Ngā Uiuinga me Miyu Nakashima

I was born and raised in Tokyo and had my Bachelor’s Degree in Interior Architecture and Design. From my university years, I researched the relationship between patterns and structures in Architecture and experienced the charm and wide possibilities of geometric patterns alongside Japanese parametric pattern artist Tokolo Asao. As I firmly believe that getting to know Islamic Architecture which combines basic shapes and lines to achieve geometric patterns is, in fact, going back to the design basics where a designer can build a strong foundation, in 2012, I had moved to Istanbul from Tokyo where I had already got vast experience in modern architecture. After studying the Organic pattern design of tile art which is indispensable for traditional Islamic architecture under the famous Ceramic tile artist Fatma San, I worked as a modern Islamic designer at Hassa Architecture that builds mosques and cultural centers around the world.

My design methodology/vision is based on my work experience in Tokyo and Istanbul.

Even when I was a child, I was always a visual person. I used to draw almost everything that was in my mind. As a person who always thinks visually, the best way to be me is to be a designer.

For me, one of the most challenging stages of the Parametric design is to create the basic structure, there is a feeling of excitement when the basic shape starts to form.

As a parametric designer, my goal is to get rid of the real-world production constraints and design freely in the metaverse.

Do whatever you love. Be brave, be bold!

As a digital designer, I follow design technology trends as much as possible. I do research on how technology will change production in the next years.

It is purely instinctive for me to decide whether the design is ready or not. If I get stuck or dissatisfied with my design, I take a break from the design process. Taking a break helps me to see the deficiencies that I couldn't see before. By eliminating these deficiencies, I continue to design by taking a break until I decide the design is ready.

The BIROI collection that I was awarded. As a macro-scale architecture designer, the Biroi collection is the first micro-scale jewelry I have created. My biggest challenge was to move the elegance I am familiar with from the heights of the macro dimension to the micrometric precision of 3d printing.

I often get inspired by my architectural designer experiences, and from the organic shapes that exist in nature.

By transferring this award-winning design into the metaverse, I plan to create a macro-scale architectural space experience from it.

almost 2 years

It's purely an abstract reflection of my architectural background.

Anyone who admires art and design.

For the production, I collaborated with the 3D printing service provider, Shapeways.

The objective of the research was to create a parametric, organic pattern that fits whole products(necklace, bracelet, earring, and ring) at the same time. I started analyzing and researching organic patterns in nature. As the main 3d parametric design software, I used the Grasshopper plugin for Rhino3d. It took me a lot of web research and experimentation to find the right parametric design formula that fits all products.

As a macro-scale architecture designer, BIROI collection is the first micro-scale jewelry I have created. My biggest challenge was to move the elegance I am familiar with from the heights of the macro dimension to the micrometric precision of 3d printing.

I was born and raised in Tokyo and had my Bachelor’s Degree in Interior Architecture and Design. From my university years, I researched the relationship between patterns and structures in Architecture and experienced the charm and wide possibilities of geometric patterns alongside Japanese parametric pattern artist Tokolo Asao.

As I firmly believe that getting to know Islamic Architecture which combines basic shapes and lines to achieve geometric patterns is, in fact, going back to the design basics where a designer can build a strong foundation, in 2012, I had moved to Istanbul from Tokyo where I had already got vast experience in modern architecture. After studying the Organic pattern design of tile art which is indispensable for traditional Islamic architecture under the famous Ceramic tile artist Fatma San, I worked as a modern Islamic designer at Hassa Architecture that builds mosques and cultural centers around the world.

Even when I was a child, I was always a visual person. I used to draw almost everything that was in my mind. As a person who always thinks visually, being a designer is the best way to describe me.

Do whatever you love. Be brave, be bold!

The BIROI collection that I was awarded. As a macro-scale architecture designer, the Biroi collection is the first micro-scale jewelry I have created. My biggest challenge was to move the elegance I am familiar with from the heights of the macro dimension to the micrometric precision of 3d printing.

As we gain experience, we naturally create a certain comfort zone. Do not be afraid to step out of your comfort zone, be open to new ideas and new technologies.

By transferring my award-winning design, Biroi Collection, into the metaverse. I plan to create a macro-scale architectural space experience from it.

The design process is really very variable. It's impossible to say anything specific. Sometimes it takes a month, sometimes a few years.

3D printing technology is crucial to me. It allows me to overcome the constraints in the production process. With 3D printing, I can create parametric designs that can not be done with traditional production techniques, and it also speeds up the production process and saves more time for the creative process.

My most used software are Grasshopper, Rhino 3D, Photoshop, and Illustrator.

I was born and raised in Tokyo and had my Bachelor’s Degree in Interior Architecture and Design. From my university years, I researched the relationship between patterns and structures in Architecture and experienced the charm and wide possibilities of geometric patterns alongside Japanese parametric pattern artist Tokolo Asao.

