Moralo oa Oruha Setulo ka Yuya Nakazawa ke mohlodi oa khau e hlomphehang haholo ya 2026 Moputso oa Khauta oa A' Design Award Mokhahleong oa Tlhodisano oa Moralo wa Fenitjhara.

KhautaFenitjhara· 2026

Oruha Setulo

ka Yuya Nakazawa

Moreki: Yedit

Mohlodi oa Moputso oa Khauta oa A' Design Award Mokhahleong oa Fenitjhara

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Mohlodi oa Khau ea Netefaditsweng

Netefatsa Boemo ba Khau bakeng sa #178435

Etela Sebaka Sheba ho A' Design Award Tokollo ya Boraditaba Baeche ya Moputso

Mebala

Moralo

Mabapi le Oruha Setulo

Moralo ona o hlahisa setulo se nahanngoeng e le setsi sa lekunutu sa sechaba, se fanang ka sebaka sa boikhethelo ka har'a libaka tse arolelanoang. Sebopeho sa sona se leka-lekanya boteng ba pampiri le boiketlo ba ho sebetsa, se tšehetsa tšebeliso e nako e telele le ho sebelisana le batho. Libaka tse khopameng le likarolo tse hlophisitsoeng ka hloko li theha maikutlo a ho koaheloa ha li ntse li boloka ho buleha. Liqetello tsa tlhaho li ntlafatsa ho tšoarella, bonolo ba tlhokomelo, le ho hola ka mokhoa o motle, ho lumella sehlahisoa hore se kopanele libakeng tsa bophelo ba letsatsi le letsatsi ha se ntse se boloka mofuthu o utloahalang ka ho ama.

Kamohelo

Mabapi le Moputso oa Khauta oa A' Design Award

Oruha Setulo ke mohapi oa Moputso oa Khauta oa A' Design Award, kananelo e hlomphehang haholo e fuoang meralo ea maemo a pele, e ntle ka ho makatsa le e ikhethang. Bahapi ba Khauta ke lintho tse hlahisitsoeng tse nang le mehopolo e mecha haholo, tse shebileng pele le tse khanyang ka ho foufatsa, tse bontšang botsebi, bohlale le bokhoni ba baqapi ba tsona. Oruha Setulo e lebelletsoe ho ba mohopolo o babatsoang haholo, o thehang mekhoa e mecha le o moholo, o tlisang boleng bo sa kang ba bonoa. Moralo ona o hapileng Moputso oa Khauta oa A' Design Award ke mosebetsi o tsosang maikutlo, o hlomphehang, o tlisang molemo o moholo le o sutumelletsang meeli ea bonono, mahlale, moralo le theknoloji. Oruha Setulo e hlahisa maikutlo a matla a takatso, e tsosa tjantjello, e khothalletsa boqapi mme e re khahlisa.

Ka Mora Moralo

Sete ya Boraditaba

Litlhaku, ditho tsa sehlopha le lintlha tsa botekgeniki tse fanoeng ke moetsi wa moralo.

Boleng bo Ikhethang: 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.
Boholo le Phuthelo: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Lithegi: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Theknoloji ya Tlhahiso: 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.
Phephetso ya Moralo: 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.
Dipatlisiso: 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.
Kgothaletso: 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.
Nako ya Projeke: The project began in Kanagawa in January 2025 and ended in October 2025.
Tsamaiso ya Mosebetsi: 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.
Litlotla tsa Setshwantsho: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025