Oruha Ọrụ Bụ Isi: Oche nke Yuya Nakazawa

Ihe emepụtara bụ Oruha Ọrụ Bụ Isi: Oche nke Yuya Nakazawa bụ onye meriri a na-asọpụrụ nke ukwuu nke 2026 Ihe Nrite A' Design Award nke Ọlaedo na Udi Asọmpi Nhazi Ngwá Ụlọ.

ỌlaedoNgwá Ụlọ· 2026

Oruha Ọrụ Bụ Isi: Oche

nke Yuya Nakazawa

Onye Ahịa: Yedit

Onye Meriri Ihe Nrite A' Design Award nke Ọlaedo na Udi Ngwá Ụlọ

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Nhazi a

Maka Oruha Ọrụ Bụ Isi: Oche

Imewe a na-egosi oche e chere dị ka ebe nzuzo ọha na eze, na-enye ebe mgbaba nke onwe n'ime gburugburu ebe a na-ekekọrịta. Ụdị ya na-eweta ọ̀tụ̀tụ̀ n'etiti ọdịdị ihe a kpụrụ akpụ na nkasi obi nke na-arụ ọrụ, na-akwado ojiji ogologo oge na mmekọrịta ọha. Elu gbagọrọ agbagọ na ihe ndị e tụrụ ezi atụ na-emepụta echiche nke ịgba gburugburu ka ọ na-edobe imeghe ya. Ihe ndozi sitere n'okike na-eme ka ọ dịkwuo anya, na-eme ka idobe ya dị mfe, na ịka nká nke mara mma, na-eme ka mpempe a banye n'ohere obibi ndụ kwa ụbọchị mgbe ọ na-echekwa ọkụ mmetụ aka.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaedo

Oruha Ọrụ Bụ Isi: Oche meriri A' Design Award nke Ọlaedo, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa mbụ, dị ịtụnanya ma pụtara ìhè. Ndị meriri na Ọlaedo bụ ihe e kere eke dị oke ọhụrụ, nwere ọhụụ ma na-egbu maramara nke na-egosipụta ọgụgụ isi, amamihe na nka nke ndị designer ha. A na-atụ anya na Oruha Ọrụ Bụ Isi: Oche ga-abụ ihe e mepụtara kacha enweta otuto, na-edu ọnọdụ ma bụrụ ihe ncheta nke na-enye uru na-adịbeghị mgbe ọ bụla. Design a meriri A' Design Award nke Ọlaedo bụ ọrụ dị ebube, a na-asọpụrụ nke na-erite uru buru ibu ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. Oruha Ọrụ Bụ Isi: Oche na-eweta mmetụta ọchịchọ siri ike, na-akpali agụụ, na-akwado nzụlite ihe ma na-adọrọ anyị adọrọ.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: 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.
Nha & Mkpuchi: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Mkpado: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Teknụzụ Mmepụta: 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.
Ịma Aka Imepụta: 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.
Nchọpụta: 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.
Mkpali: 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.
Oge Ọrụ: The project began in Kanagawa in January 2025 and ended in October 2025.
Usoro Ọrụ: 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.
Asụsụ Foto: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025