Tlanāhuatīlli Oruha Tlatzinco ītēchcopa Yuya Nakazawa cē cencā mahuizzō tēmacēhualōni īpan huēyi 2026 Mahuizolli A' Design Award Cozticteocuitlatl īpan Caltlapechtli Tlachihchihualiztli Nēhuilīztli Tlamantli.

CozticteocuitlatlCaltlapechtli· 2026

Oruha Tlatzinco

īpal Yuya Nakazawa

Tlanāhuatīlli: Yedit

Mahuizolli A' Design Award Cozticteocuitlatl Tēmacēhualōni īpan Caltlapechtli Tlamantli

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Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #178435

Xiquitta Tlahcuilōlcalli Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa Oruha Tlatzinco

In tlachīhualli kinēxtia se tlatzinco tlein omoyolitih ken se tlātīlōyān tēixpan, tlein temaka netlātīliztli ipan tlanahuacayotl. In itlachihualiz kixexeloa in itzcalli tein neci ihuan in pactli tein tequiti, kipalehuia in huehca tlamantli ihuan in netōtīliztli. In coltic tlaīxnāmiquiliztli ihuan in tlamantli tlein cualli omotamachiuh kichihua se netlātīliztli auh oc kipiya in tlatlapouhcayotl. In yancuic tlatzonquixtiliztli kichicāhua in tlachicahualiztli, in tlapahpacaliztli amo ohui, ihuan in cualli neuetiliztli, tlein kicahua in tlamantli ma calaqui ipan tonalli nemiliztli campa moyolia in tlatocaliztli totōnqui.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Cozticteocuitlatl

Oruha Tlatzinco ca in quicuic in Mahuizolli A' Design Award Cozticteocuitlatl, huel mahuiztic tlamahuizoliztli tlen momaca in achtopa, huel cualli ihuan mahuiztic tlachihualli. In quicuicah Cozticteocuitlatl ca cenca yancuic, tlachiyani ihuan tlanextic tlachihualli in quinextia in tlamatiliztli ihuan toltecayotl. Ca quinequi in Oruha Tlatzinco quitlalizque yancuic tlamantli ihuan quimacazque tlazohtli. Ni dizayno in quicuic Cozticteocuitlatl ca mahuiztic tlamantli in quihuelitia in toltecayotl, tlamatiliztli, dizayno ihuan teknolohia. Oruha Tlatzinco quiyolchicahua ihuan quipaquiltia in tlacah.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: 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.
Huēyiliztli īhuān Tlacualtepēhualli: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Tōcāitl: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Tlachīhualiztli Māchiyōtl: 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.
Tlanāhuatīlli Nētēcahuilīztli: 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.
Tlatēmōliztli: 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.
Tēyōllālīliztli: 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.
Tēquitl Cāhuitl: The project began in Kanagawa in January 2025 and ended in October 2025.
Tēquitl Ōhuitl: 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.
Īxiptla Tlanēxtīlli: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025