Oruha Aikin Farko: Kujera daga Yuya Nakazawa

Zane Oruha Aikin Farko: Kujera daga Yuya Nakazawa mai nasara ne mai daraja sosai na 2026 Kyautar A' Design Award ta Zinariya a Rukunin Gasar Ƙirar Kayan Ɗaki.

ZinariyaKayan Ɗaki· 2026

Oruha Aikin Farko: Kujera

daga Yuya Nakazawa

Abokin Ciniki: Yedit

Mai Nasarar Kyautar A' Design Award ta Zinariya a Rukunin Kayan Ɗaki

4,237,719

Mai Nasara da Aka Tabbatar

Tabbatar da Matsayin Kyauta na #178435

Ziyarci Shafin Duba a A' Design Award Sanarwar Manema Labarai Alamar Kyauta

Launuka

Ƙirar

Game da Oruha Aikin Farko: Kujera

Rubutun Littafi: Wannan ƙira tana gabatar da wurin zama wanda aka tsara a matsayin sirrin jama'a na sirri, yana ba da mafaka ta keɓaɓɓe a cikin wuraren da ake raba tare. Tsarinta yana daidaita kasancewar sassaka tare da jin daɗin aiki, yana tallafa wa amfani na tsawon lokaci da hulɗar zamantakewa. Saman da aka lanƙwasa da abubuwan da aka auna su da kyau suna haifar da jin daɗin kewayewa yayin da ake kiyaye buɗewa. Gamewar halitta tana ƙara ƙarfin jurewa, sauƙin kiyayewa, da tsufa cikin sauƙi, yana ba da damar guntun ya haɗa kai cikin wuraren rayuwa na yau da kullum yayin da ake kiyaye ɗumi mai jin daɗi.

Amincewa

Game da Kyautar A' Design Award ta Zinariya

Zanen Oruha Aikin Farko: Kujera ya lashe Kyautar A' Design Award ta Zinariya, wata karramawa mai matuƙar daraja da ake bai wa zane-zane na matakin farko, masu ban mamaki kuma na musamman. Waɗanda suka lashe kyautar Zinariya ƙirƙire-ƙirƙire ne masu sababbin abubuwa sosai, masu hangen nesa kuma masu haske mai ban sha'awa waɗanda ke nuna hazaƙa, hikima da ƙwarewar masu zanensu. Ana sa ran zanen Oruha Aikin Farko: Kujera ya zama ƙirƙira mai yabo sosai, mai kafa yanayi kuma babba wacce ke kawo ƙima da ba a taɓa ganin irinta ba. Wannan zane da ya lashe Kyautar A' Design Award ta Zinariya aiki ne mai ban mamaki, mai daraja wanda ke amfanar fasaha, kimiyya, zane da fasahar zamani sosai kuma yana kai iyakokinsu gaba. Zanen Oruha Aikin Farko: Kujera yana haifar da tsananin sha'awa, yana tada soyayya ga aiki, yana ƙarfafa ƙirƙira kuma yana burge mu.

Bayan Ƙirar

Kayan Manema Labarai

Bayanin ƙungiyar, membobinta da cikakkun bayanai na fasaha da mai ƙirar ya bayar.

Siffofi Na Musamman: 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.
Girma da Fakitin: Width 740mm Depth 550mm Height 760mm Seated height 430mm
Kalmomin Alama: Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
Fasahar Samarwa: 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.
Ƙalubalen Zane: 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.
Bincike: 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.
Wahayi: 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.
Tsawon Lokacin Aikin: The project began in Kanagawa in January 2025 and ended in October 2025.
Tsarin Aiki: 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.
Godiyar Hotuna: Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025