Recruitment information

Deliver "Delight and Passion" to people
through space creation

Atsuko Ishikawa has worked as a librarian supporting the creativity of NOMURA, Ltd. She has made an effort to build an information database and create new value for NOMURA that is known throughout the world. She also works as a "storyteller" who conveys the company's history, aiming to create fans of the company. She talks about the values she has held toward her work, which she has held since joining the company, with an eye to the future. From part-timer to full-time employee. Ishikawa was attached to the Knowledge Support Room in the Human Resources and General Affairs Department of NOMURA 's Osaka office, where she was attracted by the fact that it was a "company that is not like a company." After working in the information resource room for 42 years, she retired in March 2023. She is now an external cooperation staff member, and continues to be responsible for tasks such as accepting, reorganizing, and managing materials related to the Expo. Ishikawa: "I met NOMURA by chance. At the time, I was a university student and was studying to become a librarian in a seminar. At that time, a friend from university asked me if I wanted to work for a company that was looking for part-time librarians. I was asked to give it a try." I was assigned to put 7,000 to 8,000 books spread out on the floor into empty bookshelves. Ishikawa: "I remember being surprised that most of the books were in the fields of architecture and concept design. There was a bias towards certain genres, and many of them were foreign books, so I couldn't classify the books well using the Nippon Decimal Classification used in public libraries, so I consulted with the head of the department and decided on my own classification." During the winter break, I received another offer for part-time work. At that time, a female employee in the same department asked me, "If you haven't found a job yet, why don't you come to NOMURA?" This was the trigger for Ishikawa to get a job. Ishikawa: "I was attracted by the company's atmosphere and the personalities of the employees, so I decided to join the company. However, at the time I knew almost nothing about NOMURA, Ltd. I had been to the 1970 World Expo (Osaka Expo) when I was 12 years old, and was overwhelmed by it, but I never imagined that NOMURA was in charge of the pavilion displays. I had no knowledge of interiors or concept design work involved." However, even without a deep understanding of the work involved, he felt a vague attraction to NOMURA, Ltd. Ishikawa: "Looking back, NOMURA Ltd. at the time was, in a good sense, a "company that didn't seem like a company." People who looked like they were not really company employees were working with enthusiasm, and I was shocked to discover that such a world existed. I think it was quite rare at the time to be in an environment where people would listen to me as an equal, even though I was a young person who had just graduated from university. As I studied and somehow learned the job every day, something happened that flipped a switch in my awareness. One day, an employee came into the information reference room and asked, "Where is the book that has the Pompidou Center in it?" At that time, my senior colleague who was sitting next to me immediately replied that it was in the book on which row of the shelf, on which level, about the middle page. At that moment, I strongly felt that I wanted to be like him, that I had to be like him." Producing original content "EXPO REPORT COLLECTION" ▲ Ishikawa says that the most important role in the work of the "EXPO GALLERY" (reservation required), which opened in January 2023, is "reference." He answered questions from employees who came to the reference room and guided them to the most suitable materials from among the 20,000 books. At the same time, he collected completion photos of the deliverables at the Osaka office. He created an environment where anyone at the Osaka office could easily view them. Ishii: "Then one day, when I was collecting completion photos, the chief designer told me, 'Your work is half-hearted.' He said, 'You can find out about the work at the Osaka office by asking the person in charge directly. Instead, I want to know what the Tokyo head office and the branches are doing.' Aware of this need, we began exchanging information with the Tokyo head office and each branch." After a while, when the age of the Internet arrived, Ishikawa began managing the completion photos digitally and making them available on the company's in-house network. At the same time, he put the existing book register into a database and put in place a system that made it easy to search. Gradually, he says, people began to say, 'If I ask Ishikawa in Osaka, I'll get an answer.' Ishikawa: "However, I felt that it was difficult to get people to understand the necessity of an indirect department like ours - that is, a department that doesn't directly generate profits. I began to think in my own way about what we could do to become a department that wasn't thought of negatively, such as, 'Maybe we don't need that department.'" After thinking about how he wanted to increase the value of the information resource, Ishikawa arrived at the decision to create original content that only NOMURA could offer. Ishikawa: "In 1992, we published our 100th anniversary corporate history, 'Display: A 100-Year Journey.' The corporate history room happened to be part of the Osaka office's archives. I was watching the production from the sidelines. After the 100-year history was published, the person in charge of the corporate history told me, 'There is an external supervisor, Mr. Tsuyoshi Terashita, who has been collecting and storing materials from some of Japan's leading expositions for the past 40 years.' He also told me, 'When you've finished your work, go and see the materials.' I knew it was me. Exposition materials are related to the core of our business. I thought they should be organized as original content, so I went to see the materials with my boss." Ishikawa was deeply moved when he saw Terashita's valuable materials. After signing a memorandum, it was decided that the collection, which was the equivalent of two 2-ton trucks, would be donated to NOMURA as exposition materials. This was the beginning of our original content, "EXPO MATERIALS COLLECTION." Ishikawa: "The collection was so huge that sorting it was extremely difficult. The catalogue of materials was only in Terashita's head, so we started by understanding the whole picture. Official records, photo albums, postcards, medals. To classify the materials, we had to check all the materials once before we could decide on a category. So after checking everything, we started to create the database. It was only when we finished that we realized there were just under 10,000 items in total. The only condition that Terashita set when donating the materials was that they be put to good use in society. That's why we were determined to manage them as a highly convenient database and make them available to the public in a form that could be accessed both inside and outside the company. In the end, we received the kind words from Terashita, who said, 'I couldn't have done this on my own. I'm glad I donated them to you.'" (Reference: Nomulog "Things that can be passed on - A collection of materials from domestic and international expositions and expositions" Organizing exposition materials that would allow the baton to be passed on to future generations without dispersing the collection was a major milestone in Ishikawa's career. Ishikawa "Once we made the 'EXPO Materials Collection' public, we saw a steady increase in inquiries from outside. Researchers from Japan and abroad wanted to see the materials, and we began to be contacted by media requesting the provision of images. The information resource room went beyond its function as an in-house library to become something like a point of contact for the outside world, and I remember feeling like the scale of the work I was involved in had increased dramatically." The collection is one that Terashita has amassed over the course of 40 years. Ishikawa will continue to work single-mindedly with the mission of making the materials useful to society in mind. Ishikawa "One of the members of the 2025 World Expo team said something very memorable to me. They said, 'You can change the future, but you can't change the past. The fact that we've properly accumulated all these Expo materials will never change.' Even if other companies in the industry wanted to do something similar, they would have to start from scratch, but our company has already accumulated about 20 years of experience. This is a great strength. I think that many of our current employees, especially the younger generation, don't know anything about expos or World Expos. First of all, I want them to look at these materials and learn more about the company I work for, NOMURA, Ltd. And I would be happy if they were proud of our company. I want to pass the baton to future generations without letting the collection dissipate." 42 years of service. The words exchanged and the connections with people are precious treasures ▲ Presentation at the Event Society Research Conference (2010) As he had more opportunities to interact with people outside the company, Ishikawa decided to obtain a curator's qualification. He obtained the qualification when he was over 50 years old. In 2012, during NOMURA 120th anniversary, he joined the company history compilation department and gained a deeper understanding of the company's history. Since then, at the request of the Human Resources and General Affairs departments, he regularly speaks about NOMURA 's history to mid-career employees and external executives. His goal is to "create fans of NOMURA." Ishikawa: "I have been involved with NOMURA for 42 years, and before I knew it, I had become a fan of NOMURA myself. The founder, Yasusuke Nomura, was the kind of person who would never say 'I can't do it,' even when given an impossible task. He would always offer an alternative, saying, 'I think we can make it happen this way.' When I joined the company, the fourth-generation president, Eiichi Arita, was also a very creative person, more like a designer than a manager. I still find the inquisitive personalities of the previous presidents fascinating. I think that the personality of the presidents spreads throughout the company. The current employees are all people who will boldly overcome any difficult situation and will absolutely see it through. I feel that everyone is pursuing 'NOMURA level' work. I have worked in the reference room for a long time and met many people. The words we have exchanged and the connections we have made are treasures in life. Words like 'thank you' and 'you helped me' have been the greatest encouragement. After participating in the Expo Study Group, I was asked to take on the challenge of writing a 20,000-word paper, which turned out to be a turn of events that exceeded my expectations. I am very grateful for that. Compared to when I first started working there as a part-timer, NOMURA has become a much more company-like company. But what has never changed is that each and every employee has a strong sense of individuality, and that this is respected. I will continue to work with pride as a fan of NOMURA," said Ishikawa, who found himself joining NOMURA through a fortuitous encounter. Now that he has devoted himself wholeheartedly to the challenges before him, he feels that his life has become more vividly colored. *The content of this entry is current as of December 2023.

