Muundo Oruha Kiti na Yuya Nakazawa ni mshindi mashuhuri wa tuzo ya kifahari ya 2026 Tuzo ya Dhahabu ya A' Design Award katika Kategoria ya Mashindano ya Usanifu wa Samani.
DhahabuSamani· 2026
Oruha Kiti
Mteja: Yedit
Mshindi wa Tuzo ya Dhahabu ya A' Design Award katika Kategoria ya Samani
Mshindi wa Tuzo Aliyethibitishwa
Thibitisha Hali ya Tuzo kwa #178435Muundo
Kuhusu Oruha Kiti
Muundo huu unawasilisha kiti kilichobuniwa kama makao ya siri ya umma, kikitoa kimbilio binafsi ndani ya mazingira ya pamoja. Muundo wake unalinganisha uwepo wa kisanaa na faraja ya kiutendaji, ukisaidia matumizi ya muda mrefu na mwingiliano wa kijamii. Nyuso zilizopinda na vipengele vilivyopangwa kwa uwiano makini huleta hisia ya kufungwa huku vikidumisha uwazi. Umaliziaji wa asili unaboresha udumu, urahisi wa matunzo, na kuzeeka kwa neema, kuruhusu kipande hiki kuunganika katika nafasi za maisha ya kila siku huku kikihifadhi joto la kuguswa.
Utambuzi
Kuhusu Tuzo ya Dhahabu ya A' Design Award
Oruha Kiti ni mshindi wa Tuzo ya Dhahabu ya A' Design Award, utambuzi wenye heshima kuu unaotolewa kwa miundo ya daraja la kwanza, ya ajabu na ya kuvutia. Washindi wa Dhahabu ni kazi bunifu mno, zenye maono makubwa na za kung'aa kwa umaridadi zinazoakisi kipaji, hekima na ustadi wa wabunifu wao. Oruha Kiti inatarajiwa kuwa uvumbuzi unaosifiwa sana, wa kuweka mielekeo na wa kihistoria unaoleta thamani isiyo na kifani. Muundo huu ulioshinda Tuzo ya Dhahabu ya A' Design Award ni mradi wa kustaajabisha na unaoheshimika unaonufaisha sana na kupanua mipaka ya sanaa, sayansi, usanifu na teknolojia. Oruha Kiti huzua hisia kali za hamu, huamsha shauku, huhimiza ubunifu na hutuvutia.
Nyuma ya Muundo
Vifaa vya Habari
Mikopo, wanachama wa timu na maelezo ya kiufundi yaliyotolewa na mbuni.
- Sifa za Kipekee
- 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. - Vipimo na Ufungashaji
- Width 740mm Depth 550mm Height 760mm Seated height 430mm
- Lebo
- Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
- Teknolojia ya Uzalishaji
- 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. - Changamoto ya Ubunifu
- 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. - Utafiti
- 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. - Msukumo
- 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. - Muda wa Mradi
- The project began in Kanagawa in January 2025 and ended in October 2025.
- Mtiririko wa Uendeshaji
- 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. - Haki za Picha
- Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025
Imedhaminiwa
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