Taro Nakamura

I build sets and prototypes under clock pressure, where benches must hold, align, and recover fast. I spec gear that survives transport, humidity swings, and continuous clamping without drama.

On a film set build, our portable bench collapsed during a glue-up, costing half a day and a lot of swearing. The replacement was overbuilt, ugly, and blissfully unremarkable—it never failed. That contrast taught me: repeatability beats cleverness, and a bench’s real job is to disappear into the work.

I favor overbuilt structures, standard hardware, and repairability over clever features.