Interview with Oji Osamu
Osamu Oji is the founder and CEO of USEYA Co., Ltd., an XR, AI and spatial computing company established in Osaka, Japan in 2008.
Design Legend Interview
19 May 2025
I come from a hybrid background that blends engineering rigour with a deep fascination for human-centred design.
After graduating, I spent several years as a system engineer for large-scale manufacturing and public-sector IT projects. That experience taught me how critical well-designed digital tools are for frontline workers—and how often traditional design processes overlook their real-world constraints.
In 2008 I founded my first software-development studio with seven colleagues who shared the same belief that technology should remove, not create, barriers. We delivered enterprise systems ranging from SCADA dashboards to real-time disaster-response platforms, always pushing for cleaner interfaces and more empathetic user flows.
Smart-glasses technology became my “aha” moment in 2013. Seeing the potential of XR to democratise knowledge transfer, I pivoted our R&D toward immersive UI/UX. That work culminated in 2024 when I launched USEYA ADVANCED INDUSTRY (UAI)—a digital share-workshop that fuses XR, AI and cloud robotics so anyone, anywhere can participate in high-quality manufacturing.
Along the way I’ve been fortunate to receive recognition such as the iF Design Award, the DX Innovation Grand Prize, and now the A’ Design Award Professional Edition. Yet the most meaningful validation comes from artisans, students and engineers who tell me our interfaces made their work easier, safer and more inclusive.
My design philosophy remains rooted in continuous learning: I still prototype personally, mentor young designers, and collaborate with academia on research into spatial computing ergonomics. Whether I’m sketching a mixed-reality workflow or shaping corporate strategy, the goal is the same—create experiences that expand human capability and spark joy in making.
After graduating, I spent several years as a system engineer for large-scale manufacturing and public-sector IT projects. That experience taught me how critical well-designed digital tools are for frontline workers—and how often traditional design processes overlook their real-world constraints.
In 2008 I founded my first software-development studio with seven colleagues who shared the same belief that technology should remove, not create, barriers. We delivered enterprise systems ranging from SCADA dashboards to real-time disaster-response platforms, always pushing for cleaner interfaces and more empathetic user flows.
Smart-glasses technology became my “aha” moment in 2013. Seeing the potential of XR to democratise knowledge transfer, I pivoted our R&D toward immersive UI/UX. That work culminated in 2024 when I launched USEYA ADVANCED INDUSTRY (UAI)—a digital share-workshop that fuses XR, AI and cloud robotics so anyone, anywhere can participate in high-quality manufacturing.
Along the way I’ve been fortunate to receive recognition such as the iF Design Award, the DX Innovation Grand Prize, and now the A’ Design Award Professional Edition. Yet the most meaningful validation comes from artisans, students and engineers who tell me our interfaces made their work easier, safer and more inclusive.
My design philosophy remains rooted in continuous learning: I still prototype personally, mentor young designers, and collaborate with academia on research into spatial computing ergonomics. Whether I’m sketching a mixed-reality workflow or shaping corporate strategy, the goal is the same—create experiences that expand human capability and spark joy in making.
I realised that engineering solves technical problems, but design solves human ones—and the latter is where real impact lives.
What motivates me today is the same spark, scaled up: removing barriers so that anyone—regardless of location, disability, or resources—can participate in high-quality making. Japan has a deep craft heritage, yet I kept meeting artisans whose skills were locked inside a single workshop and workers who were excluded because of geography or physical constraints. When I discovered smart-glasses in 2013, I suddenly saw a canvas big enough to bridge those gaps; XR could project a master craftsperson’s hands onto an apprentice’s field of view, or bring an entire manufacturing line to a remote expert in real time.
I became a designer because I believe tools shape possibility. A beautifully engineered backend is useless if its interface intimidates the very people it’s meant to empower. By designing spatial, intuitive, almost “invisible” interfaces, I can turn advanced tech into a welcoming doorway instead of a locked gate.
My deepest motivation comes from watching that doorway open. I once saw a wheelchair-bound hobbyist assemble a drone using our XR workflow; the smile on his face reminded me that design is ultimately about dignity and agency. Awards like the iF Design Award or the A’ Design Award are humbling affirmations, but the real fuel is witnessing how a well-designed experience can expand someone’s world—and, in turn, inspire them to create something new.
In short, I design because every thoughtfully crafted interface is an invitation: Come in, experiment, build, belong. That invitation is what keeps me sketching, prototyping, and refining long after the first version “works.”
