Yuya Nakazawa diseinatzailearen Oruha Oinarrizko Funtzioa: Aulkia

Yuya Nakazawa diseinatzailearen Oruha Oinarrizko Funtzioa: Aulkia lana 2026 Urrezko Saria A' Design Award sari ospetsuaren irabazle bikaina da Altzari Diseinua Lehiaketa Kategorian.

UrreAltzariak· 2026

Oruha Oinarrizko Funtzioa: Aulkia

diseinatzailea: Yuya Nakazawa

Bezeroa: Yedit

Urrezko Saria A' Design Award Irabazlea Altzariak Kategorian

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Diseinua

Oruha Oinarrizko Funtzioa: Aulkia Diseinuari Buruz

Liburuaren Testua: Diseinuak espazio partekatuen barruan babesleku pertsonala eskaintzen duen oinarri sekretu publiko gisa pentsatutako eserlekua aurkezten du. Bere egiturak presentzia eskultorikoa eta erosotasun funtzionala orekatzen ditu, erabilera luzaroan eta gizarte-interakzioa lagunduz. Gainazal kurbatuek eta zorroztasunez proportzionatutako elementuek itxitura-sentsazioa sortzen dute, irekitasunari eutsiz. Amaiera naturalek iraunkortasuna, mantentze-erraztasuna eta zahartze dotorea hobetzen dituzte, pieza eguneroko bizilekuetan txertatzea ahalbidetuz, berotasun ukimena gordeaz.

Aintzatespena

Urrezko Saria A' Design Award Sariari Buruz

Oruha Oinarrizko Funtzioa: Aulkia Urrezko Saria A' Design Award irabazlea da, lehen mailako, zoragarriak eta nabarmenak diren diseinuei ematen zaien aitorpen izugarri prestijiotsua. Urre-mailako irabazleak berrikuntzaz beteriko, ikuspegi handiko eta distiraz liluragarriak diren sorkuntzak dira, beren diseinatzaileen genioa, jakituria eta trebetasuna islatzen dutenak. Oruha Oinarrizko Funtzioa: Aulkia oso goraipatua, joera-markatzailea eta monumentala den asmakizuna izatea espero da, balio aurrekaririk gabea eskaintzen duena. Urrezko Saria A' Design Award irabazi duen diseinu hau proiektu ikusgarri eta errespetatua da, artearen, zientziaren, diseinuaren eta teknologiaren mugak oso onuragarriro zabaltzen dituena. Oruha Oinarrizko Funtzioa: Aulkia desira-sentimendu biziak sortzen dituen, grina pizten duen, sormena bultzatzen duen eta liluratzen gaituen lana da.

Diseinuaren Atzean

Prentsa-kita

Diseinatzaileak emandako kredituak, taldekideak eta xehetasun teknikoak.

Propietate Bereziak: 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.
Neurriak eta Ontziratzea: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Etiketak: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Produkzio Teknologia: 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.
Diseinu Erronka: 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.
Ikerketa: 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.
Inspirazioa: 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.
Proiektuaren Iraupena: The project began in Kanagawa in January 2025 and ended in October 2025.
Eragiketa Fluxua: 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.
Irudi Kredituak: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025