Das Design Oruha Stuhl von Yuya Nakazawa ist ein hoch angesehener Gewinner des sehr prestigeträchtigen 2026 A' Design Award in Gold in der Wettbewerbskategorie Möbeldesign.

GoldMöbel· 2026

Oruha Stuhl

von Yuya Nakazawa

Auftraggeber: Yedit

Gewinner des A' Design Award in Gold in der Kategorie Möbel

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Das Design

Über Oruha Stuhl

Das Design präsentiert einen Sitz, der als geheime öffentliche Rückzugsbasis konzipiert ist und persönlichen Zufluchtsort innerhalb gemeinschaftlicher Umgebungen bietet. Seine Struktur vereint skulpturale Präsenz mit funktionalem Komfort und unterstützt sowohl längere Nutzung als auch soziale Interaktion. Geschwungene Oberflächen und sorgfältig proportionierte Elemente erzeugen ein Gefühl der Geborgenheit, während gleichzeitig Offenheit gewahrt bleibt. Natürliche Oberflächen verbessern die Langlebigkeit, erleichtern die Pflege und ermöglichen ein würdevolles Altern, sodass sich das Stück in alltägliche Wohnräume einfügt und dabei seine taktile Wärme bewahrt.

Die Auszeichnung

Über den A' Design Award in Gold

Oruha Stuhl ist Gewinner des A' Design Award in Gold, einer überaus prestigeträchtigen Anerkennung für erstklassige, wunderbare und herausragende Designs. Gold-Gewinner sind äußerst innovative, visionäre und glamourös blendende Schöpfungen, die das Genie, die Weisheit und die Meisterschaft ihrer Designer widerspiegeln. Von Oruha Stuhl wird erwartet, dass es eine hochgepriesene, trendsetzende und monumentale Erfindung ist, die beispiellosen Mehrwert liefert. Dieses mit dem A' Design Award in Gold prämierte Design ist ein spektakuläres, respektiertes Projekt, das den Grenzen von Kunst, Wissenschaft, Design und Technologie in hohem Maße zugutekommt und sie voranbringt. Oruha Stuhl erzeugt intensive Gefühle des Verlangens, weckt Leidenschaft, ermutigt zur Kreativität und fasziniert uns.

Hinter dem Design

Pressemappe

Danksagungen, Teammitglieder und technische Details, bereitgestellt vom Designer.

Einzigartige Eigenschaften: 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.
Abmessungen & Verpackung: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Schlagwörter: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Produktionstechnologie: 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.
Designherausforderung: 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.
Forschung: 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.
Inspiration: 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.
Projektdauer: The project began in Kanagawa in January 2025 and ended in October 2025.
Betriebsablauf: 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.
Bildnachweise: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025