What motivates me today is the same spark, scaled up: removing barriers so that anyone—regardless of location, disability, or resources—can participate in high-quality making. Japan has a deep craft heritage, yet I kept meeting artisans whose skills were locked inside a single workshop and workers who were excluded because of geography or physical constraints. When I discovered smart-glasses in 2013, I suddenly saw a canvas big enough to bridge those gaps; XR could project a master craftsperson’s hands onto an apprentice’s field of view, or bring an entire manufacturing line to a remote expert in real time.
I became a designer because I believe tools shape possibility. A beautifully engineered backend is useless if its interface intimidates the very people it’s meant to empower. By designing spatial, intuitive, almost “invisible” interfaces, I can turn advanced tech into a welcoming doorway instead of a locked gate.
My deepest motivation comes from watching that doorway open. I once saw a wheelchair-bound hobbyist assemble a drone using our XR workflow; the smile on his face reminded me that design is ultimately about dignity and agency. Awards like the iF Design Award or the A’ Design Award are humbling affirmations, but the real fuel is witnessing how a well-designed experience can expand someone’s world—and, in turn, inspire them to create something new.
In short, I design because every thoughtfully crafted interface is an invitation: Come in, experiment, build, belong. That invitation is what keeps me sketching, prototyping, and refining long after the first version “works.”
I definitely chose this path—although it sometimes feels like design chose me. in fact, my formal training was in information-systems engineering, and my early career rewarded brute technical efficiency more than aesthetics. Yet every project pulled me toward the human side of the equation: I kept volunteering to redraw awkward workflows, rewrite button labels, or prototype physical controls so operators could work with less stress.
Over time I realised those “extra” tasks were not side quests but the work that lit me up. So I pivoted—first unofficially by championing UX inside engineering teams, then formally by founding a studio where design and technology share equal weight. It was a deliberate decision, driven by the conviction that technology only fulfils its promise when someone designs how people will actually live with it.
If there was any external force, it was the frustration I felt watching great ideas stumble on poor interfaces. That tension compelled me to act, but no boss or market trend forced me to call myself a designer. I embraced the title because it best describes what I love doing: translating complex systems into experiences that feel simple, empowering, and—even in an industrial context—a little bit magical.
Over time I realised those “extra” tasks were not side quests but the work that lit me up. So I pivoted—first unofficially by championing UX inside engineering teams, then formally by founding a studio where design and technology share equal weight. It was a deliberate decision, driven by the conviction that technology only fulfils its promise when someone designs how people will actually live with it.
If there was any external force, it was the frustration I felt watching great ideas stumble on poor interfaces. That tension compelled me to act, but no boss or market trend forced me to call myself a designer. I embraced the title because it best describes what I love doing: translating complex systems into experiences that feel simple, empowering, and—even in an industrial context—a little bit magical.
My practice sits at the crossroads of immersive UI/UX, spatial computing, and digital-manufacturing systems. On a typical week I might be:
mapping a gesture-based interface for Apple Vision Pro,
refining a holographic dashboard that lets a remote engineer “reach into” a CNC mill, or
choreographing AI-driven hand-tracking so a trainee can overlay a master craftsperson’s movements on their own hands in real time.
In other words, I design tools that dissolve distance and complexity—so knowledge, not geography or physical ability, becomes the limiting factor. The output ranges from smart-glasses apps and mixed-reality workstations to cloud back-ends that synchronise robots, cameras, and AI models. Hardware, software, and human factors are all on the drawing board at once; the real design object is the experience that binds them.
Looking ahead, I’m eager to design systems that scale inclusion even further:
Low-friction XR kits that a rural school or small factory can deploy in hours, not weeks.
“Invisible” interfaces that rely on gaze, voice, and subtle haptics, freeing users from screens and controllers.
Circular-economy fabrication flows where XR guides workers through repair and reuse, not just new production.
Cultural-heritage portals that capture artisans’ full-body techniques—beyond the hands—to preserve endangered crafts in volumetric detail.
Ultimately, I want every person with curiosity—whether a wheelchair-bound hobbyist, an overseas apprentice, or a retiree returning to craft—to step into a workspace that feels tailored to them. Designing more of those experiences is my north star, because when technology becomes empathetic, creativity multiplies and industries evolve.
mapping a gesture-based interface for Apple Vision Pro,
refining a holographic dashboard that lets a remote engineer “reach into” a CNC mill, or
choreographing AI-driven hand-tracking so a trainee can overlay a master craftsperson’s movements on their own hands in real time.
