin social. Sipërfaqet e lakuara dhe elementet me përmasa të kujdesshme krijojnë një ndjenjë mbylljeje duke ruajtur njëkohësisht hapësirën. Përfundimet natyrore përmirësojnë qëndrueshmërinë, lehtësinë e mirëmbajtjes dhe plakjen me hijeshi, duke i lejuar pjesës të integrohet në hapësirat e jetesës së përditshme ndërsa ruan ngrohtësinë prekëse.

Njohja

Rreth Çmimi i Artë A' Design Award

Oruha Funksioni Parësor: Karrige është fitues i Çmimit të Artë A' Design Award, një njohje tejet prestigjioze që u akordohet dizajneve të klasit të parë, të mrekullueshme dhe të shquara. Fituesit e Artë janë krijime tejet inovative, vizionare dhe verbuese në shkëlqimin e tyre, që pasqyrojnë gjeninë, urtësinë dhe aftësinë e dizajnerëve të tyre. Oruha Funksioni Parësor: Karrige pritet të jetë një shpikje shumë e lavdëruar, prirëse dhe monumentale, që sjell vlerë të paprecedentë. Ky dizajn fitues i Çmimit të Artë A' Design Award është një projekt spektakolar e i respektuar që sjell dobi të madhe dhe zgjeron kufijtë e artit, shkencës, dizajnit dhe teknologjisë. Oruha Funksioni Parësor: Karrige ngjall ndjenja të forta dëshire, zgjon pasionin, nxit krijimtarinë dhe na magjeps.

Pas Dizajnit

Paketa për Shtyp

Kreditët, anëtarët e ekipit dhe detajet teknike të ofruara nga dizajneri.

Veçoritë Unike: 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.
Dimensionet & Paketimi: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Etiketat: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Teknologjia e Prodhimit: 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 e Dizajnit: 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.
Kërkimi: 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.
Frymëzimi: 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.
Kohëzgjatja e Projektit: The project began in Kanagawa in January 2025 and ended in October 2025.
Rrjedha e Operimit: 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.
Kreditë e Imazheve: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025