Hiroshi Inoue is mainly in charge of the hotel market and serves as room chief. concept design that prioritize experiences that change the user's mind are winning the hearts of customers. While he is a designer, he also works as a Shinto priest in his family's business, and uses his experience as a unique characteristic in his work.This article explores the values that Inoue values. The first thing to think about is "experience." Inoue belongs to the 4th concept design Department of the First Design Center of the concept design Headquarters, which creates experiences and transforms them into concept design. I joined the company in 2007, and since 2017 I have been mainly responsible for hotels and regional revitalization projects. Inoue: ``I often work with hotel operators who place importance on storytelling and customer experience.For example, Hoshino Resorts started work with KAI Kaga, and OMO7 Asahikawa, the first OMO brand store, also opened. In 2021, I helped ARTH Co., Ltd. convert an old private house in Izu into an auberge (restaurant with accommodation facilities) called LOQUAT Nishiizu.'' concept design of the hotel was Inoue's commitment is to think about the "customer experience" first. Inoue: ``It's quite difficult to attract customers based solely on the appeal of the space concept design I stay there myself, I get more satisfaction from the variety of experiences and the number of times I can talk with the staff than from interiors.'' OMO7 Asahikawa When I was in charge of ``By Hoshino Resorts,'' I thought about creating an experience that would connect staff and customers, and created a space based on that experience.A faucet shaped like a carved wooden bear is a classic Hokkaido souvenir that allows you to enjoy a local welcome drink. I believe that by creating devices that lead to experiences in the space, such as creating a space, the stay itself will be enriched and satisfaction will be increased.'' Inoue's own experience is the starting point for his thinking. I trust my instincts and create customer experiences. Inoue: ``Hotels set up personas (typical user images), and make assumptions such as ``A couple in their 30s will stay there, and they have these hobbies...'', but only those people will fit that description. I believe that there will be a discrepancy between the persona and the person who actually comes, so I think that anyone who stays at a hotel that they and their family find ``fun'' will find it enjoyable. Inoue also currently works as a part-time lecturer at Tokyo University of the Arts, and is also involved in the Shinto priesthood at a shrine in his hometown of Okayama. In a company culture that views complex work styles as ``interesting,'' he embodies his belief that ``more than being an office worker, one should live as a designer.'' Inoue: ``During the year-end and New Year holidays, I return to my family's shrine in Okayama and serve as a successor.In 2018, I took a year off to obtain Shinto priesthood qualifications.My boss at the time told me, ``What will happen next?'' I remember someone telling me, ``I think it would be good to have such a designer in Okayama who works as a Shinto priest while concept design in Okayama, because there will be more freedom in working styles in this society.'' The lifestyle of each designer is directly reflected in their work. I feel like this is a company that is directly connected to my output, and that makes my unique career interesting as an individuality.'' I was moved by the designer's words, ``Let's do it together,'' and joined Hiroshima Kogyo when I was a student. Studied architecture at university's Department of environmental design, majored in concept design at Tokyo University of the Arts' graduate school, and acquired a wide range of knowledge from interior design to urban concept design. During my job search, I went to interviews in various industries, and the deciding factor in my decision to join NOMURA was the interviewer's words. Inoue: ``The main interviewers were three designers, and after they gave a presentation on their work related to urban development, Echiyo Suzuki, who is currently our executive creative director, said, ``I am also involved in urban development like this. Let's do it together.'' I got the impression that the company was seriously looking for people to work with, and I had an image of working as a designer, so I decided to join the company.'' Creating my own work I had a hunch that the work at NOMURA was an extension of this. After joining the company in 2007, I was assigned to CC Company (abbreviation for Creative Communication), which handles corporate culture-related projects. Inoue: ``At the place I was assigned, I was involved in creating facilities that disseminate information such as museums, displays, and corporate showrooms.I spent about 10 years creating spaces based on the idea of ``how to convey information,'' and in 2016 I completed a junior rotation. As part of the system, I was transferred to the Chubu Branch, where I was in charge of a project for Hoshino Resorts, a commercial company.''The first project Inoue was in charge of for Hoshino Resorts was the renovation of the public bath at KAI Kaga, which was experiencing sluggish customer satisfaction at the time. . Inoue, who started his career in the corporate culture field, made proposals from a different perspective than other designers. Inoue: ``I gave a presentation saying that no matter how cool a public bath is concept design, it will not increase customer satisfaction.I believe that customer satisfaction depends on how conversations occur with customers. It is important to create a space where conversations can naturally occur, such as, ``I heard that Kutani ware is famous in this area?'' ``This time, we will concept design with a focus on how we can increase the number of conversations.'' When I proposed this proposal, Representative Hoshino highly praised it and said, ``It's an interesting proposal.'' Since then, I've continued to work on projects for Hoshino Resorts.''Customer satisfaction Proposing a hotel concept design to improve the quality of the hotel ▲ “OMO7 Asahikawa by Hoshino Resorts” Having been involved in a variety of projects, two that remain strongly in Inoue’s mind are the 2018 “OMO7 Asahikawa by Hoshino Resorts” and the 2021 “OMO7 Asahikawa by Hoshino Resorts” project. "LOQUAT Nishiizu". OMO7 Asahikawa's theme was ``a hotel filled with hospitality that lifts your spirits with playfulness and humor,'' and we proposed a project to match that theme. Inoue: ``There are many different ways to raise your mood, so I proposed making devices in various places around the hotel.For example, Asahikawa is a wood-producing area, so when you check in, you receive a kit and make a carved wooden spoon, and the next morning you can use that spoon for breakfast. When you eat, I think the taste becomes even more delicious.When I proposed that I would like to create many such devices to increase customer satisfaction, it was accepted in a competition and I was able to begin the design process. ” What we struggled with was ``how to imagine the root of the customer's needs and come up with an answer.'' Inoue: ``As the project progressed, the person in charge told me, ``In particular, we would like to change concept design of the restaurant.Your proposal is like a consommé soup.What we want to make is pork soup.'' We interpreted what our customers thought of pork soup in our own way, and realized that the design was the answer to the need for an easy-to-use space where the base of the space does not change even when various things are concept design in. We have made some bold changes to the hotel.Currently, it seems that the staff are coming up with new ideas and evolving into a fun hotel using the concept design space we left behind.''LOQUAT Nishiizu is an old private house converted. Looking back on the planning stage, he says, ``The deciding factor was how well we could visualize the final product and convince people.'' Inoue: ``Most of the hotels in old folk houses, which are increasing in number these days, have refinished the walls.However, Mr. Okada of Okada Construction Company, whom I respect, asked me, ``How do you preserve the memory of a building?'' ``Even if the design doesn't look pretty at first glance, preserving even a little bit of this memory will lead to a more satisfied customer's stay, and it will become a topic for the staff to talk about with the customer.'' We received a request from the representative and staff, saying, ``We don't want it to look dirty, so we want you to repaint all of the clay walls,'' but we were told that if we painted it, the product value would be lost. We continued to communicate this to them, and in the end, they were convinced.As a result, communication between the staff and customers increased, and we were able to differentiate ourselves from other old folk houses.Nowadays, we have a constant stream of repeat customers, and it is difficult to make reservations. Based on the idea of emphasizing experience, Inoue has gained experience across multiple markets, including cultural facilities, corporate showrooms and displays, and commercial hotels, where he utilizes his experience in multiple industries. . In the future, I will make use of that experience and demonstrate my strengths without narrowing down the industry. Inoue: ``It's not that I want to do this, but I enjoy solving problems no matter what kind of work comes my way.Currently, I'm involved in designing residences for seniors and utilizing idle land in rural areas.'' Our goal is to use the know-how we have cultivated to contribute to society.For example, in a residence for seniors, creating a mechanism for them to go out into the city can be expected to increase their chances of walking and extend their healthy life expectancy. As a room chief, I am also conscious of making sure that my know-how, regardless of genre, can be successfully used to contribute to society.'' Inoue also supervises training for new employees at the Creative Division. He says that if you train your creativity, your work will become more enjoyable. Inoue: “When I was asked to concept design a place to drink coffee, I thought that if I created it without thinking about it, I would end up with concept design that would have the atmosphere of a major coffee chain that is currently doing well. The important thing is to think about the root cause of the situation: ``What is the moment when you feel that coffee is truly delicious?'' This could be coffee you drink outside on a very cold day, or instant coffee brewed for you by your child. If you think about it all the way down to the basics, you shouldn't end up with concept design like that of a major coffee chain.If designers can't generate answers based on their own feelings that cannot be derived by artificial intelligence, in the near future the work of designers will be completely lost. I don't think it will disappear.However, the ideas that come from your own feelings and the things that are born from your mind are undeniable, and I'm sure there are people who will empathize with them.The ideas that you create will become products as they are, so I'm sure you'll be able to create a It is the designer's responsibility to come up with ideas that make people want to experience things and go there.'' Inoue concept design with an emphasis not only on what is visible, but also on the story behind it. Armed with the power of imagination = product power, we continue to create concept design that stand out from the rest. *The contents are as of December 2023.

Mai Sakai is in charge of production management as a director. After gaining a variety of on-site experience in commercial facilities, hotels, and events, he is currently active mainly in the value-up area of office buildings. In addition to being involved in management as a section manager, Sakai has also participated in recruitment activities and human resource development projects, so what is her vision as a director and as a female manager? In order to maximize the value of office buildings, the Product Direction Department 2 of the Sales Promotion Division, 5th Division, to which Sakai belongs, is mainly involved in the workplace and building value-up markets. In particular, we have excelled at increasing the value of office buildings. Sakai: "Increasing the value of a building means adding value to the building again by renovating common areas such as the entrance. As the market is expected to grow more and more in the future, we are focusing on this as an area. My role is to work with sales to develop new customers and projects. In addition, since value-up construction often involves work while the building is in operation, one of the important tasks is to discuss with the customer to finalize the construction conditions and formulate a construction plan," says Sakai, who participates in the project as a production manager. He says that there are things that he keeps in mind because he is responsible for increasing value. Sakai: "Many of our customers are building owners and management companies, and we take great care to ensure safe and smooth construction so as not to cause inconvenience to tenants. In recent years, there has been a growing need for eco-friendly materials, materials that combine excellent functionality and environmental performance. 'Environment' is also a keyword in NOMURA 's social good activities, so we are actively proposing such materials to improve the value of buildings," says Sakai, who joined the department in 2022. As of December 2023, we are leading six members as section managers. Sakai: "My main duties as a section manager are to assign each project to members, manage their progress, and follow up with them. We hold a weekly progress check meeting for each project to listen to problems and give advice. In the early phase, I may participate in meetings with customers to show them the path of the project, and I may also go to the site at important times such as mid-term inspections. There are also projects that I am in charge of promoting, so I act like a playing manager," while Sakai has also been involved in work outside of his department. Sakai: "I've been in charge of interviews for new graduates for director positions for some time, and I'm also a member of the production management human resource development project, and I'm also participating in activities such as examining training methods and thinking about the placement of the right people for the right positions." I went to NOMURA in search of a place where I could have a variety of experiences. Serving as a project promoter was a turning point ▲ Meeting with team membersSakai majored in architecture at graduate school and studied urban planning. As part of a project in my laboratory, I was involved in the renovation of an old house in a certain village, which led me to aspire to be a production manager. Sakai "When renovating an old house, I was in charge of arranging craftsmen, coordinating schedules, and managing money. I really enjoyed communicating with the villagers and craftsmen, and I came to think that I was more suited to the job of promoting projects than concept design and design. Not everyone in the village welcomed us students who suddenly rushed into their living space. I found it rewarding to have a good relationship with everyone through dialogue through various events," says Sakai, who took on the challenge of job hunting with a focus on the display industry, and ultimately chose NOMURA. The deciding factor was that the company was involved in a wide range of markets. Sakai "I wanted to be a production manager from the beginning, so I had a way to go into a general contractor, but as I was involved in the renovation work of an old private house, my interest in interiors increased, and I wanted to be involved in a space that had a large impact on people. NOMURA Speaking of which, it is the largest company in the industry. I decided to join the company because I was attracted to an environment where I could experience a variety of jobs," says Sakai, who has been involved in a variety of projects in a wide range of markets since joining the company, including commercial facilities such as apparel and restaurants, hotels, and events and displays events. There was a project that I felt was a solid challenge in terms of production management. Sakai: "In my 5~6th year after joining the company, I was assigned to a renovation project of the Honda Innovation Lab Tokyo Roppongi, which aims to be a place for co-creation in collaboration with business partners and research institutes, and I was involved in the promotion while working closely with the PM (project manager). Participated in the project from the early stages of conception. In addition to managing the construction, I was involved in all processes, including communication with designers and partner companies, from a bird's-eye view of the entire process. I really enjoyed the process of getting the customer's consent here, then doing this, correcting the course if something doesn't go well, and so on, assembling each piece as we move forward with the project. I was able to demonstrate my aptitude and at the same time, it became a place where I could feel a great deal of growth." With the success of this project, Sakai began to lead the team in a similar position while juggling multiple projects. While making the most of his strengths, he gradually made his presence felt. In his ninth year, he was promoted to section manager. In 2021, Sakai was promoted to section manager. He recalls how he felt at the time. Sakai "I was approached for a promotion when I was just getting used to my job and looking for the next stimulus, and I never imagined that I would become a section manager, but I was given a new role and felt that it was a good opportunity to try something different from what I had done before, so I decided to accept it." Find new meaning in your work. Sakai "I was conscious of chatting and actively communicating with the members. I thought that in order to bring out their true feelings, it was necessary to create an atmosphere where it was easy to talk on a regular basis. They talked about how to behave in the field, their problems, and what they were not good at, and I gave them careful advice one by one in my own way. After that, the members who listened to the advice gradually became able to do things that they could not do. I remember seeing them accomplish something and grow, and I felt a joy that I had never experienced before." They say that they have given maximum consideration to what they want to do. Sakai "I have tried to assign work in anticipation of growth that matches the career goals of the members, such as 'This is what I expect from this project,' or 'If I can grow in this area this time, why not take on this challenge next time?' It is also important to explain the details of the project in detail so that they can work on it with a sense of satisfaction. In the past, when I asked a member of the team for a job that seemed a bit of a hurdle, he was very enthusiastic and enjoyed working on it. As a result, the project was a success, and the reputation of its members increased significantly. If you ask me if I'm able to assign everything as I want, I don't think so, but I'm feeling a little bit better." On the other hand, Sakai has also actively participated in human resource development projects within the company. Sakai: "For example, around 2020, we worked on the 'PD (Product Director) in 2025,' which was to think about what production management should be in the future and discuss how to develop young human resources for that purpose. Now, I find it very rewarding to train young people in this way." NOMURA That's why I have a lot of experience and connections. While the active participation of women in NOMURA is steadily expanding in production management, the number of female managers in charge of production management is still small. Under such circumstances, Sakai is eager to become a role model and promote the active participation of women. Sakai: "We don't often have managers go to the site because we have a person in charge of the site, but if there is an accident, of course we have to rush to the site immediately. At such a time, if you have a small child, you can't rush to ...... site. Construction is not always done during the day, so it ...... even more so at night. It's easy to think like that, but it's the same for men who can't take their hands off raising children. Of course, it's not just a matter of production management. Now that the way we think about working styles is changing drastically, it should be easier to be flexible than before, such as following up with each other. I'm still trying to figure out what my future career will be, and I haven't been able to give an answer yet, but I hope that I can lead the way and set an example so that more women want to become managers NOMURA." While touching on the charm of working at the company, Sakai calls on his future colleagues. Sakai: "You may think that if you change the market area you are in charge of, you will have to relearn from scratch or re-accumulate knowledge each time, but that is not the case at all. There was a sense that the knowledge gained in one market was useful in another market, and there was a sense of a chain of learning, and I was always able to feel my growth. In addition, if the market area changes, such as sales and designers, the members who work together will also change, so there is also the advantage of expanding the network within the company. There are many diverse members with skills and ways of thinking that I don't have, and every time the team changes, the relationship that started with "Nice to meet you" eventually strengthens the bond and NOMURA grows into a good team. I'm looking forward to meeting women who want to become female managers in production management." Sakai has grown steadily while taking advantage of the growth opportunities unique to NOMURA. Her career as a production manager and as a female manager is full of possibilities and inspiration and continues to shine a beacon of hope on the next generation of leaders. * The information is current as of December 2023.