In other words, I design tools that dissolve distance and complexity—so knowledge, not geography or physical ability, becomes the limiting factor. The output ranges from smart-glasses apps and mixed-reality workstations to cloud back-ends that synchronise robots, cameras, and AI models. Hardware, software, and human factors are all on the drawing board at once; the real design object is the experience that binds them.
Looking ahead, I’m eager to design systems that scale inclusion even further:
Low-friction XR kits that a rural school or small factory can deploy in hours, not weeks.
“Invisible” interfaces that rely on gaze, voice, and subtle haptics, freeing users from screens and controllers.
Circular-economy fabrication flows where XR guides workers through repair and reuse, not just new production.
Cultural-heritage portals that capture artisans’ full-body techniques—beyond the hands—to preserve endangered crafts in volumetric detail.
Ultimately, I want every person with curiosity—whether a wheelchair-bound hobbyist, an overseas apprentice, or a retiree returning to craft—to step into a workspace that feels tailored to them. Designing more of those experiences is my north star, because when technology becomes empathetic, creativity multiplies and industries evolve.
Designer Interview
8 July 2025
I originally started my career as a system engineer, developing large-scale software systems. However, around 2013, I became deeply inspired by the potential of smart glasses and XR technology. This led me to shift my focus toward creating immersive experiences that blend design, technology, and user empowerment.
Although I wasn’t trained in traditional art or design disciplines, I’ve always had a passion for creating systems that solve real-world problems in intuitive and elegant ways. My design journey is rooted in functionality and user experience rather than aesthetics alone. Over the years, I’ve come to realize that design is not just how things look, but how they work and feel—especially when it comes to accessibility and inclusivity.
The desire to remove physical and social barriers through digital design has driven my work with USEYA ADVANCED INDUSTRY. Now, I see myself not just as a designer of interfaces, but as a designer of systems that empower people regardless of ability, location, or background.
Although I wasn’t trained in traditional art or design disciplines, I’ve always had a passion for creating systems that solve real-world problems in intuitive and elegant ways. My design journey is rooted in functionality and user experience rather than aesthetics alone. Over the years, I’ve come to realize that design is not just how things look, but how they work and feel—especially when it comes to accessibility and inclusivity.
The desire to remove physical and social barriers through digital design has driven my work with USEYA ADVANCED INDUSTRY. Now, I see myself not just as a designer of interfaces, but as a designer of systems that empower people regardless of ability, location, or background.
My company, USEYA Corp., is based in Osaka, Japan, and was founded in 2008. Since 2013, we have been developing systems that integrate smart glasses with XR (Extended Reality) technologies, focusing on innovative applications in remote collaboration and digital manufacturing.
In 2022, we expanded internationally by establishing USEYA FZCO in the United Arab Emirates (Dubai) to further accelerate our global XR initiatives and connect with partners across the Middle East, Europe, and Africa.
In 2024, we officially launched our flagship initiative, USEYA ADVANCED INDUSTRY (UAI), a design-driven digital workshop and XR-based manufacturing lab. UAI is not only a physical space but also a platform for inclusive skill transfer and remote co-creation. Our goal is to allow people—regardless of physical ability or geographic location—to participate in the actual process of making, by working together with on-site staff via XR interfaces and smart devices.
What makes us unique is our commitment to accessibility, regional revitalization, and bridging social gaps through cutting-edge technology and human-centered design. We collaborate with municipalities, educational institutions, and industry partners to promote inclusive innovation and to create sustainable, community-driven ecosystems for the future of manufacturing and education.
In 2022, we expanded internationally by establishing USEYA FZCO in the United Arab Emirates (Dubai) to further accelerate our global XR initiatives and connect with partners across the Middle East, Europe, and Africa.
In 2024, we officially launched our flagship initiative, USEYA ADVANCED INDUSTRY (UAI), a design-driven digital workshop and XR-based manufacturing lab. UAI is not only a physical space but also a platform for inclusive skill transfer and remote co-creation. Our goal is to allow people—regardless of physical ability or geographic location—to participate in the actual process of making, by working together with on-site staff via XR interfaces and smart devices.
What makes us unique is our commitment to accessibility, regional revitalization, and bridging social gaps through cutting-edge technology and human-centered design. We collaborate with municipalities, educational institutions, and industry partners to promote inclusive innovation and to create sustainable, community-driven ecosystems for the future of manufacturing and education.
For me, design is a powerful language that bridges people, technology, and society. It’s not just about aesthetics or functionality—it’s about creating meaning and building systems that empower individuals, especially those who are often excluded from traditional workflows.
