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宇宙と素粒子の謎を探求するための研究拠点が集まる岐阜県飛騨市神岡町。「ひだ宇宙科学館 カミオカラボ」は、飛騨の山中地下1,000mに人知れず存在する実験装置を用いておこなう研究の魅力を広く伝え、科学と社会の新しい関係性をつくるためにすべての人に開かれた場所として道の駅「宙（すかい）ドーム・神岡」にオープンしました。世界中で研究が進められている謎の多い不思議な素粒子「ニュートリノ（※1）」。これを観測する世界最大の地下ニュートリノ観測装置「スーパーカミオカンデ（※2）」は、ニュートリノ研究を通じて未解明である宇宙の謎を解き明かす鍵を握っています。カミオカラボでは、そんなニュートリノの不思議な特性紹介や、宇宙というマクロな世界とニュートリノというミクロの世界を行き来するような日常と離れた体験ができる空間を目指しました。 ※1：「ニュートラル=電気を持たない中性」「イノ=（イタリア語で）小さい」という意味の名前を持った素粒子のひとつで、謎の多い不思議な素粒子として、世界中で研究が進められている。 ※2：スーパーカミオカンデ：東京大学宇宙線研究所が運用する世界最大の地下ニュートリノ観測装置。ニュートリノそのものの性質を調べるとともに、ニュートリノを使って宇宙の歴史を明らかにしようとしている。   【お客様の課題／ご要望】 ・一般の方は年間1,000名程度しか見学できないスーパーカミオカンデを今回の施設で多くの人に体感してもらうこと。 ・施設を通してスーパーカミオカンデの活動及び物理に多くの来館者が興味を持ってもらうこと。 【解決策】 ・来館者が理解しやすいように臨場感ある大画面映像及びゲーム等を通して、多くの来館者に体験・体得してもらう。 【お客様の声】 展示対象の研究領域を専門とする学芸員を有しない体制で本施設が魅力あるものとして生まれた背景には乃村工藝社様の企画力が存在していると思われます。 ＜当社プロジェクトメンバー＞ 【営業・プロジェクトマネジメント】三輪 晴也 【企画】原 克己、岸田 匡平 【デザイン・設計】水野 考基、湯浅 忠 【制作・施工】一万田 隼人、堀 七重、鈴木 俊幸、山田 克己、下出 宜精

水族館史上初！「いのち」をテーマにした”語る”ミュージアム。 城崎マリンワールド内での繁殖活動から知り得たことをスタッフ自身が語ってゆくコンセプト。メッセージ性のあるコピーから拡がるビジュアルや展示を、一枚のグラフィックとして捉え空間全体をデザイン。25ｍ×5ｍの大迫力の大型映像では豊岡地域の活動「コウノトリ繁殖プロジェクト」をダイナミックな自然の美しさと共にメッセージ化、その活動の軌跡を伝えました。 ＜当社プロジェクトメンバー＞ 【営業・プロジェクトマネジメント】岩本 典之 【デザイン】高橋 建司 【プランニング】岸田 匡平 【制作】貴志 晃充、舩倉 道孝、徳田 洋之助、長尾 成生

秋田犬の聖地である大館市に新設された「秋田犬の里」の展示プロジェクトです。本物の秋田犬に触れあえる機会を提供する貴重な場を活かし、秋田犬とのつきあい方や大館市との関係を楽しく知ることができる展示空間を創出しました。   【お客様の課題／ご要望】 JR大館駅前に観光案内所と併設されるため、観光客が楽しく観覧できる気軽さと、程よい情報量が求められました。また、本物の犬との触れあいコーナーは、犬にストレスを与えないデザインであることが最優先事項であり、工夫が必要でした。   【解決策】 テントやハンモックなどにより、ちょっと大人のキャンプをイメージした明るく心地よい空間づくりをおこないました。その中で、気軽にできるスタンプやフロッタージュで遊んだり、大館生まれの秋田犬の歩みを知ることができる展示空間としました。触れあいコーナーは犬のストレスに配慮するとともに、運用しやすいケージを導入しています。   ＜当社プロジェクトメンバー＞ 【営業・プロジェクトマネジメント】加藤 明 【企画】稲垣 美麻 【デザイン・設計】上原 裕、渡邉 美香 【制作・施工】花山 純哉

