Oruha Apyka Yuya Nakazawa omba'apóva ha'e rembiporuarã oñemba'eguaséva 2026 A' Design Award Itaju pegua Mba'epyru Jejapo Ñeha'ã Categoría-pe.

ItajuMba'epyru· 2026

Oruha Apyka

Yuya Nakazawa -gua

Mba'eporuhára: Yedit

A' Design Award Itaju Rembiporuarã Mba'epyru Categoría-pe

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Premio Rembiporuarã Oñemoneĩva

Emoneĩ Premio Reko #178435 Peg̃ua

Eike Tendápe Ehecha A' Design Award-pe Marandu Myasãi Mba'ete Jeguerohory

Sa'y

Diseño

Oruha Apyka Rehegua

Ko diséño ohechauka peteĩ tendaguy ojejapóva peteĩ tekoñemi okáy ramiguáicha, ome'ẽva peteĩ tekoñemi opavavépe g̃uarã oñemboja'óva oĩháme. Iñapytu'ũ omoĩ peteĩchaháicha ta'ãnga rekove ha tembiporu pyhare porã, omoirũ tembiporu are ha jeikove oñondive. Hesahũ jejapyaró ha ipuku ojejapava'ekue porãme oguenohẽ peteĩ ñemo'ãha reko, ma'ẽme ohovatypaite'ỹre. Iñapaña teete omombarete iñaguanteha, hasy'ỹ oñeñangareko hag̃ua, ha itujapaitévo iporãvévo, oheja ko mba'e oñembojoaju ára ha ára jeikoha rendápe oñongatúvo iñakũ poyvi.

Jeguerohory

A' Design Award Itaju Rehegua

Oruha Apyka ohupyty A' Design Award Itaju, peteĩ ñehechakuaa heta prestigioso oñeme'ẽva diseño primera clase, maravilloso ha sobresaliente-pe. Umi ganador Itaju ha'e creación heta innovador, visionario ha glamoroso ohesape'ỹva ohechaukáva genio, sabiduría ha habilidad umi diseñador-pe. Oñeha'ãrõ Oruha Apyka ha'eha peteĩ invento ojehechakuaavéva, tendencia omoĩva ha monumental ome'ẽva valor ndojehecháiva. Ko diseño ohupytýva A' Design Award Itaju ha'e proyecto espectacular ha respetado ohepyme'ẽva heta ha ombohasáva límite arte, ciencia, diseño ha tecnología rehegua. Oruha Apyka omoheñói sentimiento ipotapy mbarete, omokyre'ỹ pasión, ombokyre'ỹ creatividad ha ñanemombyasy.

Diseño Rapykuéri

Marandu Aty

Diseñador ome'ẽva'ekue crédito, aty pegua ha mba'e técnico.

Mba'e Iñambuéva: 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.
Tuichakue ha Ñemyenyhẽ: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Ñe'ẽ Rape: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Ñeapopy 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 Jepy'apy: 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.
Ñesẽheka: 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.
Inspiración: 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.
Proyecto Ára Tuichakue: The project began in Kanagawa in January 2025 and ended in October 2025.
Mba'apo Rape: 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.
Ta'ãnga Mba'eñemoneĩ: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025