I believe good design should dissolve barriers—whether they are physical, technical, or social—and create new possibilities for connection, participation, and creativity. Through XR and digital tools, we can design spaces and experiences that are inclusive, collaborative, and emotionally resonant.
In this sense, design is not just a profession or a process, but a responsibility to make the world more accessible, human-centered, and imaginative.
I believe good design should dissolve barriers—whether they are physical, technical, or social—and create new possibilities for connection, participation, and creativity. Through XR and digital tools, we can design spaces and experiences that are inclusive, collaborative, and emotionally resonant.
In this sense, design is not just a profession or a process, but a responsibility to make the world more accessible, human-centered, and imaginative.
I especially enjoy designing systems and experiences that empower people through extended reality (XR). I'm most passionate about creating interactive environments where technology dissolves physical and social barriers—whether it’s for remote manufacturing, digital craftsmanship, or skill transmission.
I love designing platforms that allow people with different abilities, skills, or geographical limitations to co-create and learn together. For example, with our UAI (Useya Advanced Industry) system, we design XR-enabled spaces where even individuals with no prior technical background can engage in meaningful making and collaboration.
Designing for inclusivity, empathy, and future-oriented workflows gives me the greatest sense of purpose and joy.
I love designing platforms that allow people with different abilities, skills, or geographical limitations to co-create and learn together. For example, with our UAI (Useya Advanced Industry) system, we design XR-enabled spaces where even individuals with no prior technical background can engage in meaningful making and collaboration.
Designing for inclusivity, empathy, and future-oriented workflows gives me the greatest sense of purpose and joy.
My favorite design is our XR-based system called UAI (Useya Advanced Industry), which was officially launched in 2024. It's a platform that enables remote co-creation and skill transmission through smart glasses and immersive technologies.
One highlight within UAI is the “SHUGI” system, which records and visualizes the hand movements of skilled artisans using motion tracking and then overlays those movements in XR. This allows trainees to practice by aligning their hands with the recorded gestures in real time, regardless of location or physical constraints.
UAI was designed in a renovated 50-year-old warehouse in Osaka, merging futuristic digital manufacturing with traditional craftsmanship. What makes it special is that it removes barriers—whether they’re physical disabilities, lack of technical experience, or geographical distance—and invites people from all backgrounds to participate in meaningful creation.
It’s not just about the technology. It’s about enabling co-creation and inclusiveness through design.
One highlight within UAI is the “SHUGI” system, which records and visualizes the hand movements of skilled artisans using motion tracking and then overlays those movements in XR. This allows trainees to practice by aligning their hands with the recorded gestures in real time, regardless of location or physical constraints.
UAI was designed in a renovated 50-year-old warehouse in Osaka, merging futuristic digital manufacturing with traditional craftsmanship. What makes it special is that it removes barriers—whether they’re physical disabilities, lack of technical experience, or geographical distance—and invites people from all backgrounds to participate in meaningful creation.
It’s not just about the technology. It’s about enabling co-creation and inclusiveness through design.
The first thing I designed for a company was a real-time production management system in the early 2010s.
It was developed for a mid-sized manufacturing company in Japan to streamline their factory operations and visualize machine status, operator workflows, and productivity metrics. This experience led me to realize the importance of user-centered interfaces, even in industrial settings. It also became the foundation of my later work in XR systems for digital manufacturing and remote collaboration.
It was developed for a mid-sized manufacturing company in Japan to streamline their factory operations and visualize machine status, operator workflows, and productivity metrics. This experience led me to realize the importance of user-centered interfaces, even in industrial settings. It also became the foundation of my later work in XR systems for digital manufacturing and remote collaboration.
I’m particularly fascinated by XR (Extended Reality) technologies, especially when combined with wearable devices like smart glasses.
Using platforms such as Apple Vision Pro, HoloLens 2, and Magic Leap 2, I explore ways to enable remote collaboration and skill transmission in manufacturing environments. I also enjoy working with Unity and Unreal Engine for interactive 3D content, and integrating AI and IoT technologies to build immersive, responsive systems.
In addition to digital platforms, I also find deep interest in physical materials such as metal, filament, wood, and acrylic—especially when they are translated into digital design data for 3D production. My focus includes the digitization of materials and the use of data itself as a new form of "material" in digital fabrication. In this sense, transmitting electronic design data online to create physical objects remotely represents a new paradigm where data becomes the material.
