Oruha Àga láti ọwọ́ Yuya Nakazawa jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2026 Àmì-ẹ̀yẹ Wúrà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Ohun-èlò Ilé.
WúràOhun-èlò Ilé· 2026
Oruha Àga
látọ̀wọ́ Yuya Nakazawa
Oníbàárà: Yedit
Aṣẹ́gun Àmì-ẹ̀yẹ Wúrà A' Design Award nínú Ẹ̀ka Ohun-èlò Ilé
Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí
Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #178435Àpẹrẹ Náà
Nípa Oruha Àga
Àpẹrẹ yìí ṣàfihàn àga tí a lóye gẹ́gẹ́ bí ibùdó àṣírí ìjọba-gbangba, tí ó ń pèsè ibi ìsádi ti ara ẹni nínú àyíká tí a jọ ní. Ìṣètò rẹ̀ ṣe ìwọ̀ntúnwọ̀nsì láàárín wíwà gẹ́gẹ́ bí ohun-èrè-aworan àti ìtùnu tí ó ń ṣiṣẹ́, tí ó ń ti lílo gígùn àti ìbáṣepọ̀ àwùjọ lẹ́yìn. Àwọn ojú ilẹ̀ tí ó tẹ̀ àti àwọn ohun-èlò tí a ṣe ìwọ̀n wọn dáradára ń dá ìmọ̀lára ìyíká sílẹ̀ nígbà tí ó ń tọ́jú ṣíṣí sílẹ̀. Àwọn ìparí àdánidá ń mú agbára-ìfaradà, ìrọrùn ìtọ́jú, àti ọjọ́-orí dídárayẹ pọ̀ sí i, tí ó ń jẹ́ kí ohun-ọ̀ṣọ́ náà wọinú àwọn àyè ìgbé-ayé ojoojúmọ́ nígbà tí ó ń tọ́jú ìmọ́lẹ̀-fọwọ́kàn.
Ìdánimọ̀ Náà
Nípa Àmì-ẹ̀yẹ Wúrà A' Design Award
Oruha Àga jẹ́ olùborí Àmì-ẹ̀yẹ Wúrà A' Design Award, ìdánimọ̀ olókìkí gan-an tí a fún àwọn àwòṣe ìpele àkọ́kọ́, tó jẹ́ ìyanu tó sì yàtọ̀. Àwọn olùborí Wúrà jẹ́ àwọn ẹ̀dá tó ní ìmúṣẹ̀dá tuntun gidigidi, tó ní ojú-ìwòye tó jìnnà tó sì ń tàn yòò tí wọ́n ń ṣàfihàn ọgbọ́n, òye àti ìjáfáfá àwọn olùṣàwòṣe wọn. A retí pé Oruha Àga yóò jẹ́ ohun ìmúṣẹ̀dá tí a yìn gidigidi, tó ń gbé ìtẹ̀sí kalẹ̀ tó sì jẹ́ ìrántí tó ń mú iye tí a kò rí rí wá. Àwòṣe tó borí Àmì-ẹ̀yẹ Wúrà A' Design Award yìí jẹ́ iṣẹ́ àkànṣe tó yani lẹ́nu tí a bọ̀wọ̀ fún tó ṣe anfàní gidigidi tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. Oruha Àga ń dá ìmọ̀lára ìfẹ́ tó lágbára sílẹ̀, ń jí ìtara, ń gbé ìṣẹ̀dá lárugẹ tó sì ń fà wá mọ́ra.
Lẹ́yìn Àpẹrẹ Náà
Àkójọ Ìròyìn
Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.
- Àwọn Ohun Àkànṣe
- 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. - Ìwọ̀n àti Àpò
- Width 740mm Depth 550mm Height 760mm Seated height 430mm
- Àwọn Àkọlé
- Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
- Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀
- 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. - Ìpèníjà Àpèsè
- 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. - Ìwádìí
- 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. - Ìmísí
- 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. - Àkókò Iṣẹ́ Àkànṣe
- The project began in Kanagawa in January 2025 and ended in October 2025.
- Ìlànà Ìṣiṣẹ́
- 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. - Ìfọwọ́sí Àwòrán
- Photography: Photographer Mitsuaki Takahashi, 2025
Video credit: Video editor Yuya Nakazawa, 2025
Sound: Soundtrack Composer Heitaro Ashibe, 2025
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