As I firmly believe that getting to know Islamic Architecture which combines basic shapes and lines to achieve geometric patterns is, in fact, going back to the design basics where a designer can build a strong foundation, in 2012, I had moved to Istanbul from Tokyo where I had already got vast experience in modern architecture. After studying the Organic pattern design of tile art which is indispensable for traditional Islamic architecture under the famous Ceramic tile artist Fatma San, I worked as a modern Islamic designer at Hassa Architecture that builds mosques and cultural centers around the world.

“Miyu Nakashima Design” is an abstract reflection of my architectural background. After working as a space-dependent Architectural designer for a long time, I wanted to be a location-independent artist and create a work of art that I could touch, experience, and share with the whole world easily. In this process, I decided to make parametric jewelry designs in which I could best use my architectural pattern design experience that I have been working on and developing for years. Instead of traditional methods, I prefer 3D printing because then I can direct all my energy solely to design innovation.

I love to design any kind of thing, but especially it is space.

For now, 3D printing technology is important to me as it saves me time to speed up the production process and I can focus on design.

There is a feeling of excitement and joy when the basic shape starts to form.

A sense of accomplishment and motivation.

The last exhibition was held in Italy. While I am currently interviewing, I have an exhibition in Turkey and China.

I often get inspired by my architectural designer experiences, and from the organic shape that exists in nature.

After working as an architectural designer for a long time, now I am a location-independent artist.

Do whatever you love. Be brave, be bold!

My most used software are Grasshopper, Rhino 3D, Photoshop, and Illustrator.

As a parametric designer, my goal is to get rid of the real-world production constraints and design freely in the metaverse.

instagram: @miyunakashima

website: miyunakashima.com

My background in interior architecture shaped how I approach jewelry as spatial design. When creating Biroi, I imagined the human body as a space and each piece as an architectural object that inhabits it. This mindset helps me explore structure, rhythm, and materiality on a micro scale. Parametric tools allow me to express these ideas through fluid yet intentional forms.

Unlike rigid geometric patterns like triangles or grids, I chose Voronoi for its organic, living quality. Its fluid transitions from dense to open cells create a dynamic, flame-like surface that captures the essence of the phoenix's rebirth. It feels alive, constantly transforming, just like the myth itself. This natural flow makes it the perfect visual language to express regeneration through movement and form.

Biroi began when I started my nomadic journey. Living across multiple countries taught me how to reset mentally, observe with fresh eyes, and seek patterns beyond cultural borders. Rather than drawing from local traditions, I found inspiration in architecture, especially the structural harmony of Islamic ornament and European forms. Biroi reflects this mental state: fluid, transitional, and free from fixed identity.

The biggest challenge was matching material properties with Biroi's concept. Each 3D printing material has its own limits, like minimum thickness or how it handles fine details. Nylon gave a clean surface that made the design stand out sharply, while steel showed visible print lines. At first, this seemed like a flaw, but it added unexpected texture and depth. Understanding these traits took time and testing, so finishing the first Biroi pieces was a long, trial-based process.

I developed a parametric rule that allows the Voronoi pattern to shrink toward a defined point on any 3D surface. By controlling this point and the density flow, I could apply the same system across multiple pieces, ensuring visual consistency. Yet each form reacts differently based on its geometry, so every piece still has a unique expression. This method gave me both freedom and structure in shaping the Biroi Collection.

Biroi's geometry captures and breaks light to cast delicate shadows on both the body and surrounding space. Its perforated structure lets light pass through, projecting patterns that blur the line between jewelry and sculpture. I design with this spatial interaction in mind: the piece isn't complete until it merges with its environment, especially the body. This dynamic light play reinforces Biroi's identity as wearable architecture.

Biroi isn't designed as a decorative accessory. It's a bold object that claims presence. I wanted the wearer to feel like the phoenix: someone who has faced difficulty and still rises with strength. The form is unapologetically sculptural, meant to echo inner resilience. Wearing Biroi is a declaration. It's for those who move forward with courage and refuse to disappear. The design embodies that defiance through structure, weight, and form.

Biroi began as a single necklace, not a full collection. But over two years, while moving between cities almost monthly, I kept revisiting and refining the concept. Each shift in place gave me mental distance to reassess, while Tallinn became the moment of stillness where I finalized the forms and clarified the story. The collection grew slowly, shaped by constant movement, time, and the realization that this piece held more meaning than I first imagined.

For me, 3D printing removed limitations rather than adding them. Using professional services allowed me to focus almost entirely on design without worrying about mold constraints or production logistics. The materials offered both durability and comfort, which supported my vision of creating sculpture-like pieces that are still wearable. Rather than balancing trade-offs, the technology became a tool that amplified freedom and precision in my creative process.

3D printing shifts jewelry from a craft defined by technique to one open to any designer with a strong concept. It removes traditional barriers, enabling more designers to enter the field. From an architectural perspective, thinking in terms of structure, composition, and spatial context brings a new dimension to jewelry design. The scale may be small, but the design logic remains rich. I believe this fusion of digital fabrication and architectural thinking will redefine what jewelry can be.