Chihiro Watari has been interested in town planning since her student days. After joining the company in 2007 and gaining experience in development sales and leasing, I now work as a planner working on mixed-use developments and commercial facilities. This is a dream-filled job that involves carefully communicating with the people involved while drawing up the city of the future. We will unravel Watara's career and thoughts. Responsible for many large-scale projects. What's important is the accumulation of small decisions, says Watari, who works in the Planning Department 2 of the Creative Headquarters' Planning Center. As a general manager, I manage a team of about 20 people while at the same time being active in the field. The Planning Department 2 is in charge of multi-disciplinary planning, including mixed-use development, commercial facilities, sports entertainment, public facilities through public-private collaboration, and regional revitalization. Every day, we deal with everything from creating spaces to creating systems in all fields. While being active in the field as a player, I spend my days as a general manager deciding which members to assign to which projects and following up on the work carried out by the members. What I value in my work is to value "small decisions." Watanai: “The projects that my department handles tend to be large-scale developments.The larger the project, the longer it will take to complete it.There are also long-term projects that will be completed after 2030. There are a lot of things. Sometimes we feel anxious and frustrated when what we've done doesn't materialize right away, or when we can't follow through to the end for various reasons, but no matter how big the job is, it's an accumulation of small decisions.One by one. I am conscious of carefully accumulating my considerations and decisions.''The accumulation of small steps will lead to the best work. Watanai: ``What our company's work has in common is that there is no one correct answer.Even for the same issue or purpose, there are countless approaches, methods, and patterns of proposals.Through dialogue with customers, we It's a collaborative effort in which the whole team searches for the optimal solution.It's tough because we have to keep coming up with new, custom-made ideas for every project.But that's also what makes it interesting.Everyone shares their opinions. It's interesting and rewarding to feel like we're gradually getting closer to the optimal solution as we exchange ideas.'' During my university days, I witnessed the revitalization of the city. I saw the potential in a job in town planning ▲Tokyo SolamachiⒸTOKYO-SKYTREETOWN Majored in urban planning at university and graduate school. In a research lab focused on regional revitalization, we were thinking about approaches to revitalizing the city. Watari: ``There is an unforgettable sight that I witnessed in the city where I frequented the city for research activities.One day, a cafe opened in a corner of a crowded city with small and medium-sized office buildings in the city center.The owner of the shop... Due to his personality and open, sophisticated atmosphere, a new community was born around the cafe, and new shops opened in the surrounding area, gradually revitalizing the town.The development of nearby condominiums led to the creation of a new community around the cafe. It was a time of transition when the city was changing from a place to work to a place to live.The building owner had a strong desire to turn the first floor of the building, which had been a warehouse, into a place where everyone in the city could gather. I later learned that the store had finally become a reality.I was moved by my feelings for the city, and at the same time, it made me realize the power that a store has.I wanted to do work that would bring about positive change in the city. I started to feel strongly that I wanted to become a planner who could be involved in city development. With hope in my heart, I jumped into job hunting and connected with NOMURA. Watanai: ``What particularly impressed me during the interview at NOMURA was the open atmosphere.Everyone was very natural, and the executives were not pretentious at all.Everyone, regardless of their position, was very easy-going and charming. I also remember being shown the details of my senior colleague's work during the visit.Based on various proposals, I learned how they had interpreted the characteristics of the area, what elements the town needed, and what usage scenarios they envisioned. He carefully explained to me the series of stories behind the planning and concept design process.I felt that this was the kind of work I wanted to do.''After joining the company, I was involved in projects in the sales development department for two years. Watanai: ``My first job was to work on the basic concept of Tokyo Solamachi, a commercial facility located at the base of Tokyo Skytree.As I was a new employee, I couldn't do much, but I was there to help everyone work. I was overwhelmed by his enthusiasm.Every day, all the people involved inside and outside the company gathered together and held regular meetings.The sales senior who was at the center of these meetings was like an orchestra conductor.He looked at the situation from a bird's-eye view, identified issues, and took proactive measures. The planners and designers act in response to this decision.This experience left a strong impression on me that this is what it means to work as a team.''After two years of experience in sales, I started working in 2009. To the tenant leasing department. Watanai: “Tenant leasing is the work of working with developers to develop a customer attraction and profit strategy suitable for each commercial facility, and to attract the most suitable tenants to realize that strategy.A commercial facility cannot survive without the support of tenants. This will not work.We have careful conversations with each company and negotiate with them to attract them.In the leasing department, even young employees used to go through business negotiations alone.The other party was the company president and those responsible for store development. They had a wealth of experience and knowledge that was incomparable to what I had at the time.Of course, I was scared at first, but I was able to convey my thoughts and strategies in my own words, and the other people understood the brand's concept and knowledge. I gradually came to love the time spent listening to people's prospects for the future and having detailed conversations with them.Although I made many mistakes, it was a period in which I learned a lot and gained courage.''A redevelopment project in an area in the city center. Join. After taking childcare and maternity leave, where she made adjustments while overseeing the entire business, she transferred to the planning department in 2018. We have been involved in projects related to commercial facilities and area revitalization in various areas, including central Tokyo and regional cities. The big project I've been working on recently is the redevelopment of a certain area in the center of Tokyo. Watanai: ``This is an area where large-scale redevelopment will continue around the station over the next four to five years.Multiple high-rise buildings are being planned that will combine all kinds of urban functions such as commercial, office, hall, and hotel facilities. I am involved in the basic concept of the low-rise lively zone for several of these projects.I am also involved in not only what each individual development should look like, but also how the roles of each development will be divided to revitalize the entire area. I was also involved in creating a master plan for the project.I gathered people from the relevant departments in charge of each project and had a lively discussion with about 20 people.It was quite difficult at first because there were so many different people working in different directions. I did it!'' Watanai says he found it very rewarding to see people who were initially separated come together. Watanai: ``This is a long development project, so the policy may change in the future.However, I will verbalize the vision I have now and try to move forward according to it.I will make adjustments as I go along.I am glad that we have created the foundation to encourage such a movement. ``I felt a positive response.'' How can we make the most of our ``infinite artistic style?'' Focusing on planner assignment work Every day I was involved in planning for town development, which was my dream when I was a student. There are many difficult cases, but we will continue to face them seriously. Watanai: “Commercial facilities are for-profit businesses, but I believe they are also very public businesses in the sense that they create a place for everyone in the city. I would like to create a facility that fulfills the role required of a central point in the community, such as co-nurturing by looking after people and initiatives that make use of the region's unique charms and assets.''We will continue to move forward while encouraging our members. Watanai: ``At our company, we have employees with various characters and various artistic styles.We have 600 creators, so if two people come together, we can create 360,000 ways of output, and if three people come together, we can create 200 million ways of output.In-house, It is said to be an "infinite style of art." That is why it is so important to decide what kind of work and what type of member composition you will take on.If you can act like a talented manager at a talent agency to create matching that will produce better results, I think it's great.''We aim to further upgrade not only our department, but the company as a whole. Watanai: ``Nowadays, the number of planners who work while raising children has increased considerably, but when I returned from childcare leave, I was the only working mother in this department.That's why my juniors who may have children in the future I've always wanted to work in a way that makes me feel like I can do it too. I don't push myself too hard or hold myself back too much, I just work hard and I can be successful. There are still many things that can be done to support this.I would like to try improving the environment such as improving work efficiency and creating a system.Also, from a business perspective, I would like to come up with ways to sell planning at a higher price.I would like to improve the quality of output. On the other hand, I feel that there are many jobs that are too cost-effective.I want people to correctly understand the value and significance of NOMURA 's planning, which will lead to recognition from society.We need to raise the position of planners even further. My job is to create a city using rich ideas and thinking power. We will continue to bring about an exciting future by involving many people. *The contents are as of December 2023.