This fusion of digital and physical opens up new possibilities for inclusive, decentralized manufacturing, and helps reimagine how we define “making.”
Using platforms such as Apple Vision Pro, HoloLens 2, and Magic Leap 2, I explore ways to enable remote collaboration and skill transmission in manufacturing environments. I also enjoy working with Unity and Unreal Engine for interactive 3D content, and integrating AI and IoT technologies to build immersive, responsive systems.
In addition to digital platforms, I also find deep interest in physical materials such as metal, filament, wood, and acrylic—especially when they are translated into digital design data for 3D production. My focus includes the digitization of materials and the use of data itself as a new form of "material" in digital fabrication. In this sense, transmitting electronic design data online to create physical objects remotely represents a new paradigm where data becomes the material.
This fusion of digital and physical opens up new possibilities for inclusive, decentralized manufacturing, and helps reimagine how we define “making.”
I feel most creative when I am connecting seemingly unrelated ideas—technology, craftsmanship, social needs—and turning them into a new system or experience.Creativity for me isn’t just about invention; it’s about creating meaningful connections that empower people to participate and contribute.
I focus primarily on creating systems that people truly want to use and that are easy to participate in. Design is not just about aesthetics, but about crafting experiences that allow anyone—regardless of ability or location—to engage smoothly, create, learn, and co-create. I pay particular attention to accessibility, revisiting every element—visual design, user flow, UI, and spatial layout—with the goal of lowering participation barriers and enabling inclusive engagement.
When I design, I feel a strong sense of excitement—as if I’m stepping into the future. There’s a thrill in shaping something that doesn’t exist yet, along with a constant sense of responsibility: “Will this truly help someone?” Especially when working on systems that address social challenges or lower barriers to participation, I feel a deep sense of purpose—as if I’m giving form to hope.
When my designs come to life as real spaces or experiences, I feel deeply moved and fulfilled. There's a special joy in seeing someone discover new possibilities or break free from limitations through something I created. At the same time, I naturally start evaluating what could be improved, which fuels my motivation for the next step. It’s a moment of gratitude, reflection, and renewed creative energy.
A successful design is not defined solely by aesthetics or functionality—it begins with a clear understanding of who it's for. When a design genuinely serves its users, sparks emotion or action, and clearly communicates the creator’s intent and vision, it becomes impactful. Moreover, a truly successful design fosters empathy and co-creation, generating new value and meaningful connections. It’s this ability to create positive change for individuals and society that defines success in design.
When evaluating a design, the first thing I consider is how effectively it fulfills its intended purpose. Beyond visual appeal, I focus on usability, clarity of communication, and the value it offers to the user. I also assess whether the design is inclusive—does it allow broad accessibility and foster engagement? Lastly, I look at whether the design introduces a new perspective or hints at future possibilities. These aspects collectively indicate whether a design is truly meaningful and impactful.
Designers have a profound impact on both society and the environment. Therefore, our responsibility goes beyond aesthetics and functionality—we must consider sustainability and equity from a long-term perspective. I believe it is the designer’s role to create accessible systems that empower everyone to participate in technology and production, while also addressing social challenges through thoughtful design. Additionally, we must be conscious of how we use resources and energy, ensuring that our work respects the needs of future generations.
The field of design is evolving from shaping visuals and objects to shaping systems, behaviors, and entire experiences. With the integration of technologies like XR, AI, and IoT, design is now expanding into dimensions of space, time, and physicality. In the future, the boundary between the real and digital will become increasingly blurred, and user-centered experience design will be more essential than ever. I believe the future of design lies in its ability to foster sustainability, embrace diversity, and create spaces for co-creation—bridging people, communities, and technology in meaningful ways.
My last exhibition was in October 2024 at “DAYS 2024,” hosted by the Kansai Bureau of Economy, Trade and Industry in Osaka, where I showcased the "UAI XR Workshop"—a remote manufacturing system powered by XR and AI. For the next exhibition, I plan to present the "SHUGI" skill transfer framework internationally in the spring of 2025, aiming to participate in a global design event in Dubai or Europe to further expand our outreach and collaborations.
My design inspiration often begins with identifying societal constraints or challenges—especially the things people tend to give up on due to physical, geographical, or technical limitations. I view XR and AI as powerful tools to overcome these boundaries and aim to design systems that make invisible struggles visible and solvable.
To feed my creativity, I regularly visit workshops, factories, and traditional craftsmen both in Japan and abroad. I also actively engage in experimental projects involving emerging technologies. Additionally, anime, films, and science fiction serve as rich sources of inspiration, helping me imagine and prototype the future through design.
