Yuya Nakazawa tarafından tasarlanan Oruha Birincil İşlev: Sandalye

Yuya Nakazawa tarafından tasarlanan Oruha Birincil İşlev: Sandalye, Mobilya Tasarımı Yarışma Kategorisinde son derece prestijli 2026 A' Design Award Altın Ödülü ödülünün saygın bir kazananıdır.

AltınMobilya· 2026

Oruha Birincil İşlev: Sandalye

tasarımcı: Yuya Nakazawa

Müşteri: Yedit

Mobilya Kategorisinde A' Design Award Altın Ödülü Kazananı

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Siteyi Ziyaret Et A' Design Award'da Görüntüle Basın Bülteni Ödül Rozeti

Renkler

Tasarım

Oruha Birincil İşlev: Sandalye Hakkında

Kitap Metni: Tasarım, ortak ortamlar içinde kişisel bir sığınak sunan, kamusal bir gizli üs olarak tasarlanmış bir oturma birimi sunuyor. Yapısı, heykelsi varlığı işlevsel konforla dengeleyerek uzun süreli kullanımı ve sosyal etkileşimi destekliyor. Kavisli yüzeyler ve özenle oranlanmış öğeler, açıklığı korurken bir kuşatılmışlık hissi yaratıyor. Doğal yüzey kaplamaları dayanıklılığı, bakım kolaylığını ve zarif yaşlanmayı artırarak, parçanın dokunsal sıcaklığını korurken günlük yaşam alanlarına entegre olmasını sağlıyor.

Tanınırlık

A' Design Award Altın Ödülü Hakkında

Oruha Birincil İşlev: Sandalye, A' Design Award Altın Ödülü kazananıdır; bu, birinci sınıf, harika ve olağanüstü tasarımlara verilen son derece prestijli bir tanınırlıktır. Altın kazananlar, tasarımcılarının dehasını, bilgeliğini ve ustalığını yansıtan son derece yenilikçi, vizyoner ve göz kamaştırıcı yaratımlardır. Oruha Birincil İşlev: Sandalye, eşi görülmemiş değer sunan, çok övülen, çığır açan ve anıtsal bir buluş olması beklenir. A' Design Award Altın Ödülü kazanan bu tasarım, sanat, bilim, tasarım ve teknolojinin sınırlarına büyük fayda sağlayan ve onları ilerleten muhteşem, saygın bir projedir. Oruha Birincil İşlev: Sandalye yoğun arzu duyguları yaratır, tutku uyandırır, yaratıcılığı teşvik eder ve bizi cezbeder.

Tasarımın Perde Arkası

Basın Kiti

Tasarımcı tarafından sağlanan jenerik, ekip üyeleri ve teknik detaylar.

Benzersiz Özellikler: 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.
Boyutlar ve Ambalaj: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Etiketler: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Üretim Teknolojisi: 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.
Tasarım Zorluğu: 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.
Araştırma: 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.
İlham: 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.
Proje Süresi: The project began in Kanagawa in January 2025 and ended in October 2025.
İşleyiş Akışı: 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.
Görsel Kredileri: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025