Yuya Nakazawa nisqap Oruha Tiyana diseñon

Yuya Nakazawa nisqap Oruha Tiyana diseñonqa Tiyarina Kamay Atipanakuy T'aqapi 2026 A' Design Award Quri Premiu nisqap ancha chaniyuq atipaqninmi.

QuriTiyarina· 2026

Oruha Tiyana

Yuya Nakazawa rurasqa

Mañakuq: Yedit

Tiyarina T'aqapi A' Design Award Quri Premiu Atipaq

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Taripasqa Premio Atipaq

#178435 nisqapaq Premio Kayninta Taripay

Sitio Web Qhaway A' Design Award ukhupi Qhaway Prensa Willakuy Premio Unanchay

Llinphikuna

Diseñomanta

Oruha Tiyana nisqamanta

Kay ruwayqa huk tiyanata rikuchin, huk runakunap pakasqa pakana wasinta hina yuyaychasqata, huñusqa kawsaykunapi sapan runap pakanan kanapaq. Kay tiyanaqa rumi siq'isqa rikch'akuyninwan allin sumaq tiyaykuywanmi tupaykachin, unay ruwayta hinallataq runamasinwan tinkuyta yanapan. K'umuyniyuq pataraykuna allin chaninchasqa kaqkunawan huk wisq'akuy hina rikch'akuyta paqarichinku, ichaqa kichasqa kaymanta hina kanankama. Kawsay tukukuykunaqa sayaynintam, mana sasa allichakuyninta, sumaq machuyaynintapas yapan, kay ruway sapa p'unchaw kawsana wasikunaman yaykuykunanpaq, llamiy q'oñichakuyninta waqaychaspa.

Riqsichiy

A' Design Award Quri Premiu nisqamanta

Oruha Tiyana A' Design Award Quri Premiu mishak kan, ancha jatun yupaychay, kayta ñawpak kallari, sumak shinallatak mancharina diseñukunaman kun. Quri mishak kashkakunaka mushuk yuyay achka, ñawpakta rikuk shinallatak achikyaska rurashkakunami, paykunata rurakkunapak yachayta, yuyayta shinallatak ushayta rikuchinku. Oruha Tiyana ashtawan alabashka, mushuk ñankunata churak shinallatak hatun valorta kuk yuyay kanata munanku. Kay Quri Premiu japishka diseñuka hanak, yupaychashka rurashka kan, arti, siensia, diseñu shinallatak tekinolojía ñawpak ñankunata kichuk. Oruha Tiyana munayta kallarichin, yuyayta kallarichin, ruraytapash kallarichin shinallatak kuyaychin.

Diseño Qhipanpi

Prensa Kit

Diseñadorpa quska créditos, llamk'aq runakunapas técnico willaykuna.

Sapaq Kayninkunamanta: 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.
Tupukuna & P'istuy: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Etiquetakuna: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Ruway Tecnología: 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.
Diseño Sasachakuy: 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.
T'aqwiy: 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.
Kallpachay: 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.
Llamk'ay Pacha: The project began in Kanagawa in January 2025 and ended in October 2025.
Purichiy Puriy: 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.
Siq'i Hayñikuna: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025