To feed my creativity, I regularly visit workshops, factories, and traditional craftsmen both in Japan and abroad. I also actively engage in experimental projects involving emerging technologies. Additionally, anime, films, and science fiction serve as rich sources of inspiration, helping me imagine and prototype the future through design.
My design style can be described as futuristic yet co-creative, blending emotion and technology into spatial experiences. Visually, I often adopt a “secret base” aesthetic using a black-themed environment that creates a sense of excitement and immersion. However, at its core, my spaces are designed to foster collaboration—between people, between skills, and between humans and machines.
This style emerged from my desire to create inclusive spaces where everyone can participate in creation, especially those who face physical or technical barriers. I strive to design experiences that are intuitive, emotionally engaging, and empowering regardless of the user's background.
My approach to design is to start with real-world challenges and end with meaningful user experiences. I continuously explore how XR, AI, and interface design can translate social constraints into emotionally resonant and practical solutions.
This style emerged from my desire to create inclusive spaces where everyone can participate in creation, especially those who face physical or technical barriers. I strive to design experiences that are intuitive, emotionally engaging, and empowering regardless of the user's background.
My approach to design is to start with real-world challenges and end with meaningful user experiences. I continuously explore how XR, AI, and interface design can translate social constraints into emotionally resonant and practical solutions.
I am based in Osaka, Japan. The cultural heritage of Japan—especially the craftsmanship tradition (known as Takumi) and the philosophy of subtle aesthetics and spatial harmony—has had a profound impact on my design approach. Whether in interface layout or in crafting spatial experiences through XR, I often draw from Japanese values of precision, humility, and respect for manual skills.
One of the greatest advantages of designing in Japan is the coexistence of ancient traditions and cutting-edge technologies. This environment allows me to merge artisanal values with XR and AI innovation, as reflected in projects like the UAI XR Workshop.
However, a challenge of designing in Japan is that institutional conservatism and market rigidity can slow the adoption of new technologies or experimental concepts. In some cases, global markets may respond more quickly and openly to innovations in XR and spatial computing.
One of the greatest advantages of designing in Japan is the coexistence of ancient traditions and cutting-edge technologies. This environment allows me to merge artisanal values with XR and AI innovation, as reflected in projects like the UAI XR Workshop.
However, a challenge of designing in Japan is that institutional conservatism and market rigidity can slow the adoption of new technologies or experimental concepts. In some cases, global markets may respond more quickly and openly to innovations in XR and spatial computing.
When working with companies, I prioritize co-creation over simple outsourcing. I begin by carefully listening to their goals and challenges, and then propose innovative solutions using XR technology and spatial design to create new value together.
For example, in manufacturing sectors, I help companies digitize and transmit traditional craftsmanship using XR tools, or develop remote-access systems that allow individuals with disabilities or those in rural areas to participate in production processes.
I also collaborate with local governments and educational institutions to implement socially impactful projects in partnership with companies. Rather than providing just technology, I work alongside partners through every stage—from conceptual planning and prototyping to UI/UX design and long-term operations.
For example, in manufacturing sectors, I help companies digitize and transmit traditional craftsmanship using XR tools, or develop remote-access systems that allow individuals with disabilities or those in rural areas to participate in production processes.
I also collaborate with local governments and educational institutions to implement socially impactful projects in partnership with companies. Rather than providing just technology, I work alongside partners through every stage—from conceptual planning and prototyping to UI/UX design and long-term operations.
When collaborating with designers, I suggest that companies look beyond just technical skills or aesthetic talent. It’s important to prioritize empathy and communication ability. A good designer is someone who can deeply understand the project’s purpose and societal context, and help frame the right questions together with the company.
Rather than evaluating only portfolios or past achievements, companies should also pay attention to how the designer approached previous projects—the mindset and process are often more telling than the final output. Choosing a designer who can build trust and walk alongside your team with both creativity and technical insight will lead to stronger, more meaningful outcomes that align with your long-term vision.
Rather than evaluating only portfolios or past achievements, companies should also pay attention to how the designer approached previous projects—the mindset and process are often more telling than the final output. Choosing a designer who can build trust and walk alongside your team with both creativity and technical insight will lead to stronger, more meaningful outcomes that align with your long-term vision.
My design process begins with identifying the core problem. I start by conducting thorough interviews and observations to uncover the latent needs and constraints of users and stakeholders—often those they themselves may not be fully aware of. From this insight, I shape the concept.