Junpei Hino joined the company in 2007 as a director. While handling management duties as a section manager, I am also on-site and involved in production management as a player. ``By taking the first step, you can realize how interesting the job really is,'' says Hino. While looking back on a project that was a turning point, he talks about the real pleasure of production management. The best part of production management is being able to direct the entire project Hino works in the Product Direction Department 1 of the Third Business Division of the Sales Promotion Headquarters. This department is primarily responsible for managing the production of events, displays, etc. Hino: "We specialize in creating designs that add elements of production to events such as motor shows, showrooms, pop-up stores, and short-term displays. You could say that this department is in charge of work typical of NOMURA." Despite being in the position of managing team members as a section manager, Hino has been actively visiting the field. The reason behind this is that he is particular about his work in production management. Hino: ``In production management, there are many things that we cannot answer without working on many production sites.We want students to deepen their learning in each scene, so we say things such as ``You should be careful here'' and ``In times like this... I still try to be on-site as much as possible so that I can give on-the-spot advice like, ``If we proceed this way, things will go well.''People tend to think that the role of production management is to be on site and make sure the project progresses smoothly. , Hino disagrees with this way of thinking. I would like to talk about the best part of my job. Hino: ``Controlling the site is an important job, but as you gain experience, you will have more opportunities to be involved from the early stages of a project.It's a place where you can direct the entire project while collaborating with designers and salespeople. I think there is something really interesting about production management.''Meanwhile, Hino is also the editor-in-chief of ``PD NEWS,'' which disseminates information within the company about production management work. Hino: ``Because our company is large, we don't have many opportunities to learn about the kind of work that other departments do.Therefore, we interview members of each division and create articles that introduce their work. There are moments when we think of small jigs to make displays look beautiful, and there are times when we make extensive use of video equipment to create a lively space.Nomura NOMURA has human resources with the know-how, I hope that by letting not only young employees but also mid-career employees know that there is an opportunity to do this, they will be able to expand their range of work.''I completely changed my view of work after meeting a certain junior colleague. . Awakening to the fun of production management ▲ Hino majored in concept design at Umeda Tsutaya Shoten University. During the course of my studies, I became particularly interested in interiors concept design, and my supervisor recommended me to NOMURA. Hino originally wanted to work in concept design. I look back on the circumstances that led me to join the company as a director. Hino: ``During the interview, I told the interviewer, ``If a building is what gives vitality and value to a place, I believe that interiors is what makes that building attractive,'' and I was offered the director position. It was explained to me that designers are responsible for concept design spaces, and production management is responsible for creating spaces.I thought it would be interesting, so I decided to join the company.''At first, however, I couldn't shake off my desire to become a concept design. As a result, there are times when you may feel a gap in the content of your work before and after joining the company. At the end of his first year at the company, Hino's first turning point came. Hino: ``Looking back on it now, it's embarrassing, but since I had imagined from the beginning that I would be able to control the work myself, I couldn't get used to an environment where my superiors and senior colleagues were giving me various instructions. On the other day, I was assigned to work at an displays, I was able to take the lead on a project for the first time, working with sales staff and people from subcontractors.Although it was difficult, I felt like I was creating a space with my own hands, and it helped me realize the joy of production management work.''This was the second turning point for Hino, who had worked hard to hone his knowledge and skills in order to quickly become independent. This happened when I was in charge of Umeda Tsutaya Bookstore. I had an encounter that completely changed my outlook on work. Hino: “A junior colleague who has been assigned to work on a project with me makes suggestions to external designers from the perspective of the other person, such as, ``What if we do this?'' ``I think it would be better if we did this.'' I was shocked when I saw this.Up until then, I had had a kind of fixed idea about production management work, and I had always had a rigid approach, just completing the work according to the drawings drawn by the designer. After witnessing the sincere attitude of my junior colleagues, who listened closely to the designers' opinions and ideas and proposed things that were aimed at making things even better, the way I approached my work changed dramatically.''After that, I completely changed the way I worked. Hino. By working closely with designers and customers, we were able to make proposals that were one step further than before, and by the time the project was finished, we were seeing a completely different view than before. Hino: ``As a production manager, I worked with the designer to refine the drawings, giving advice from aspects such as safety and quality.The idea of working together to make something even better emerged, and I communicated with concept design team. I think I have had a lot more opportunities to communicate with others.Another big change is that I now imitate my juniors' communication methods of exposing themselves and loosening up the other person's heart, and I now create a more relaxed atmosphere by occasionally making small talk. It was worth it, and after the completion of the project, the relationship that had previously been one of ``Thank you for your hard work. We look forward to working with you again'' has now become a place where customers can rely on us, such as receiving consultations on other projects on the spot. This project gave me the feeling that I was able to do work that was unique to me, and at the same time, I felt that a different relationship was created than before.'' Stepping into space concept design gave me the opportunity to grow as a production manager▲ Fuji Speedway Hotel/Fuji Motorsports Museum For Hino, there was a project that boosted his confidence as a production manager. Hino: “From 2020 to the following year, I was involved in a project for a training facility for a major company, and I had the opportunity to work with an in-house designer who was highly trusted by the company. I wondered many times if I wanted to go this far.Looking back now, I realize that I was desperately trying to get the most out of it, but I also realized that attention to detail is what increases the value of a space. This is what I learned at that time.When it was difficult to finalize the details that were important to concept design, the designer would simply say, ``I'll leave it to you, Hino.'' concept design team members and I would take the lead in creating the actual space. This period was the most difficult as we were putting everything into concept design, but it was also the time when we learned more about the joy of work.''When concept design team was having trouble, Hino's suggestions helped solve the problems. It also led to Hino: ``In the training facility, we were supposed to process wood related to the founder and display it on the wall, but we couldn't come up with an answer on how to arrange it, and there was a deadlock. Let's put them side by side.'' When I showed the designer what I had assembled temporarily in the warehouse, he said, ``This is fine.'' He was praised for his efforts to make sure that the metal fittings were not visible. , my proposal was accepted straight away.I was told, ``I've heard rumors, but let me see how far I can go.'' I worked under pressure, but I was also proactive in making concept design suggestions. It was a project that allowed me to grow significantly as a production manager, as I was given the opportunity to work with him as a project manager.'' After that, Hino decided to team up with the designer again for the 2023 Fuji Motorsports Museum. Hino: ``I could see that they trusted me more than last time, both in terms of concept design and fit, as they asked for my opinion, ``What should I do?'' What was impressive was that they only gave me the CG perspective. I was told, ``Let's have the production management draw up the drawings.'' Even though there were no actual drawings, I worked with the concept design team members to create the space concept design, down to how the lighting should be installed. Originally, I wanted to be a designer. For me, this job can be said to be the culmination of my career as a production manager.'' I became a production manager nominated by a customer. Hino says that he is finding it rewarding to work on production management in pursuit of the infinite possibilities of space creation. Thinking back to the words he said during his job interview, he talks about the best part of his job. Hino: “Since I have come to understand the essence of production management, I have been able to proactively make proposals to designers, salespeople, and customers, and I feel that I am now in a position where I can direct the creation of spaces. I'm finally starting to understand what the interviewer meant when he told me, 'This is a management job.''' Hino's current goal is to work under his own name. We have a clear vision for the future as production management. Hino: “Currently, I am in charge of the work assigned to my department, but I would like to be able to get involved beyond my department when there is a project in an area that I am good at. Just as people sometimes ask me to do a job and say, ``I want that designer to do it,'' I want to be in a production management position where people say, ``I want Hino to be in charge.''To achieve that, I can't afford to fail. It requires a lot of determination, but I would like to be involved in a variety of jobs in a responsible position.'' Hino says that there are members of the production management team in the company who feel stuck in their jobs, just like I used to. . I would like to send this message to them. Hino: ``Production management is a job that gets more interesting the more you get into it.In addition to managing construction on-site, production management allows you to step into the realm concept design concept design be involved in space creation. There are quite a few people within the company who have the ability to do this.I want them to get rid of their stereotypes and take a step forward.''As a key player in space creation, Hino will continue to take on challenges. *The contents are as of December 2023.

