Chair for Yedit
The design presents a seat conceived as a public secret base, offering personal refuge within shared environments. Its structure balances sculptural presence with functional comfort, supporting extended use and social interaction. Curved surfaces and carefully proportioned elements create a sense of enclosure while maintaining openness. Natural finishes enhance durability, ease of maintenance, and graceful aging, allowing the piece to integrate into everyday living spaces while preserving tactile warmth.
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Download Press Kit № 178435 Chair for Yedit by Yuya Nakazawa to access high-res images, essential texts, translations, and exclusive interviews—all in one.
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Media Resource: Tap into our exclusive interview with Yuya Nakazawa, approx. 919 words, free for article integration. Download your copy now. Access Yuya Nakazawa Interview Now.
Access press releases crafted for Oruha in these languages: Japanese.
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.
Chair, Furniture, Sculptural Design, Wood, Handmade, Emotional Design, Armchair, Spatial Object
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.
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.
The project began in Kanagawa in January 2025 and ended in October 2025.
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.
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.
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.
Photography: Photographer Mitsuaki Takahashi, 2025 Video credit: Video editor Yuya Nakazawa, 2025 Sound: Soundtrack Composer Heitaro Ashibe, 2025
Oruha Chair has been a Golden winner in the Furniture Design award category in the year 2025 organized by the prestigious A' Design Award & Competition. The Gold A' Design Award is granted to designs that demonstrate a high level of innovation and a significant impact on their intended audience. Recognized as a major achievement by the A' Design Awards, these designs are characterized by their visionary approach and the exceptional skill of their creators. Winners of the Gold A' Design Award are noted for their ability to push the envelope in art, science, design, and technology, delivering solutions that not only meet but exceed expectations. These designs serve as benchmarks for excellence, encouraging further innovation and inspiring future generations of designers.
Yuya Nakazawa was recognized with the coveted Golden A' Design Award in 2026, a testament to excellence of their work Oruha Chair.
Find inspiration and award-winning creativity within the Yuya Nakazawa Newsroom.
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