福島県二本松市では、菊人形や一本の茎から数百、数千の菊花を咲かせる「多輪咲」などの「魅せる菊」を作ってきましたが、品評会出展や秋の菊花展示にとどまっていました。しかし、多様なシーンや空間の彩りの中で、今の時代に合った形で菊を活用していただきたいという想いから、2016年に二本松の菊の魅力向上を目指す「菊のまち二本松ブランディングプロジェクト」を立ち上げました。 プロジェクト2年目となる2017年に、明治時代に全国で菊人形展を大規模化し、集客イベントとして拡大したことが創業のきっかけの一つでもあった当社に、ブランディング業務のご依頼をいただきました。 当社は二本松市とともに伝統ある二本松の菊づくりの新たな価値を高め、「菊のまち二本松」を日本へ、世界へ発信するブランドへと進化させていただくお手伝いをさせていただきました。 ◆プロジェクトHP ※外部のウェブサイトに移動します。よろしければ下記URLをクリックしてください。 http://senrinzaki.jp/ ※ご注意 ・リンク先のウェブサイトは、乃村工藝社のウェブサイトではなく、当社の管理下にはないものです。 ・この告知で掲載しているウェブサイトのアドレスについては、当ページ作成時点のものです。ウェブサイトのアドレスについては廃止や変更されることがあります。最新のアドレスについては、ご自身でご確認ください。 ・リンク先のウェブサイトについては、リンク先の組織・団体等にご確認ください。   【お客様の課題／ご要望】 菊人形や千輪咲といった高等な園芸菊栽培技術が残る二本松市の菊づくりをブランディング、新規事業化し、多世代交流、まちづくりなどの象徴としたい。また、二本松市の菊がブランド化されることにより、菊に関するセカンド商品（土産品・菊グッズ等）の新規創業・新分野進出、菊を見に来る来訪者の増加により観光業を中心とするサービス業等の雇用増加につなげたい。 【解決策】 ・花卉、ディスプレイ業界へのマーケティング・市場調査、商品供給における課題の整理、販売戦略の立案 ・ブランド・コンセプトの策定 ・ブランドロゴマーク、カラーの策定 ・商品となる「千輪咲」「百多輪」「懸崖」といった二本松の菊を販促するための商品カタログの制作 ・プロジェクト専用LPの制作 ・プロモーション戦略の立案 ・プロモーションムービー（日・英）の制作 ・イベント出展支援・プロデュース ・市内事業者へのブランディング・商品開発セミナーの開催 ・商品開発支援 【お客様の声】 　伝統ある「二本松の菊」づくりについて、その魅力をさらに引き出すようなプロモーションツールの制作や、これまで考えもしなかったアートイベントへの出展など、新たな魅せ方のご提案をたくさんいただき、「二本松の菊」のもつ可能性を確認することができました。プロジェクトを通じて、国内外のたくさんの方に「千輪咲」を知っていただけて、初めての海外への展開も実現しました。プロモーションや展示のみならず、地元事業者との関連商品開発や「菊人形展」へのアドバイスなど、多岐にわたってサポートいただき、市民の機運醸成も図ることができました。 ＜当社プロジェクトメンバー＞ 【営業・プロジェクトマネジメント】横田 浩志 【企画・ディレクション】下國 由貴 【デザイン・設計】深野 友規　　中川 百合 【PR】深沢 后礼 【制作・施工（DESIGNART TOKYO 2017／2018出展時）】島田 武 【DESIGNART TOKYO 2018出展時コラボレーション】内山慧子(NOMLAB)    ・NOMLAB  DESIGNART2018出展作品「千輪咲」菊MR  http://www.nomlab.jp/jp/projects/detail/15  ・リリース情報 https://www.nomurakougei.co.jp/uploads/news/attachments/1/a7a75355626e63682aa71e0b4fb11fc91cfaa652524366dc8f100e9f068d9f55.pdf