Ryuta Yamada heads the CIC Creative Direction Department. Centered on the desire to excite people through space, we have achieved outstanding results in the area of entertainment spaces. Yamada, who says, ``There are no borders when it comes to entertainment space concept design,'' talks about what he has always valued and what NOMURA can achieve. Experience more excitement than you can imagine. What an Entertainment Creative Director Aims Yamada belongs to the Creative Direction Department of the Content Integration Center (CIC) (*), which implements spatial implementation based on content. We oversee the entire creative field of space creation. Yamada: ``The Creative Direction Department handles all kinds of spaces, but the moment a customer mentions the keyword ``entertainment,'' it's our turn.In recent years, we've been doing a lot of work in which character content such as manga and anime is implemented in spaces. I position myself as an entertainment creative director, and while I leave concept design itself to the designers, my role is to direct the entire space from a bird's-eye view." Yamada's specialty is creating exciting spaces rather than stylish ones. A performance space that evokes such emotions. We have aimed to create an impression that goes beyond the imagination of visitors. Yamada: ``In this day and age, many people have prior information about the spaces they visit through social media and other means.Therefore, people who actually visit the space are not exceeding their expectations by saying, ``It was just as I imagined.''For example, , we make the characters that appear in the story actual size, and enhance the performance with lighting, sound, moving gimmicks, etc.We strive to create an experience full of surprises and emotions that can only come from visiting a space. Achievement and experience are the keys to bringing excitement and excitement to life. Yamada says that there are things that only NOMURA can do. Yamada: `` NOMURA has a huge track record accumulated over its long history, and we have people with a variety of experiences and sensibilities.''We thought, ``You'll be surprised if we put in this kind of device.'' ``If we can make this...'' Our strength is that when we have an idea or a question like, ``I'm impressed, but how can I make it?'', we always have people with experience and skills, such as designers and production managers who are experts in that area.We can never do it alone. I feel confident that I have so many friends who can help me achieve this goal together.'' Yamada always values ``experiencing'' various spaces himself. As a visitor, I spare no time and effort in providing input from the field. Yamada: ``While looking at the reactions of the people in the room, I try to imagine how they are feeling, and sometimes even talk to them, and think about mechanisms and devices that can create surprise and excitement.A shortcut to creating a space. is to experience space.In order to keep my senses sharp, I spare no time in visiting real places.The other day, I went to see an exhibition, and I was able to see it on my iPad. I was overwhelmed by the 90-meter-long work that was painted.Although the items to be displayed at an exhibition are decided in advance, the way it is displays can greatly change the way it looks and the emotion that is created.By actually experiencing the space, , I believe we can find clues to creating excitement and excitement.''* CIC (Content Integration Center: Fantasy Implementation Group) uses a deep understanding of content as a starting point to turn exciting "fantasy" into new experiential value. We are the creative team at NOMURA, which transforms and "implements" it into all kinds of spaces and society.Our starting point is childhood memories. A career at the forefront of entertainment space concept design ▲"Takehiko Inoue's Last Manga Exhibition" Yamada spent his childhood overseas. He says that a visit to Disney World in Florida when he was 3 years old was the origin of his creation of spaces. Yamada: ``I don't have a clear memory, but I do have vague memories of going to fun places.After returning to Japan, I invited friends to go to Tokyo Disneyland almost every week to relive those memories.'' I was fascinated by that extraordinary space, and I would record the background music that played in the park and enjoy the atmosphere of being there even after I got home.Looking back on it now, I realized that from that time onwards, I was interested in entertainment spaces. Maybe he was interested in creating things.'' Influenced by his father, Yamada aspired to become an engineer who would create robots for theme parks, and studied mechanical engineering at university. However, learning about ``spatial concept design'' in a general education class was a turning point. Wanting to pursue a career in creating theme parks themselves, he went to another university and majored in environmental design. The place I chose to work was NOMURA, which was recommended to me by my supervisor. After joining the company in 2002, the opportunity to realize the passion for entertainment spaces that I had cultivated up until then came along. At the end of his first year, Yamada was selected to be part of the production team for a haunted house attraction in Hokkaido. Yamada: ``I was involved in the entire process, not only concept design the space, props, and monster shapes, but also creating scripts for lighting, BGM, dialogue, etc., and turning them into concrete forms.'' I remember being at the opening and seeing the children coming out in fear and crying, and feeling a positive response.At that time, there were very few concept design projects for entertainment spaces, but we wanted to entertain people. I decided to get involved in space creation.'' Another turning point for Yamada was in 2008, his seventh year in the business, when he was in charge of ``Takehiko Inoue's Last Manga Exhibition.'' Despite facing the difficulties of creating a space based on manga, a lot of dedication was put into creating a space that exceeded fans' expectations. Yamada: ``In order to convert a two-dimensional manga world into a three-dimensional space, it is necessary to carefully extract the elements from the story and incorporate them into the space one by one.At the ``Last Manga displays,'' By mirroring the back wall, you can add depth to the space and create a dynamic sense that the story continues for a long time, and by displaying works on a folding screen wall, you can express the rhythm of turning the pages. We devised a way to synchronize the movement of reading the manga with the movements in displays space.Also, in the scene where the main character in the manga looks back on his childhood, we painted the curved walls black and dimmed the lights. I tried to reflect the state of mind when we look at ourselves.In the room that is the highlight of the exhibition, Mr. Inoue's idea was to display the actual wooden sword that the main character in the manga dropped from his hand. I placed it in displays space of ``Attack on Titan,'' but I still remember the time when I raised one side of it and focused on the moment it hit the floor.'' The success of the ``Attack on Titan'' exhibition and its aftermath. Becoming a bridge between Japan and overseas through space creation ▲ "Jeddah Events Calendar 2023 -Anime Village at City Walk" After that, he was commissioned to create a haunted house at a Korean theme park in a global competition, and was in charge of the overall direction, gaining popularity. Yamada continued to play an active role, including holding a variety of events. In 2014, I was involved in the "Attack on Titan Exhibition." Yamada: ``In displays of original drawings, we illuminated the cruel scenes of humans being attacked by giants in red, and set the frames diagonally to express the dynamic feeling of battle.We generously incorporated the entertainment concept design that we have cultivated since joining the company.'' .I also wanted people who don't know the manga to feel the fear of being attacked by a giant in real life, so I created an interactive opening theater.In addition to sound and light, I also installed wind and movable mechanisms to make the monster attack. The production is such that you can feel the presence of the coming Titan.''At that time, the manga ``Attack on Titan'' was at its peak of popularity. Although the project was fought under great pressure, the exhibition ended on a high note. The great response it received led to later overseas projects. Yamada: “As a result of working on the Attack on Titan Exhibition, I also became involved in the Attack on Titan Exhibition FINAL, which expressed the world view of the story afterward.Not only in Japan, but also in Saudi Arabia, Singapore, We are touring to Taiwan, Indonesia, and South Korea.The fact that it was well received by people all over the world who love Attack on Titan made it a very memorable and important project for me.''And in 2022. In 2023, he provided creative direction for the entertainment event "Anime Village at City Walk" held in the Saudi Arabian city of Jeddah. Yamada says that his success in the Middle East, which was previously an unknown world, gave him great confidence. Yamada: ``No matter where we come from, we all have the same desire to feel excited and excited.If we stick to the entertainment concept design that we believe in, then people from different cultural backgrounds will be able to enjoy it, just as I was fascinated by American theme parks when I was young.'' I was deeply moved because I could feel how happy they were.I feel that the spatial implementation of Japanese manga and other content has a lot of potential in regions other than Asia. However, making people smile across borders is exactly what I want to do.When people smile, there are no conflicts.It's about seeing how far the entertainment concept design skills I've cultivated so far can be applied. But I feel it's very rewarding.'' Through the power of the team, we create spaces that are moving and surprising. Yamada says he wants to continue to create spaces that are exciting and exciting, carrying NOMURA 's DNA into the future. Let me draw a picture of the future like this. Yamada: “Entertainment concept design knows no borders in the sense that it can be communicated even if words are not spoken.We will continue to deliver spaces where people can feel excitement and excitement without having to explain it to as many people as possible, both domestically and internationally. I'd like to become the kind of person that people say, ``There's apparently a person named Yamada in Japan who does entertainment concept design.'' Yamada will be in his 22nd year at the company in 2023. From the perspective of a veteran employee, I would like to talk about NOMURA 's appeal and possibilities as follows. Yamada: “I heard that the founder of NOMURA, who was once in charge of stage props, surprised and moved the audience when he made a fake horse with a ``mechanism'' that made it cry. The desire to entertain and surprise people has always been passed down to our company.I believe that I have inherited that DNA as well.Also, again, I would like to reiterate that we have people with a wide range of knowledge. I believe that the charm and potential of NOMURA lies in the fact that we are able to combine all of our strengths and create spaces that we would never be able to create on our own.This is the reason why I continue to work at this company. ” In order to pass on the DNA of NOMURA to the next generation, Yamada will continue to do his best to create exciting spaces based on his unwavering desire to “entertain and surprise people.” continue. *The contents are as of December 2023.