Next, I move into rapid prototyping, repeatedly testing and refining the design based on real user feedback and conversations with stakeholders.
Especially when working with XR or interactive technologies, I prioritize iterative experience testing, treating the user experience itself as the primary subject of validation. Speed and flexibility in prototyping are crucial to ensure we deliver intuitive and inclusive solutions.
Next, I move into rapid prototyping, repeatedly testing and refining the design based on real user feedback and conversations with stakeholders.
Especially when working with XR or interactive technologies, I prioritize iterative experience testing, treating the user experience itself as the primary subject of validation. Speed and flexibility in prototyping are crucial to ensure we deliver intuitive and inclusive solutions.
Apple Vision Pro – As an XR developer, this device represents the pinnacle of spatial computing design and integrates seamlessly into my workflow and creative inspiration.
MANUS Prime 3 Motion Gloves – These gloves are beautifully engineered, not only functionally accurate but also ergonomically elegant, bridging human motion with digital creation.
A large-scale Evangelion figure – As both a lifelong fan and a designer, I find inspiration in its intricate form and the emotional narrative it carries, which often informs my own design language.
The design of UAI (Useya Advanced Industry) itself – While not inside my home, the space I created reflects my design philosophy—an XR-enabled “secret base” that blends industrial aesthetics with cutting-edge interaction.
Custom-built standing desk with modular 3D-printed parts – It reflects my approach to adaptive, user-centered design that evolves with the creator.
MANUS Prime 3 Motion Gloves – These gloves are beautifully engineered, not only functionally accurate but also ergonomically elegant, bridging human motion with digital creation.
A large-scale Evangelion figure – As both a lifelong fan and a designer, I find inspiration in its intricate form and the emotional narrative it carries, which often informs my own design language.
The design of UAI (Useya Advanced Industry) itself – While not inside my home, the space I created reflects my design philosophy—an XR-enabled “secret base” that blends industrial aesthetics with cutting-edge interaction.
Custom-built standing desk with modular 3D-printed parts – It reflects my approach to adaptive, user-centered design that evolves with the creator.
By mid-morning, I head to the UAI (Useya Advanced Industry) facility, which doubles as both a research lab and a digital manufacturing studio. I typically spend the day switching between XR software development, testing smart glasses applications, mentoring interns, and managing remote collaborations.
In the afternoon, I often host virtual sessions with international collaborators or conduct user testing with our SHUGI skill-transfer system. Around evening, I shift toward design planning—refining UI/UX flows or conceptualizing new features based on user feedback.
Late at night, I take time to reflect, sketch ideas, or read about advancements in spatial computing and AI. While the schedule is intense, every day brings new ideas and energy—it’s a continuous loop of learning, creating, and evolving.
In the afternoon, I often host virtual sessions with international collaborators or conduct user testing with our SHUGI skill-transfer system. Around evening, I shift toward design planning—refining UI/UX flows or conceptualizing new features based on user feedback.
Late at night, I take time to reflect, sketch ideas, or read about advancements in spatial computing and AI. While the schedule is intense, every day brings new ideas and energy—it’s a continuous loop of learning, creating, and evolving.
Although I am primarily an engineer, I have embraced the challenge of design as an essential part of creating meaningful and impactful solutions. To young designers—and even those from other disciplines—I encourage curiosity and a multidisciplinary approach. Design is not only about aesthetics but about understanding people, systems, and real-world problems.
Collaboration across fields often leads to the most innovative ideas. Whether you are an engineer, artist, or technologist, keep an open mind and learn from others. Master the tools, but never be limited by them. The mindset and problem-solving approach are more important than any software or technique.
Remember, failure is a valuable part of the learning process. Keep experimenting, sharing your work, and listening carefully to feedback. These steps will help you grow both as a designer and as a creator of meaningful solutions.
Collaboration across fields often leads to the most innovative ideas. Whether you are an engineer, artist, or technologist, keep an open mind and learn from others. Master the tools, but never be limited by them. The mindset and problem-solving approach are more important than any software or technique.
Remember, failure is a valuable part of the learning process. Keep experimenting, sharing your work, and listening carefully to feedback. These steps will help you grow both as a designer and as a creator of meaningful solutions.
From my perspective, one of the greatest positives of being a designer is the opportunity to create solutions that can profoundly impact people's lives and shape the future. Designers have the power to combine creativity with functionality, transforming abstract ideas into tangible experiences that resonate with users. This process is deeply fulfilling and constantly inspiring.
