Yuya Nakazawa tarapyndan döredilen Oruha Esasy wezipe: Oturgyç dizaýny Mebel Dizaýny Bäsleşik Kategoriýasynda 2026 A' Design Award Altyn Baýragy baýragynyň abraýly ýeňijisidir.
AltynMebel· 2026
Oruha Esasy wezipe: Oturgyç
dizaýner: Yuya Nakazawa
Müşderi: Yedit
Mebel Kategoriýasynda A' Design Award Altyn Baýragy Ýeňijisi
Tassyklanan Baýrak Ýeňijisi
#178435 üçin Baýrak Ýagdaýyny BarlaňDizaýn
Oruha Esasy wezipe: Oturgyç hakynda
Kitap teksti: Dizaýn umumy giňişliklerde şahsy penalanma hödürläp, jemgyýetçilik gizlin bazasy hökmünde göz öňüne tutulan oturgyçy görkezýär. Onuň gurluşy çeperçilik barlygy bilen amaly amatlylygy deňagramlaşdyryp, uzak möhletli ulanylyşy we jemgyýetçilik gatnaşyklaryny goldaýar. Egri ýüzler we seresaplylyk bilen ölçenen elementler açyklygy saklamak bilen birlikde gabaw duýgusyny döredýär. Tebigy bezegler çydamlylygy, ideg etmegiň aňsatlygyny we owadan garramagy ýokarlandyryp, eseriň duýgur ýylylygy saklamak bilen birlikde gündelik ýaşaýyş giňişliklerine sazlaşmagyna mümkinçilik berýär.
Ykrar etme
A' Design Award Altyn Baýragy hakynda
Oruha Esasy wezipe: Oturgyç A' Design Award Altyn Baýragynyň ýeňijisidir; bu birinji derejeli, ajaýyp we tapawutly dizaýnlara berilýän aşa abraýly ykrarnamadyr. Altyn ýeňijileri dizaýnerleriniň alymlygyny, paýhasyny we ussatlygyny görkezýän aşa täzelikçi, uzakgörüjilikli we göz gamaşdyryjy eserlerdir. Oruha Esasy wezipe: Oturgyç deňi-taýy ýok gymmat berýän, köp öwülýän, ugur kesgitleýän we ýadygärlik ýaly oýlap tapyş bolmagy garaşylýar. A' Design Award Altyn Baýragyny gazanan bu dizaýn sungatyň, ylmyň, dizaýnyň we tehnologiýanyň çäklerine uly peýda berýän we ony öňe sürýän ajaýyp, hormatly taslamadyr. Oruha Esasy wezipe: Oturgyç güýçli isleg duýgularyny döredýär, höwesi oýarýar, döredijiligi höweslendirýär we bizi haýran edýär.
Dizaýnyň sahna arkasy
Metbugat toplumy
Dizaýner tarapyndan berlen kreditler, topar agzalary we tehniki maglumatlar.
- Üýtgeşik Aýratynlyklar
- 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. - Ölçegler we Gaplama
- Width 740mm Depth 550mm Height 760mm Seated height 430mm
- Bellikler
- Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
- Önümçilik Tehnologiýasy
- 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. - Dizaýn Kynçylygy
- 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. - Gözleg
- 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. - Ylham
- 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. - Taslama Dowamlylygy
- The project began in Kanagawa in January 2025 and ended in October 2025.
- Iş Akymy
- 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. - Surat Awtorlary
- Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025
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