Miki Mori has been involved in the management of public facilities since 2005. He is good at design, layout space NOMURAHe has led the operation of public-private partnership facilities. Mori has realized a management style in which "people play a leading role". We will take a closer look at the efforts of the PPP business over the past 18 years. Leading a public-private partnership project: Participating in a competition for the operation of cultural facilities and new projectsMori is the planning director of the PPP Section of the Public-Private Partnership Project Development Department, Business Produce Headquarters. PPP is a scheme in which the public and private sectors work together to provide public services. It is a system that aims to improve efficiency and quality by utilizing private capital and know-how, and is also called a public-private partnership. Mori has been involved in PPP projects since 2005 and has been responsible for the management of public cultural facilities. Mori: "The main task of the PPP Division is the operation of public cultural facilities. Currently, it operates 17 facilities nationwide, with more than 200 staff members in total. The head office has a team of 12 people who manage and support operations. The mission of this section is to provide services that are appreciated by visitors and local residents through the operation of the facility. At the same time, we aim to partner with the local government, which is the installer of the facility, to contribute to solving the problems of the facility and the community." In 2022, the PPP Section, to which Mori belongs, joined the Business Production Division and is taking on the challenge of expanding into new areas. Mori "Recently, not only local governments but also private companies have become our customers, and we have also started to provide solutions that support not only the operation but also the pre-construction of facilities, such as financing and proposing new services. The types of facilities are also expanding. Currently, we are mainly operating museums, but in the future, we would like to expand to various areas such as libraries." Mori "We have been focusing on social good activities since 2021, and we are also proposing inclusive participation experience programs in collaboration with our in-house social good team. Recently, there has been an increase in the number of Private Finance Initiative (PFI) projects in which private companies produce everything from design to operation of facilities, and collaboration with displays design teams is becoming more and more important NOMURAThat's why some cases have been successful. Mori "The Hamamatsu Science Museum, which was entrusted with everything from design to operation of the facility renovation using the DBO method*, was a very difficult project that took only one and a half years from schematic design to completion, but the displays were on displaySince the design and operation plan proceeded in parallel, the opinions of the planned operator were displayed. It was also reflected in the design. I am still involved in the operation as a person in charge of the head office, but I am attached to the facilities that I have been involved in since the planning stage. The Hamamatsu Science Museum aims to create a place where children can think independently while trying various things. Therefore, there was a period when we had to make various adjustments after the opening of the museum, but the staff made good use of the displays and are working every day to make it even better on their own." Mori "Our company is a professional in displays, but I think it is very important to have the perspective of visitors and staff who are working on their daily efforts to make the facility better. The Hamamatsu Science Museum is preparing to update the displays in order to update the displays next year, but the staff will take the lead in renewing the movements of customers and the activities so far in the four years since the opening of the museum. We are planning to improve the displays and create new displays to better realize the original concept. We will listen to the voices of customers and staff and reflect them in the next displays. I BELIEVE THAT THE ABILITY TO GROW THE FACILITY WHILE PASSING THE BATON FROM DESIGNERS TO STAFF IS A STRENGTH UNIQUE TO NOMURA KOGEISHA, WHICH HAS PURSUED SPATIAL REVITALIZATION." Mori incorporated a marketing perspective into cultural facilities, studied at the Department of Aesthetics and Art as a student as a foundation for PPP, and toured museums in Japan and abroad. AFTER GRADUATING, I PLANNED TO WORK FOR A HOUSE MANUFACTURER, BUT I SUDDENLY LEARNED ABOUT THE EXISTENCE OF NOMURA KOGEISHA. MORI "THE REASON I JOINED NOMURA WAS A COMPANY INFORMATION SESSION THAT I WENT TO WITH A FRIEND, AND I WAS INTERESTED IN THE WORK CONTENT WHEN I SAW THE COMPANY BROCHURE, BUT I WAS EVEN MORE IMPRESSED BY THE HIGH LEVEL OF ENTHUSIASM AND LIVELY ATMOSPHERE OF THE EMPLOYEES. Moreover, there was a job opening for a woman in a sales position, which was rare at the time. I remember thinking that it was a company where women could play an active role," says Mori, who joined the company in 1989 as the company's first female salesperson. AS A SALESPERSON, HE HAS BEEN IN CHARGE OF DISPLAYS OF MAJOR MANUFACTURERS FOR ABOUT 5 YEARS, AND HAS WORKED FOR NOMURA WORKS. At the same time as I was transferred to the Institute for Culture and Environment, a think tank, I changed to a planner position. Mori "I became involved in cultural facilities after I became a planner. I feel that my experience as a planner has led me to my current work. At that time, I was mainly in charge of planning the displays of cultural facilities, but I also helped with the basic concept and business plan when establishing a museum. In addition to examining the functions and social roles of museums, I also experienced research work. In my research work, I conducted joint research with museums and evaluated how visitors use the displays, and tried to understand the gap between the sender's thoughts and the needs of visitors. I think it was a valuable experience to learn how a small change in the displays can dramatically change the reaction of visitors." In 2002, he took on the challenge of conducting a full-scale marketing survey. At the time, it was an unusual initiative for a cultural institution. Mori "We conducted an awareness survey not only of visitors but also of people who had never visited the museum, and realized that the value sought by the sender and the visitor is often different. For example, people with small children and those without small children have different purposes and perspectives on museums. Until then, I didn't have a clear idea of what kind of people would come to the museum and what they wanted. By listening to first-hand voices and conducting large-scale surveys, the image of visitors has completely changed. I think that experience has had a great influence on my current work." The following year, the designated manager system for public facilities was enacted, and the company was involved in the designated management of the Nagasaki Museum of History and Culture, which opened in the fall of 2005, as well as the Saga Prefectural Space Science Museum and the Aomori Prefectural Misawa Aeronautical Science Museum. In the summer of 2005, Mori was transferred to the PPP Development Center. Mori "Up until then, my work had been up to the opening of the facility, but at the PPP Development Center, I was preparing for the opening and operating the facility, and all of it was new to me. The main role is "people" ── In collaboration with local volunteers, the number of annual visitors increased by 100,000 in five years.▲ Observation of pollen at the Tama Rokuto Science Museum "Shizen Lab". Among the PPP projects that are supported by staff and volunteers, there is one job that left a particularly strong impression on Mori. That was when I was involved in the management of the Tama Rokuto Science Museum, which was renovated in 2013. Mori "It was a project to renew the displays of the Tama Rokuto Science Museum, which has been open for about 20 years. The mission is to consider what kind of facility we want to make and create a space to realize it. Our emphasis was on creating a place where people could interact with each other. The main role is not the displays, but the people. We wanted to create a facility where staff and volunteers play a leading role and become a stage where local people can play an active role." The facility was renovated with the concept of "trying, participating, and talking." As a result, five years later, the number of annual visitors increased by about 100,000 compared to before the renovation. Mori: "The success factor is people. First of all, the efforts of the staff. The staff has built a laboratory where you can conduct experiments and observe while interacting with visitors. Various displays in collaboration with local research institutes, universities, companies, etc. and hands-on events. Also, the power of local volunteers should not be overlooked. When the operation started, the organization was about 60 people, but the momentum to enliven the science museum together in the community spread, and the number of people from children to adults increased to a maximum of 150. A new management style of collaboration between staff and volunteers has been created. Thanks to this, I think that every time I visit, I can make new discoveries and take on new challenges. Through dialogue with visitors and local residents, we have been able to realize a science museum that can grow." MORI "IN MANY CASES, AN ALUMNUS OF NOMURA KOGEISHA IS IN CHARGE OF OUR FACILITIES. Some of them are former sales representatives, production managers, and others who are new to cultural facilities, but they are taking the initiative in figuring out how to make visitors enjoy themselves and how to improve the facilities. When I see such a situation, I strongly believe that our employees have a deep-rooted mindset that they want to provide better services to customers and create new value, not just manufacturing. At the same time, I feel that the facility is able to grow because the staff and local people who operate the facility together sympathize with this mindset." We want to be a company that creates new value that is not bound by conventional frameworks▲ Head office members involved in the facility management business (partial). Mori, who backs up the operation of 17 theaters nationwide with a small number of elite people, has been involved in the PPP business in 2023 for 18 years. Looking back on the past, he emphasizes that we are now in an era where new values are required. Mori: "In recent years, PFI work has been increasing in PPP projects, and I feel that there is a need for facilities that can create new value. We need to take advantage of our achievements in design, constructions, and operation, while also incorporating a wide range of perspectives that have never been seen before. From now on, I would like to not only strengthen the cooperative system across departments within the company, but also develop new value while reaching out to partner companies that share the same value." Continue as follows: Mori "It is expected that cultural facilities in the future will take a form that is not bound by conventional frameworks, but I want it to be us, not anyone else, who will create new value there. NOMURA KOGEISHA HAS PURSUED THE POSSIBILITIES OF SPACE WITH THE MANAGEMENT PHILOSOPHY OF "WE WILL CONTRIBUTE TO THE CREATION OF A RICH HUMAN ENVIRONMENT BY CREATING NEW VALUE BASED ON RESPECT FOR HUMAN BEINGS" AND "WE WILL CONTRIBUTE TO THE CREATION OF A RICH HUMAN ENVIRONMENT BY CREATING NEW VALUE BASED ON RESPECT FOR HUMAN BEINGS。 For the past 18 years, we have been working to connect people, communities, culture, and the environment through PPP projects, which also lead to social good. How will the relationship between people and space change in the future? The key to this is the forests. * The information is current as of December 2023.

Shuhei Tatsuta joined the company in 2013. As a director (production management), I am currently involved in the production management of large-scale commercial facilities such as station buildings-type fashion buildings. Tatsuta was given discretion from a young age, and in the 10 years since joining the company, he has experienced many projects in a wide range of categories. HE TALKS ABOUT THE REAL THRILL OF BEING A DIRECTOR AND THE APPEAL OF WORKING AT NOMURA. Don't say, "I can't." The real thrill of production management is to lead to the optimal solution that everyone can agree onTatsuta, who belongs to the Product Direction 2nd Department of the 1st Division of the Sales Promotion Division. As of November 2023, I am mainly in charge of large-scale commercial facilities as a supervisor. Of the four main processes of "research, planning, consulting", "design and layout", "production and constructions", and "operation and management", Tatsuta is responsible forPRODUCTION AND CONSTRUCTIONS SHOULD BE SAID TO BE THE MAIN PILLAR OF NOMURA WORKS. I am involved in a wide range of tasks, from the early stages of a project to the actual creation of the space. Tatsuta: "Since I am in charge of production, my job is to actually embody the concept design drawn by the designer as a 'space.' Make estimates and constructions to meet deadlinesMy main job is to guide the project to realization, such as planning and directing the site. There are things that cannot be understood from the drawings alone, and unexpected things happen in the field. It is also the role of production management to propose changes to materials according to the current situation, rearrange schedules, and make adjustments and adjustments each time. On the other hand, in order to win a project, we may work together with sales, such as accompanying them to business negotiations and explaining them from a technical perspective. We look at the project from the beginning to the end." In order to respect the designer's wishes and be close to the customer, Tatsuta has something that we have valued. Tatsuta: "What I try to do is not to simply say, 'I can't do it,' and I hope that I can overcome the high hurdles one by one while knowing that it will be difficult and give shape to the thoughts of all the people involved," says Tatsuta, who says that the real pleasure of production management is to propose alternatives and changes, make adjustments, and find the optimal solution. Here's what he enjoys about his job. Tatsuta: "Designers have their own ideas and commitments, and in terms of production management, we have to ensure safety and quality. The customer has a cost and a deadline, and if it becomes a large facility, other construction companies will also participate in the project. Not all stakeholders are always looking in the same direction, so it is not uncommon for the gears to not mesh and it is difficult to move forward. At such times, when we get in between and make adjustments, we are on the same page and the project starts to move forward immediately. WHEN I AM ABLE TO WITNESS SUCH A MOMENT, I FEEL A DEFINITE SENSE OF ACCOMPLISHMENT." HE JOINED NOMURA IN SEARCH OF GROWTH OPPORTUNITIES. In his second year, he was in charge of renovating a nationwide apparel store and felt his growth ▲ Tatsuta majored in design administration when he was a NEWoMan Yokohama student. During his job hunting, he began to feel reluctant to draw drawings without knowing the site, so he decided to become a producer. IN THE END, I CHOSE NOMURA BECAUSE I WAS ATTRACTED TO THE OPPORTUNITY FOR GROWTH. TATSUTA: "NOMURA KOGEISHA IS HESITANT TO RECEIVE A JOB OFFER FROM A COMPANY THAT HANDLES BOTH THE CONSTRUCTION INDUSTRY AND THE DISPLAY INDUSTRY. When I confided in him at the interview, the current president, who was an executive at the time, advised me that the interesting thing about the display industry is that you can do big work from a young age. In the construction industry, it can take as long as 10 years to build a single facility, and there are cases where more than 100 people are involved. On the other hand, in the display industry, the construction period may be short, such as one month or one day. I decided to join the company because I had the opportunity to be involved in a big job from an early age and was attracted to the fact that I would be entrusted with a position of responsibility." After being involved in the renovation of a private apartment and the renovation of a guest room at a famous hotel, he was entrusted with a major project in the second year. Tatsuta: "As apparel stores nationwide renewed their logo signs, we wanted to update the image of the stores, so we were in charge of renovating about 40 stores from Hokkaido to Kyushu. Moreover, the day after Kagoshima, we were in Hiroshima, so there was no turning back and failure was not an option." Despite being overwhelmed with responses, Tatsuta successfully accomplishes the big job. Tatsuta: "We had to do a site survey in advance and make a plan. It turned out that the position of the torso would overlap, and the place where the logo sign was put had to be changed, or a large panel had to be prepared because there was no base. I struggled with anxiety every day, but with the support of my boss and seniors, I managed to finish it safely. It was a project where I was able to feel my growth, as I was able to take on new challenges through trial and error as the construction period progressed, and I was able to do things in the second term that I could not do in the first term." In the same year, he was in charge of NEWoMan Yokohama, a newly built station-type fashion building. He says that he learned something that led him to where he is today. Tatsuta: "This was my first large-scale project, and there was a lot of work to be done, and I had to work with a team of about 10 people to do the work that I had been in charge of alone. This is a project where I was able to experience the difficulty and fun of working as a team. I learned a lot in terms of building a cooperative system and building a team while various people were in charge of various areas." As the current location manager, he is in charge of the Tokyu Kabukicho Tower. The goal was to create a workplace where you can enjoy working ▲ From 2021 to 2023, the ninth year of joining the company at Tokyu Kabukicho Tower 2nd floor "Shinjuku Kabuki Hall ~ Kabuki Yokocho", Tatsuta was in charge of the construction of the new Tokyu Kabukicho Tower. This is the first time I have been appointed as the current location manager. Tatsuta: "In any project, it is the same to solve each problem that arises in the field. BECOMING A DIRECTOR DOES NOT CAUSE A MAJOR CHANGE IN THE CONTENT OF YOUR WORK, BUT IF YOU MAKE A MISTAKE IN JUDGMENT, NOMURA KOGEISHAis a mistake in judgment. I always tried to make the right decisions," says Tatsuta, who was particularly conscious of building relationships with members as the person in charge of the site. We aimed to create an open workplace. Tatsuta: "Some of the more than 20 members were meeting each other for the first time, so we decided to hold a social gathering under the pretext of celebrating the members' birthdays. If there are 20 of us, there is someone's birthday every month, so we can create opportunities for members to see each other regularly. What I always try to do is create an environment where everyone can enjoy their work. If the members get along well with each other, the atmosphere in the field office will naturally improve, and it will be easier to send out thoughts and SOS. We hoped that the members would be willing to help each other by getting to know each other, which would lead to early resolution of problems." It was a triumph of teamwork. Tatsuta: "There were many cases where members contracted the new coronavirus infection and suddenly left for about a week, but we were a team that could make up for each other's holes, and we never fell into a serious situation. To attract a lot of attention in the industry. On the other hand, there were also such side effects. Tatsuta: "After this project, I joined another site as a supporter, and when I told them that I was the current location manager at Tokyu Kabukicho Tower, they immediately agreed with me. You can learn quickly and deeply. BECAUSE IT IS BECAUSE NOMURA KOGEISHA IS THE ACCELERATION AND DEPTH OF GROWTHTATSUTA HAS BEEN INVOLVED IN PRODUCTION MANAGEMENT FOR 10 YEARS. He talks about the satisfaction of his current job. Tatsuta: "Many of the things that the display industry handles are one-of-a-kind, and there is no right answer for production management work. I find it interesting to think about how to give shape to the project through trial and error while overcoming various problems such as construction period, safety, quality, cost, and customer requests. It's deeply emotional when I see that what I have created in this way fits perfectly into the space, that customers are satisfied, and that it is crowded with many people after opening. Another feature of production management is that you have the opportunity to interact with many people. Not only do you come into contact with many people, such as material manufacturers, engineers, media creators, and other professionals, but you also have many opportunities to get to know new people. I think one of the best parts of this job is that as the network expands, the knowledge deepens, and at the same time, the number of people who can help each other increases." On the other hand, as a core player, we are also eager to train young people. Tatsuta: "It would be great if we could take on new challenges by utilizing the knowledge and know-how we have cultivated in our past large-scale projects. THIS IS BECAUSE WE BELIEVE THAT IF YOU KNOW THE FUN OF YOUR WORK, YOU WILL NATURALLY HAVE INDEPENDENCE AND BE ABLE TO WORK POSITIVELY." SINCE JOINING THE COMPANY, TATSUTA HAS BEEN INVOLVED IN A WIDE RANGE OF PROJECTS AT NOMURA KOGEISHA, A TOP RUNNER IN THE INDUSTRYWhy. He says that this is the biggest attraction of working at the company. Tatsuta: "The display industry is characterized by the fact that the project turnover rate is faster than that of architecture, such as being able to experience more than 10 projects in one year. In addition, since we are often involved in small groups, we are given a lot of discretion, and I think that the speed of growth is faster. WHETHER IT'S NEWoMan Yokohama or Tokyu Kabukicho Tower, NOMURA IS UNIQUE IN BEING INVOLVED IN LARGE-SCALE PROJECTS THAT ARE WORTH WORKING ON, AND USING OUR ACHIEVEMENTS AS BUSINESS CARDS. The presence of our signboard makes it very easy to proceed with the work, and I feel that I am gaining the ideal experience in production management." * The information is current as of November 2023