This is the third facility renovation we have undertaken within the castle park, following the Odawara Castle Keep and Tokiwagimon Samurai Museum. This is a historical experience museum where you can learn about the Odawara ninja "Fuma", who are said to have supported the Odawara Hojo clan behind the scenes, in a fun way through digital technology and real-life experiences. We are in charge of the overall planning, design, layout planning, production and construction of the displays and digital content, as well as assisting with the operation plan for the entire museum. In addition, 88% of the wood used is from Odawara (certified as a Kanagawa wood production area), which also contributes to the revitalization of Kanagawa's forestry and wood industries. ◆Odawara Castle Keep https://www.nomurakougei.co.jp/achievements/detail/242 ◆NOMLAB Nomura Open Innovation LAB, a specialized organization developing the digital communications field at NOMURA [NOMLAB (commonly known as Nomura Lab)] http://www.nomlab.jp/jp/ <Our project members> [Development] Akinori Ogasawara, Annin Sawada [Sales/Project Management] Annin Sawada [Planning] Wakako Satake [design, layout] Sayaka Horikoshi, Toshie Makigara [Content Director] Hitomi Nakamura (NOMLAB), Keiko Uchiyama (NOMLAB) [Air conditioning equipment design] Tadahiro Nakajima [Electrical lighting design] Yuko Yamashita, Yuya Tsuboi [Production/ construction] Hironari Ota, Junichi Ito, Toshiyuki Suzuki, Hiroyoshi Mima, Kei Yokoyama

[Project Description] This is a municipal central library located on the first floor of Kikuchi City Lifelong Learning Center KiCROSS. The large, curved, undulating bookshelves are inspired by the flow of the river in the Kikuchi Valley, the pride of Kikuchi City, and are used to concept design a diverse space that creates a variety of experiences. The bookshelves gently divide the space, inviting people in, and characterizing the space from a lively area near the entrance to a quiet place for reading. The bookshelves create a variety of spaces by changing their shape, with holes, steps, and enclosed areas. NOMURA has also been commissioned to concept design applications such as displays corners, facility VI concept design, library signs, and pamphlets. The open shelves can store a maximum of 85,000 books. <Our project members> [Sales/Project Management] Masanori Yokoyama [Direction] Kazunobu Nakamura [Planning] Yuichi Kameyama, Miasa Inagaki [design, layout] Kazunobu Nakamura [Production/ construction] Shunichiro Nagayama, Kensaku Yajima, Koichi Yamada

[Project Description] We created a space in the large shopping mall "LaLaport Shonan Hiratsuka" where functions are integrated to make it more comfortable and safe for families with children. The 170m2 kids' zone "Kids Park" attached to the food court is divided into areas for different age groups, and uses highly cushioned interiors materials with sufficient consideration for safety to provide a space where children can play safely. "Koniwa House" is a rest area where parents with children can take a break. It has a small garden where adults and children can take off their shoes and relax, a space to feed baby food, and a nursing room where you can stretch your legs and relax. [Project highlights] ・Considerations were taken to reduce the psychological and physical burden on not only children but also parents, with features such as a kids' zone where children can take a break before and after meals and eat while being supervised, and a nursing room where children can stretch their legs and relax. ・Zoning was implemented according to different ways of spending time, with zones for quiet play, active play and babies. ・Incorporating mechanisms that stimulate children's instincts and curiosity in a simple space. <Our project members> [Sales and project management] Ikuta Hidefumi [Planning] TeamM [design, layout] Suzuki Yoko, Omoto Kenta, Yamada Ayaka [Production and construction] Iwakura Katsue

[Project Description] We assisted in the construction of the new museum's permanent displays Room in displays and the renovation of the existing displays Room in displays (design: construction). < our company Project Members > [Sales/Project Management] Toshiyuki Otani [design, layout] Yutaka Uehara [Production/construction] Jiro Kusujiro and Hiroyoshi Mima

