Oruha Pangunahing Tungkulin: Upuan ni Yuya Nakazawa

Ang disenyo na Oruha Pangunahing Tungkulin: Upuan ni Yuya Nakazawa ay isang lubhang iginagalang na nagwagi ng napaka-prestihiyosong 2026 A' Design Award na Ginto sa Kategoryang Paligsahan na Disenyo ng Muwebles.

GintoMuwebles· 2026

Oruha Pangunahing Tungkulin: Upuan

ni Yuya Nakazawa

Kliyente: Yedit

Nagwagi ng A' Design Award na Ginto sa Kategoryang Muwebles

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Mga Kulay

Ang Disenyo

Tungkol sa Oruha Pangunahing Tungkulin: Upuan

Ipinapakita ng disenyo ang isang upuan na ipinaglihi bilang isang pampublikong lihim na base, nag-aalok ng personal na kanlungan sa loob ng mga pinagsasaluhang kapaligiran. Ang istraktura nito ay nagbabalanse ng eskultural na presensya sa praktikal na ginhawa, sumusuporta sa pinahabang paggamit at panlipunang pakikipag-ugnayan. Ang mga kurbadong ibabaw at maingat na isinukat na mga elemento ay lumilikha ng pakiramdam ng pagkakulong habang pinananatili ang pagiging bukas. Ang likas na mga pampatapos ay nagpapahusay ng tibay, kadalian ng pagpapanatili, at marangal na pagtanda, na nagpapahintulot sa piyesa na maisanib sa pang-araw-araw na mga espasyo ng pamumuhay habang pinapanatili ang panghipong init.

Ang Pagkilala

Tungkol sa A' Design Award na Ginto

Ang Oruha Pangunahing Tungkulin: Upuan ay nagwagi ng A' Design Award na Ginto, isang napakaprestihiyosong pagkilalang iginagawad sa mga disenyong pangunahing-uri, kahanga-hanga at namumukod-tangi. Ang mga nagwagi ng Ginto ay mga likhang lubhang makabago, may pananaw at nakasisilaw sa karilagan na sumasalamin sa talino, karunungan at husay ng kanilang mga tagapagdisenyo. Inaasahang ang Oruha Pangunahing Tungkulin: Upuan ay isang lubos na pinupuri, nagtatakda-ng-uso at monumental na imbensyon na naghahatid ng walang kapantay na halaga. Ang disenyong ito na nagwagi ng A' Design Award na Ginto ay isang kahanga-hanga at iginagalang na proyekto na lubos na nakikinabang at nagpapaunlad sa mga hangganan ng sining, agham, disenyo at teknolohiya. Ang Oruha Pangunahing Tungkulin: Upuan ay lumilikha ng matinding damdamin ng pagnanais, gumigising ng damdamin, nagpapasigla ng pagkamalikhain at nakahuhumaling sa atin.

Sa Likod ng Disenyo

Press Kit

Mga kredito, miyembro ng koponan at teknikal na detalye na ibinigay ng taga-disenyo.

Mga Natatanging Katangian: 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.
Mga Sukat at Packaging: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Mga Tag: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Teknolohiya sa Produksyon: 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.
Hamon sa Disenyo: 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.
Pananaliksik: 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.
Inspirasyon: 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.
Tagal ng Proyekto: The project began in Kanagawa in January 2025 and ended in October 2025.
Daloy ng Operasyon: 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.
Mga Credit ng Larawan: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025