On the other hand, a challenge for designers is balancing creativity with practicality. There can be pressure to innovate while also meeting constraints such as budgets, technical feasibility, and user needs. Additionally, designers often need to communicate their vision effectively to diverse stakeholders, which requires not only design skills but also interpersonal and problem-solving abilities.
As an engineer venturing into design, I see these positives and challenges from both technical and creative angles. The fusion of engineering precision and design creativity is demanding but rewarding, and it highlights the importance of collaboration and continuous learning in the design process.
On the other hand, a challenge for designers is balancing creativity with practicality. There can be pressure to innovate while also meeting constraints such as budgets, technical feasibility, and user needs. Additionally, designers often need to communicate their vision effectively to diverse stakeholders, which requires not only design skills but also interpersonal and problem-solving abilities.
As an engineer venturing into design, I see these positives and challenges from both technical and creative angles. The fusion of engineering precision and design creativity is demanding but rewarding, and it highlights the importance of collaboration and continuous learning in the design process.
My golden rule in design is to always prioritize the user's perspective. No matter how advanced the technology or how innovative the idea, it is meaningless if the design is not intuitive and easy for people to use. True value in design lies in enhancing user experience and solving real problems effectively.
I believe the most important skills for a designer are problem-solving abilities and empathy. It is essential to deeply understand the needs of users and clients and translate those into concrete design solutions. While technical knowledge and expressive skills are important, ultimately, a designer must create designs that truly resonate with people.
Although I primarily work as an engineer, when challenging myself with design, I use the following tools. For software, I mainly use Unity and Unreal Engine, and for 3D modeling, I utilize Blender and Maya. Hardware-wise, I leverage smart glasses like Apple Vision Pro and Meta Quest 3 to incorporate real spatial experiences and movements into the design. Additionally, I draw inspiration from specialized books, design-related research papers, and everyday life and nature.
Designing can indeed be time-consuming, but as an engineer, I focus on efficient project management and breaking tasks into smaller, manageable milestones. I work systematically, regularly checking progress against these milestones. I also maintain close communication with team members when necessary to ensure smooth collaboration and make the best use of time.
The time required to design an object depends on its scope and complexity. For small components or UI designs, it usually takes from a few days to a few weeks. More complex projects, such as entire systems or those involving XR technologies, can take several months. To optimize the process, I emphasize clear goal-setting in the early stages and iterative validation throughout the design.
Although I am not a designer but an engineer, the most frequently asked question I receive related to design is, "How do you come up with new ideas?" I always consider the user’s perspective alongside technological possibilities and engage in continuous trial and error to create innovative solutions.
The most important job experience for me was founding USEYA, a system development company in Osaka in 2008, and subsequently focusing on developing remote manufacturing systems utilizing smart glasses and XR technologies. This experience laid the technical foundation for my current innovative projects.
Our clients mainly include manufacturers, public institutions, educational organizations, and companies or groups interested in advanced digital fabrication and skill transfer using XR technology. Specifically, we collaborate with local governments in Osaka Prefecture, industry promotion agencies, and technical education institutions.
As an engineer, I particularly enjoy designing systems that utilize XR technology. This type of design goes beyond aesthetics to directly improve user experience and address social challenges such as skill transfer. I find it rewarding when technology and design come together to innovate how people live and work.
In the future, I plan to further develop the UAI skill transfer system using XR technology and expand its application across various industries. I also aim to enhance integration with AI and full-body tracking technologies to achieve more advanced and efficient remote manufacturing support. Personally, as an engineer, I will continue challenging myself in the field of design, creating new value by combining technology and creativity.
As an engineer, I focus on technology development, but at USEYA, I closely collaborate with a team of designers and creators. Our projects progress through this teamwork, where diverse expertise combines to produce more innovative and high-quality designs and systems beyond what any individual could achieve alone.
Currently, we are working on further developing "SHUGI," a skill transfer system that combines XR technology and AI. This system digitally records and analyzes expert craftsmanship, enabling trainees to acquire skills visually and quantitatively in real-time. We are expanding capabilities such as full-body motion tracking and multilingual support to build a universal UI/UX that can be applied across various industries.
For inquiries, please contact us via our official company website or email. More details can be found on the USEYA Corporation official website.
One additional point I would like to mention is that our efforts in skill transfer and remote manufacturing using XR technology are poised to make a significant contribution to the sustainability of industries and society in the future. I also want to highlight our goal of creating new value through the fusion of design and engineering.
Interview about U a I XR Workshop Grand Interview