[Project description] The key point of the renewal is to make it possible for the museum to keep up with the new developments in astronomy information that occur every day through displays. For example, we have created a system that allows the museum to update its own software to incorporate new information, and a communication space where the latest information can be posted. The design was made with over 100 registered astronomy volunteers in mind, not only as a place to gather every day to exchange information, but also as a place for community activities where they can give explanations to visitors and make research presentations. <Our project members> Art direction: concept design Shunsuke concept design: Makigara Toshie Equipment concept design: Suzuki Toshiyuki Production planning: Ito Junichi Production management: Ikeya Yu, Shimada Takeshi Produced by: Yoshioka Shin

[Project Description] The Heijo Palace Izanaikan is a guidance facility located in the Suzakumon Square in the Heijo Palace Historical Park. It conveys the significance and splendor of the Heijo Palace Historical Park, a "special place" where you can feel the Nara period in the present, and invites you to the park and temples and shrines that still retain the atmosphere of the past. [Customer's Issues/Requests] In order to invite visitors to the Heijo Palace ruins, we aimed to create a guidance displays that would increase interest in the Heijo Palace ruins and connect them to the impressions they get when they are there. [Solution] We aimed to invite visitors to the field by spatializing and experientially impressing the "specialness of the Heijo Palace ruins, which is difficult to see on site. The zones are roughly divided into three parts: "Heijo Palace Ruins Now," which guides visitors through the current park; "The State of Heijo Palace," where you can learn about and experience the activities of Heijo Palace in the past; and "Beyond Time," where you can understand the Heijo Palace and Kyoto of the past through relics. Each zone has a different perspective, and by impressing the specialness through the five senses, we have created displays that connects to the impressions they get when they are there. <Our project members> [Development] Haruya Miwa, Kazuya Hashizume [Sales/Project Management] Haruya Miwa [Planning] Shigeo Fujii, Yuka Sueda, Setsuko Nishimura [design, layout] Takeo Akamine, Tadashi Yuasa, Tomoyo Tsukiyama [Signs/Graphics] Yoshito Inoue, Satoko Hasegawa [Production/ construction] Hayato Ichimata, Goro Yamano, Ryohei Yamaoka, Yoshito Inoue, Katsumi Yamada, Satoko Hasegawa, Nanae Hori [public relations] Takeo Akamine, Shigeo Fujii, Yoshito Inoue, Satoko Hasegawa [Verification Engineer] Kazuya Hashizume

[Project Summary] Linking displays with scenery, fields, life, and thoughts. 20 years have passed since the museum opened, and the relationship between the lake and humans has been deepened through displays. concept design, which links displays with scenery, fields, life, and thoughts, is based on the changes and progress of 20 years in each habitat, and the relationship with people, and through experiences, dioramas, and live-animal rearing, it truly presents the current state of Lake Biwa. In the "Creature Collection" in displays Room C, a space is created where visitors can feel the beauty and diversity of the creatures living in Lake Biwa and its catchment area at a glance. In the Aquatic displays Room, underwater creatures are visualized, which leads to an interest in living creatures. With the addition of the popular Baikal seal and the "Micro Aquarium" which handles microorganisms, the museum has attracted many visitors and researchers as a new form of museum. [Customer's Challenge] 20 years after the opening, displays have been renewed and the aging facilities have been updated. The mission of the museum was to make a new start as a comprehensive museum that would fulfill the role that the original Lake Biwa Museum aimed for, and would evolve further to be familiar and utilized by the people of the prefecture. In addition, regarding the aquatic displays, the museum was required to displays the Baikal seal, the only animal in the world that lives in fresh water, and to widely communicate its ecology to the people of the prefecture. The client's request was to create displays that would be enjoyable and understandable for a wide range of people, from children to adults, with Lake Biwa at the center. [Solution] In displays Room C, visitors of a wide age range are given an explanation of the nature, ecology, folklore, and creatures of Lake Biwa through hands-on experience. In the aquatic displays, the museum also focused on the very small plankton, and introduced the shape and ecology of plankton in a lab format, creating displays that is unique in the country. <Our project members> [Development, sales, project management] Haruya Miwa [Research and planning] Taihei Samejima [design, layout] Masaaki Mitsunaga, Kaoru Sone, Tadashi Yuasa, Rie Morita, Mina Miyagi [Sign and graphic concept design] Satoko Hasegawa, Nanae Hori [Production and construction] Yoshito Inoue, Hayato Ichimanda, Goro Yamano, Ryuichi Shimada [public relations] Hidetoshi Tsukahara