Akinori Ogasawara is involved in the development of public-private partnership projects in the Business Production Division. He is responsible not only for planning, concept design, design, and production, but also for project management, and has boldly tackled the creation of unprecedented business schemes. Looking back on the major projects he has been involved in, he shares his thoughts on public-public partnership projects. Participation in PFI projects as the first representative company. The Business Produce Division is involved in creating new business schemes for sustainable business operations that transcend the boundaries of existing business domains. In particular, the Public-Private Partnership Project Development Department is working to formulate and commercialize projects in collaboration with the public and private sectors. Ogasawara belongs to the PFI Section. He is mainly in charge of public projects that utilize private-sector funds and technologies. Ogasawara: "PFI stands for Private Finance Initiative, a method of designing, constructing, maintaining, and operating public facilities, etc., using private-sector funds and know-how. We are currently working on the "Shizuoka City Ocean and Earth Museum Development and Operation Project (tentative name). This is a project to build a new "comprehensive ocean and earth museum" in a corner of Shimizu Port in Shizuoka City, which will have both aquarium and museum functions. This is the first time we are participating in a PFI project as a representative company. We are responsible for the production and operation of displays. We have been involved in the operation of public facilities since around 2001, but this is the first time that most of the operating costs will be covered by admission fees. A major feature of this PFI project is that the private sector is taking on the income risk of the operation. In implementing a PFI project, a special-purpose company (SPC) is usually established. NOMURA is the representative company for this project, and Ogasawara has been appointed director of the company. Ogasawara: "In a PFI project, a special purpose company (SPC) raises funds on its own, repays loans with the proceeds from service fees and entrance fees from the city, and subcontracts operations to the companies that make up the SPC. NOMURA The concept of the project is "a campus for everyone connected to Suruga Bay. The concept of the project is "a campus for everyone connected to Suruga Bay." Together with universities and national research institutes, we aim to create a facility that conveys the joy of exploring the connections between the global environment, the ocean, and people. Ogasawara "Just like a university campus, the people who gather there will play a central role in the city's bustling atmosphere, centered on learning and academics. We are planning to carry out project activities based on this concept, and we hope to build a maritime culture center in cooperation with Tokai University, which is cooperating with the SPC, JAMSTEC (Japan Agency for Marine-Earth Science and Technology), and various other people involved with the ocean, through the promotion of research, exchange, creation, and dissemination of information. The project is not only looking forward to the success of the facility on its own. The ultimate goal of the project is to realize "Shimizu, an International City of Maritime Culture. Ogasawara: "The project is based on the concept of redeveloping the wharf area where the facility will be built. This facility is positioned as a leading project to restore the liveliness to the city. Our biggest mission is to serve as a base facility and to enliven new community development." A new business found in outsourcing the operation of public facilities. Ogasawara says he became interested in social education facilities such as museums because his father was a museum researcher. After studying broadcasting technology at university, he chose NOMURA as his place of employment because he wanted to be involved in a wider range of expression. After joining the company, he was assigned to the Cultural Environment Division, which he had hoped to work in. After working at a corporate museum, I became involved in the "Water Science Museum" of the Tokyo Metropolitan Government's Bureau of Waterworks. Ogasawara: "I participated in a project to completely renovate the facility as a leader and was in charge of project management. Initially, we only undertook the usual displays tasks such as research, planning, concept design, design, construction, etc. Later, we had the opportunity to propose a scheme of comprehensive outsourcing of management and operation of the facility, called comprehensive management outsourcing. At the time, there were no precedents for outsourcing management operations under such a scheme. The challenge was how to secure incentives for operators and how to demonstrate creativity and ingenuity in this form of outsourcing. We had to repeat simulations many times, but we were able to win the contract as a result of our proposals on how to plan events and publicity measures to be implemented in the operation of the facility and how to attract more visitors. Ogasawara: "For example, we were able to propose the "how to expand the number of customers" concept. Ogasawara: "For example, we learned that we could get exposure even on a limited budget by planning an event around Water Day, issuing a news release, and having reporters come to the site. I think it was very significant that I was able to experience a series of processes for attracting visitors, which we had not focused on much before. Ogasawara was appointed chief of the Mirai-Ra core, where the Hamamatsu Science Museum "Mirai-Ra"｜Science Show is held. construction Ogasawara: "I was in charge of the design, displays and operation of a large facility with a total floor space of more than 6,000 square meters, and I was responsible for the renovation from schematic design to completion in a short period of about one and a half years. The project was to be completed in a short period of about 1.5 years. For such facilities where the local government is the project entity, it usually takes 10 years in the longest case and 3 years in the shortest case. At that time, we were the first in the industry to win a proposal in the field of educational facilities through the so-called DBO method (*), in which a private company is awarded a comprehensive package of design, construction and operation. With no in-house expertise, Ogasawara, who led the project, was forced to go through a trial-and-error process here as well. Ogasawara: "When a museum is built, the government and the curators in charge of management first decide on the direction of the facility, and then we make proposals for the displays space based on that direction. However, due to a lack of time, the operation plan and displays production had to be carried out simultaneously, so the management team and the displays production team were ceding the initiative to each other within the company, and the project was stagnant for a long time. Therefore, we decided that we should oversee the project from a producer-like position and set up an overall concept with the help of the then department manager. With the help of the then general manager, I set up an overall concept, and then put it into the software (operation) and hardware (displays production) teams to organize the project. This method is commonplace today, but at the time, NOMURA had few precedents and was in a state of exploration. It was necessary to examine a wide range of business areas in parallel to achieve consistency." Ogasawara successfully led the design, construction, and operation of the project in a short period of about 17 months. While he still has some things to reflect on, he says he felt a great sense of accomplishment from the project. Ogasawara: "I believe that it is the attractiveness of the people who operate the facility that attracts visitors and leads to repeat business. In the case of a science museum, I believe that the science show by the curators is the main attraction, so we designed the Hamamatsu Science Museum so that the show space, which is often located in a corner of the facility, is in the center of the building so that visitors can see the stage from anywhere. This planning concept was born out of the participation of the prospective operators from the design stage, and I believe we were able to realize a space that only the DBO method can displays. "* DBO method (Design, Build, Operate): The public procures the funds, and the design, construction and maintenance and operation are comprehensively outsourced to private operators. Establish a business scheme that is beneficial to both the public and private sectors. Ogasawara has taken the lead in expanding the scope of its business, choosing to willingly take operational risks at the forefront of public-private partnerships and willingness to enter the fields of education and childcare. He will continue to take this stance in the future. Ogasawara: "The current state of the contracting business in the commercial and event fields is oligopoly and price competition. Like other companies, I believe that we need to actively enter the public sphere, such as the SDGs, which has been avoided by conventional businesses. Nevertheless, with population decline becoming a social issue, a business in which only the private sector can profit is not sustainable. I would like to develop a monetization scheme that allows both the public and private sectors to share risks and returns, and improve the quality of services. Especially in public works projects, precedent is important. Since this is not a field where large profits can be expected, my current goal is to gain experience so that I can better control risks. By accumulating results in this way, I believe we can become an irreplaceable presence. He says that he would like to use the experience and knowledge he has gained in this field to expand his business into the fields of education and childcare in the future. Ogasawara: "With the increase in dual-earner households, children are spending more and more time alone. I would like to be involved in the reform of the education field, from the perspective of facility space creation and management, so that the children do not suffer as a result of prioritizing the economy. In addition, as parents go out to work, local communities are becoming increasingly diluted. We are in the process of trying to incorporate a system into our park business that will allow fathers and mothers to exchange information on their days off, and I would like to take the initiative in social good initiatives to solve such social issues. --As we enter an era of collaboration between the public and private sectors in urban space development, a new page in public-private partnerships is about to open for Ogasawara and NOMURA, which have been working to create better spaces and towns.

