Тарҳи Oruha Вазифаи асосӣ: Курсӣ аз Yuya Nakazawa ғолиби шоистаи ҷоизаи бонуфузи 2026 Ҷоизаи тиллоии A' Design Award дар категорияи мусобиқавии Дизайни мебел мебошад.
ТиллоМебел· 2026
Oruha Вазифаи асосӣ: Курсӣ
аз ҷониби Yuya Nakazawa
Муштарӣ: Yedit
Ғолиби Ҷоизаи тиллоии A' Design Award дар категорияи Мебел
Ғолиби тасдиқшудаи ҷоиза
Тасдиқи вазъи ҷоиза барои #178435Тарҳ
Дар бораи Oruha Вазифаи асосӣ: Курсӣ
Тарроҳӣ нишастгоҳеро муаррифӣ мекунад, ки ҳамчун пойгоҳи махфии умумӣ тасаввур шудааст ва дар муҳитҳои муштарак паноҳгоҳи шахсӣ пешниҳод мекунад. Сохтори он ҳузури муҷассамавиро бо роҳати функсионалӣ мувозинат мекунад ва истифодаи тӯлонӣ ва ҳамкории иҷтимоиро дастгирӣ менамояд. Сатҳҳои каҷ ва унсурҳои бодиққат таносубёфта ҳисси иҳотакуниро ба вуҷуд меоранд, дар ҳоле ки боз будани онро нигоҳ медоранд. Сатҳпӯшҳои табиӣ устуворӣ, осонии нигоҳдорӣ ва пиршавии боифтихорро беҳтар мекунанд ва ба ин буюм имкон медиҳанд, ки ба фазоҳои зиндагии ҳамарӯза ҳамгиро шавад ва дар айни замон гармии ламсиро нигоҳ дорад.
Эътироф
Дар бораи Ҷоизаи тиллоии A' Design Award
Oruha Вазифаи асосӣ: Курсӣ ғолиби Ҷоизаи тиллоии A' Design Award аст, ки эътирофи бениҳоят обрӯманд буда, ба тарҳҳои дараҷаи аввал, аҷоиб ва барҷаста дода мешавад. Ғолибони тилло офаридаҳои бағоят навоварона, дурандешона ва ҷилваноки дурахшонанд, ки нубуғ, хирад ва маҳорати тарроҳони худро инъикос мекунанд. Интизор меравад, ки Oruha Вазифаи асосӣ: Курсӣ ихтирои хеле ситоишшуда, роҳбаладгузор ва ёдгорӣ бошад, ки арзиши бесобиқа меорад. Ин тарҳи ғолиби Ҷоизаи тиллоии A' Design Award лоиҳаи тамошобоб ва мӯҳтарам аст, ки хеле судманд аст ва ҳудуди санъат, илм, тарроҳӣ ва технологияро пеш мебарад. Oruha Вазифаи асосӣ: Курсӣ эҳсосоти шадиди хоҳишро ба вуҷуд меорад, шӯру шавқро бедор мекунад, эҷодкориро рағбат мебахшад ва моро мафтун месозад.
Дар паси тарҳ
Маҷмӯаи матбуотӣ
Кредитҳо, аъзои гурӯҳ ва тафсилоти техникие, ки тарроҳ пешниҳод кардааст.
- Хусусиятҳои беназир
- 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. - Андоза ва бастабандӣ
- Width 740mm Depth 550mm Height 760mm Seated height 430mm
- Тегҳо
- Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
- Технологияи истеҳсол
- 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. - Мушкилоти дизайн
- 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. - Таҳқиқот
- 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. - Илҳом
- 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. - Давомнокии лоиҳа
- The project began in Kanagawa in January 2025 and ended in October 2025.
- Ҷараёни кор
- 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. - Ҳуқуқи тасвирҳо
- Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025
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