[Project Summary] The Kagoshima City Archaeological Museum was established with the aim of deepening the citizens' understanding of the history of Kagoshima City through the cultural heritage left by our ancestors, and contributing to the creation of a unique civic culture. In particular, the experiential displays, such as the "Excavation Experience" where you can experience what it's like to be an archaeologist, and the "Let's take a shape with a giant arc" where a tool for examining the shape of pottery is enlarged, are very popular, and foster an interest in archaeology and the history that it reveals in children. We have consistently assisted with the basic plan, design, and construction. [Client's Issues] After 20 years since its opening, the museum has become noticeably old, and the content and facilities needed to be renewed. displays renewal was carried out to present the latest research results, introduce experiential displays, and develop bright and easy-to-update displays facilities. The plan has three directions: the first is to create a region-specific displays that pursues "Kagoshima-ness," the second is to create a fun and educational museum that aims to "create a place for participatory experiences," and the third is to develop displays environment as "creating an environment to realize a facility that is more user-friendly." This was aimed at creating a facility where everyone, from children to adults, could enjoy learning about the archaeology of their hometown. [Solution] The first thing that gives the impression of "Kagoshima-ness" is the huge topographical table of the entire city of Kagoshima, including Sakurajima, which is located in the center overlooking the atrium space. It is accompanied by easy-to-understand explanations of the ruins in each area. Next, a representative example of "creating a place for participatory experiences" is the experience corner, which is made up of numerous hands-on items, for learning about archaeology in a fun way. And as for "creating an environment to realize a facility that is easier to use," we made detailed proposals such as an airtight case that allows humidity control, the introduction of people-friendly universal concept design, and the installation of environmentally friendly LED lighting. <Our project members> [Development] Tatsuya Fujii [Sales and project management] Tatsuya Fujii, Yumeki Kusumoto [Planning] Takeshi Shin, Kyohei Kishida, Setsuko Nishimura [design, layout] Sho Inanobe [Production and construction] Yoshito Inoue, Hayato Ichimata, Takeshi Suekawa, Shin Kameoka, Nanae Hori [maintenance management] Katsumi Yamada, Takatoshi Nakamura

[Project Summary] Karatsu has been a gateway to the continent since ancient times. During the Edo period, the Karatsu Domain was an important base for the Shogunate's governance of Kyushu, and was also a historical and cultural city where unique cultures such as Karatsu Kunchi and Karatsu ware flourished. What is expected of Karatsu Castle, the starting point of Karatsu tourism, is to utilize the charm of Karatsu's shining history and culture and play the role of a circulation device for walking around the city. We comprehensively reviewed displays, facilities, and operations, and aimed to redevelop it as a comprehensive facility and guidance facility for Karatsu City's "walking around the city" as a base to revitalize the region by maximizing the appeal of Karatsu Castle. We have consistently assisted with the basic plan, design, and construction. [Client's Issues] There were three issues with Karatsu Castle before the renovation. The first was that the client was eager to update the aging facilities, outdated displays, and outdated displays themes. The second was that Karatsu City's attractive resources were not being fully utilized, and collaboration with collections and other tourist spots was necessary. The third issue was safety and cultural property protection, and we needed to address issues such as natural lighting, universal concept design, earthquakes, and theft. By solving these three issues, we aimed to create a tourist base worthy of being a "tourism and cultural exchange city where authenticity shines, surrounded by nature, history, and culture." [Solution] In order to solve these issues, we aimed to realize an "displays that allows visitors to enjoy Karatsu," and actively utilized IT, such as developing displays story centered on the history of the castle town and the successive castle lords, creating an attractive displays space that makes use of Hizen domestic products illustrations and Karatsu ware, and introducing AR to explain displays. Next, we aimed to realize a "comfortable displays," creating a space with a sense of hospitality, such as a museum shop, reviewing the flow of people inside the building and taking into consideration those with weaker views, such as foreign tourists, installing toilets, stair lifts, and a multipurpose room. Furthermore, in order to realize a "safe displays," we enhanced the functions of the facility as an introduction to tourism in Karatsu, such as a tourist information corner, promoted mobility by disseminating information about tourist facilities, and thoroughly implemented risk management for accidents and losses. These are the three solutions we came up with. <Our project members> [Development] Yumeki Kusumoto [Sales and project management] Tatsuya Fujii and Yumeki Kusumoto [Planning] Takeshi Shin and Kyohei Kishida [design, layout] Masaaki Mitsunaga and Rie Morita [Production and construction] Takeshi Suezaki, Goro Yamano and Nanae Hori [maintenance management] Katsumi Yamada and Takatoshi Nakamura