Keita Aono is the general manager of the creative team "No.10". He has directed almost all projects in No.10 and is a space that is not bound by preconceived ideas concept design We have pursued. In recent years, Aono has also been involved in social good and projects to create and research the future of space. He talks about his footprints and beliefs. As the chief designer of No.10, Aono is responsible for directing almost all projects, and in 2020 he launched the creative team "No.10" and serves as its manager. We are involved in many projects in Japan and overseas, focusing on interiors. Aono: "No.10 is space concept design It is a creative team with the main focus. There are about 25 members, mainly in their 30s, including foreigners. I am in charge of everything related to space, with a focus on commercial properties. As of March 2023, the number of projects underway is about half overseas and half in Japan, and the characteristic of our team is that we are working globally. Our strength is that we can create space from architecture. In recent years, it has started with the concept design of a building, its interior, and the events held there concept design Aono is in his role as a general manager while directing almost all projects on the team as chief designer. Aono: "For example, in the project of the coffee brand % Arabica, which is also expanding overseas, about 20 projects are always working at the same time. Each designer is in charge of their own project, but my role as the chief designer and director is to manage the quality of the concept design by participating in strategy meetings to confirm the direction and progress of the ." The entire Group is promoting "Social Good" initiatives to contribute to solving social issues NOMURA 。 Aono says that he wants No.10 itself to be the embodiment of this. Aono: "What our team values is to think about monogoto from the beginning to the end and search for where the center of gravity is. I believe that it is important not only to create something and end it, but also to make use of it. For example, if a ship tilts to the right, it must move to the left to maintain balance. Our basic action guideline is to be the first to take such actions through concept design. At first glance, it seems that it is just an act of balancing well, but in fact, it is the first thing to do. At its core, the idea is to look at the future social equilibrium. I believe that replacing this with concept design will also lead to social contribution." Among the No.10 projects, one of the "social good" initiatives in particular is the interior and exterior of the tuna fishing vessel "Daiichi Shofuku Maru concept design (2020). Aono: "Based on the idea that improving the environment on board the vessel will lead to food safety, we concept design fishing boats. I was in charge. The mental and physical stress of the crew of a tuna fishing boat, who are forced to live at sea with hard labor for about 10 months, is great, and it is said that the turnover rate of young employees exceeds 50%. In order to make them feel as comfortable as possible, we incorporated many straight lines such as smartphones and TV screens into the interiors that evoke life on land," also a limited-time installation by UNIQLO TOKYO, the flagship store of casual fashion brand UNIQLO displays He is in charge of "LifeWear SPRING" (2021). By using recycled cork made from wine corks as a material, we consider coexistence with nature and incorporate the brand's philosophy of not placing a burden on the earth into the creation of the space. Aiming to create space from architecture, we NOMURA. Aono's activities at "ONNDO" were a turning point ▲ While majoring in architecture at the art university of the tuna fishing boat "Daiichi Shofuku Maru", where he worked on the interior and exterior, Aono felt uncomfortable with the common sense of the architectural world. I joined NOMURA in search of an environment that overturned preconceived notions. Aono: "When I was a student, I thought that a good space could only be created when architecture and interiors were linked. However, at that time, architecture and interiors were clearly separated, with architects making boxes and interior experts in charge of interiors. Therefore, with the desire to change from the interior side, we were looking for an environment where we could work on creating a space from architecture with the interior as the main focus NOMURA Since joining the company in 1999, Aono has been in charge of various projects, mainly commercial facilities, and has led them to success. In 2013, in his 15th year, he launched his own team, "Aono Room", at a speed unparalleled at that time. The following year, we started collaborating with Mr. Oki Sato of "nendo" on individual projects. In 2016, the space concept design office "onndo" was launched through a business alliance between nendo and NOMURA. Looking back on his activities at ONNDO, he says that it was a major turning point. Aono: "When I was collaborating with Mr. Sato as the Aono Room, we decided that we could work more closely together, so we set up a new concept design office. We are in charge of all concept design related to space. By working with Mr. Sato, we can work not only as interiors, but also as lines and surfaces, not just dots, but from graphics and products to architecture concept design It could. Proceeding with the project on an equal footing with Mr. Sato, a world-renowned creator, has influenced me since then. My activities at Onndo also gave me the opportunity to break down the boundaries between Japan and overseas as a field of work. I think it reminded me that if I have the power of creativity, I can work regardless of national borders, and my horizons have broadened even more," says Aono, who says that every project has drama and is generally impressive. One of the most memorable is the huge atrium of the Hilton Fukuoka Sea Hawk, a foreign-affiliated hotel in Fukuoka, where a lounge, restaurant and chapel were created. Aono: The architect was a famous architect named Cesar Pelli. I was in charge of a huge atrium space consisting of a food and beverage zone and a chapel. Architecture is like building within a building, which I have envisioned since I was a student interiors It can be said that it is a project that eliminates the boundaries of. I think it was also significant in that it gave us the opportunity to work with people from overseas to advance the project," says Aono, who is now aiming for a presence. Aono: "I hope to become a creator like the London-based designer Thomas Heatherwick, and I hope that No.10 can become a team that can handle all kinds of 3D concept design." He also participated in projects other than concept design. Aono is participating in various projects in addition to his activities as No.10 with the aim of achieving sustainable growth and social contribution for NOMURA. One of them is the activities of the Institute for Future Creation, which began in 2022. Aono: "This is an initiative aimed at building and strengthening spatial research functions for the creation of corporate value and sustainable growth of NOMURA. Currently, six members are participating," says Aono, who is also the team leader of a project to scientifically demonstrate space, behavior, and psychology as part of NOMURA's Social Good initiative. Aono: "For the past 130 years, NOMURA has provided Delight and Passion, one of our management philosophies. Until now, we haven't been able to talk much about Delight and Passion in terms of other aspects other than our achievements. Therefore, for example, we are conducting various research, such as acquiring EEG data from completed photos of past projects and extracting elements of emotion. Under the name of "Delight and Passion studies," we will verify this scientifically and explain the psychological background to society. We aim to provide Delight and Passion," says Aono, who hopes that this initiative will continue for more than 130 years, as long as the history of the NOMURA. Here's why: Aono: Delight and Passion In order to analyze and make it explainable, continuous demonstration is essential. It is said that vision accounts for nearly 90% of the perception made by the five human senses, and we aim to clarify the process by which various senses collectively generate joy and emotion, such as how sound affects human psychology in space." Nothing is involved concept design Aiming to create a space that is close to people's emotions, Aono will celebrate her 24th year with the company in 2022. There are things that I value as a designer. Aono: "What I've always been conscious of is not to get caught up in anything. For example, there are many conceptual lines created by humans, including domestic and overseas and architecture and interiors. I was freed from such preconceived notions concept design I think I've always cherished the desire to do this," says Aono, who aims not only through his No.10 initiatives, but also through the activities of the Institute for Future Creation and Social Good, to "enrich people through the power of space." Continue as follows: Aono "Listening to music evokes a variety of emotions, such as smiling and shedding tears, but space has the same great power. It is by no means as easy to understand as music, but I hope to convey joy and excitement to many people through the space. For example, let's say you have a terminally ill cancer patient. What kind of space is there to rest the mind of a person who has been sentenced to life expectancy and spends his last moments? It's our job as designers to think about such things. I want to create a space that is close to people's emotions." ▶ Creative Team No.10 Official Website: https://www.no-10.jp/ ▶ Creative Team No.10 Official Instagram Account: https://www.instagram.com/no.10_official/

A new relationship with wood was born by thinking with hands. "Tezain" Project On November 21 and 22, 2023, "NOMURA FUTURE INSIGHTS" was held at the NOMURA headquarters in Odaiba to think about the future of space from two perspectives, sustainability and digital, and co-create new possibilities. The b...

May 2023. The town hall of Koshimizu Town, a small town in Hokkaido, has been reborn as "Watashino," a Koshimizu Town disaster prevention base complex. In addition to its functions as a town hall, "Watashino" also has a coin laundry, a fitness gym and studio, a cafe, and a community space, transforming the town hall from a "place you only go to if you have business there" to a "place you want to come to on a daily basis."

Kanda Myojin is one of the most visited shrines in Japan. The Kanda Festival, held once every two years in May, attracts approximately 30,000 visitors over two days. Three young planners took on the challenge of developing souvenir products at this shrine, which is steeped in history and culture. Making specialty souvenirs of Kanda Myojin Shrine In 2018, a complex centering around a multipurpose hall on the grounds of Kanda Myojin...

SCRAPTURE is upcycled furniture that connects to the future. Exhibiting at Japan's largest concept design & art festival "DESIGNART TOKYO 2023" "DESIGNART TOKYO 2023" was held from October 20th to 29th, 2023. NOMURA is "For our future - SCRAP MA...

This is a sudden question, but what kind of facility do you think this photo is from? This is Watashino, a facility that was reborn at the end of May 2023 and is a complex government building for Koshimizu Town that serves as a disaster prevention base. In fact, it is a "new town hall" that was born in Koshimizu, a small town in Hokkaido with a population of approximately 4,500 people (as of November 2023). This ``Watashino'' has functions other than the office...

Introduction NOMURA is a member of Special Olympics Japan (SON), an international sports organization that provides people with intellectual disabilities with various sports training and competitions where they can present their results. ” planned, designed, and construction the special exhibition held in March 2023. While creating the exhibition together, I felt...

Introduction NOMURA is a member of Special Olympics Japan (SON), an international sports organization that provides people with intellectual disabilities with various sports training and competitions where they can present their results. ” planned, designed, and construction the special exhibition held in March 2023. While creating the exhibition together, I felt...

NOMURA Group promotes social good activities and engages in R&D consisting of four units. One of these units is "Inclusion & Art." We are working on community concept design by creating comfortable spaces for various people and programs through art. Held in Shibuya on October 28th...

A conversation series [nomlog MEETS→] in which NOMURA Group employees meet experts active in various fields and explore the possibilities of future "spaces" and "experiences." The theme this time is "What is Crafted concept design, which will carry the future?" NOMURA Group specializes in luxury residences and commercial spaces...

This is a conversation with a cultural planner who was in charge of castle displays in the past. Four cultural planners talked about the "castle displays" in which he was involved. <From left> Mr. Seiichiro Mori (Okayama Castle), Ms. Mima Inagaki (Hamamatsu Castle), Ms. Ena Taka (Sunpu Castle East Gate/Tatsumi Yagura), Ms. Masayuki Yoshida (Aizu Tsuruga Castle) <Interlocutor Profile...