[Project Summary] The museum, which boasts a collection of masterpiece chairs and posters, places more emphasis on the perspective of concept design than ever before, and aims to be an experiential creative museum that "connects art and concept design". There are six displays rooms, large and small. Our company was in charge of designing and construction the wall cases in the special displays room on the second floor. In addition to permanently displays about 50 chairs from the collection of about 240 chairs, we developed an displays system for the concept design displays room, which boasts a collection of about 13,000 posters. We were also in charge of displays works and materials by Shuzo Takiguchi and Simon Goldberg, which were donated during the time of the Toyama Prefectural Museum of Modern Art. In the hall, we developed an experiential "interactive art" that creates light art with body movements. [Customer's Challenge] A collection of 20th century art and an unparalleled collection of concept design (chairs, posters). The aim is to create an experiential creative museum where visitors can freely stroll around this rich collection of art, not only deepening their knowledge of one thing, but also grasping things in correlation with various genres, and developing deeper understanding and thinking skills. [Solution] We created distinctive displays spaces for each displays room's theme through fixture planning, color planning, lighting planning, video and audio planning, etc., creating spaces for memorable art and concept design experiences. We also introduced "interactive art" to the displays, which creates light art through body movements, contributing as one element of an experiential imaginative museum that connects art and concept design. <Our project members> [Development] Ishikawa Atsushi [Sales and project management] Ishikawa Atsushi [design, layout] Kasuga Yasushi [Production and construction] Nagayama Shunichiro [Video] Goto Akinori

[Project Summary] This project involved a complete beautification and renewal of the existing Seibu Chichibu Station building, with the aim of creating a new, lively base for regional tourism that would bring together the diverse charms of the Chichibu area and promote them to the world. The diverse charms of the Chichibu area are promoted through the selection of materials unique to Chichibu, such as locally produced cedar wood and paper lanterns, and the creation of an original logo. We assisted with the concept, basic architectural and interiors concept design, and design supervision. [Client's Challenge] The station building was required to increase the expectations of customers about to visit tourist spots, and to leave a lingering impression on customers returning from tourist spots, making Chichibu tourism more memorable and contributing to the sustainable development of the region. [Solution] We aimed to create a station building that would bring together the diverse charms of Chichibu, such as its rich nature, inherited culture, and vibrant festivals, and be loved by the local community, and to be a "place" that communicates and connects with visitors. Against a background of "ink color" that exudes dignity, the local culture is expressed through the use of locally produced "Chichibu cedar" wood and the local industry of "paper lanterns." The delicate latticework of the "woven pattern" that weaves together the scenery and culture, and the "Chichibu crest" that changes with the seasons add color to the space, making it a place where you can feel Chichibu everywhere. In a space that emphasizes the climate, history, and culture of Chichibu, we planned a "place" where the local area and tourism are connected and new experiences and communication are born. [Our project members] [Development] Toshiyuki Shirai [concept design] Toshihito Kato, Takashi Myochujo *The opening year listed below is the year the renovation work was completed.