Recruitment information

Deliver "Delight and Passion" to people
through space creation

Taku Sugimoto joined NOMURA in 2019 as an experienced employee. He is currently working on planning hotels, displays spaces, and facilities that collaborate with the local community. Sugimoto has a unique background, having previously worked at a foreign financial institution. He talks about the reason for his career change, the fulfillment he found in his new job, and his outlook for the future. Inviting the "greenery" of Odaiba into the building. Creating spaces that change over time▲ Sugimoto belongs to the Planning and Production Center of the ARTBAY TOKYO Creative Headquarters. He works in a variety of fields, including hospitality, mainly hotels, as well as commercial facilities, libraries, and exhibitions. Sugimoto: "Currently, I am mainly in charge of hotel, commercial, and exhibition work, but I have expanded from there and am also involved in urban development and branding of new facilities." One of his representative achievements is the "ARTBAY TOKYO" held in Odaiba (ended). This was an art-based urban development project based in the waterfront subcenter area, and he attempted to create a space that brings out the charm of the area. Sugimoto: "What was interesting about this project was that the team led by me took a producing role and collaborated with a wide variety of creators, including external architects, artists, and designers. We were inspired by the process of creating the project together with a wide range of people, from world-famous artists to up-and-coming architects of the same generation." Research for the project began in 2018 and took around two years to complete, until completion in the second half of 2020. Sugimoto: "Odaiba has many commercial facilities, but it doesn't have as strong a historical context as other cities. So we had extensive discussions with Bandai Motosuke, the architect we invited to build the ARTBAYHOUSE pavilion, which is the symbol of the project, about what kind of space and experience would be unique to Odaiba. In fact, Odaiba is named after an island that was created in the Edo period and still remains to this day. By transplanting and growing plants that grow there into the pavilion, the entire building is covered in greenery over time, creating a space that changes. There are spaces without a roof, and rooms where the light enters in different ways. Nature seeps in and the space changes. We've created an interesting space where you can experience a new relationship between people and greenery." Opening during the COVID-19 pandemic meant that traditional public relations activities were limited, but the response via social media was greater than expected. Sugimoto: "The striking white walls of the building's architectural concept design have been used by young people as a photo spot for social media, and it has been featured in architectural magazines, becoming a hot topic. The café inside has also created new connections with designers and creators. The gravel texture used for the flooring stimulates the senses, especially of children, and has been able to draw a wide range of reactions from visitors. Word of mouth spread through social media, and in the end, the pavilion became so popular that people lined up to get in."The happiest job in the world, an extension of what he loves Currently, Sugimoto is active as a space design professional. The origin of this was a TV program he watched as a child. Sugimoto: "When I was in elementary school, I loved watching TV shows introducing houses, and I was fascinated every time a building full of attention to detail was introduced. As the youngest child in a family of five, I didn't have my own room, so I came up with a plan to rebuild my parents' house and even presented it to my parents using a simple floor plan." Gradually, Sugimoto's desire to study architecture grew stronger, and he majored in architecture at university. He then studied abroad in Switzerland, where he gained a new perspective on architecture. Sugimoto: "In Switzerland, I learned the essential way of thinking about architecture. For example, when designing a school or art museum, the approach is to start by considering the facility itself. Switzerland is a politically and economically stable country, so I was able to explore what good architecture is, what a beautiful space is, and other aspects of space and architecture in an environment where I could pursue their beauty and interest." During his time studying abroad in Switzerland, something happened that greatly changed Sugimoto's values. Sugimoto: "In Japan, it's common to get a job straight after graduating from university, but in Switzerland it was completely different. Many people were building their lives at their own pace, studying sociology before studying architecture, or going back to school in their mid-30s. They thought carefully about what they wanted to value, and decided on the path they wanted to take while experiencing a variety of things. I was surprised and impressed by that attitude." A visit to Sri Lanka while traveling around the world during his student days also had a major impact on Sugimoto's career. Sugimoto: "I was very impressed by the cultural facilities near the World Heritage Sites I saw in Sri Lanka. They had displays that showed the restoration work and participatory and experiential displays, and they were very well done. I found out that it was a Japanese ODA (Official Development Assistance) project, and I was really drawn to the idea that this was a way of making international contributions." Sugimoto, who was attracted to international contributions, first began working as an intern at an international organization while he was a student. There, the director of the internship company advised him that "knowledge of finance and economics, as well as architecture, is important when considering a career at an international organization," and he decided to apply for a foreign financial institution as his next step. Sugimoto: "I joined an international comprehensive financial services company, but it was a very tough environment with a small number of people handling a lot of work. I learned about the importance of individual professionalism and producing results every day, but finance was a field far from my interests. It was a valuable experience, but I didn't feel like it was the job I wanted to do for the rest of my life." Then, by chance, he came across NOMURA Sugimoto: "The first project I was involved in after joining the company was a research project to consider the future of commercial facilities. Although the field was different, research was something I had done in my previous job. I was absorbed in the project, learning about the historical changes in commercial spaces and the latest examples from Japan and abroad, through trial and error. In the end, I ended up with a dictionary-like volume of very rich material, which was well received by the client. The members assigned to the project were all unique individuals, and I was able to think about and concept design the future of spaces with such interesting people. I felt that this was the best job I could have ever had."Questioning the obvious and going beyond preconceived notions. Creating new places to connect with the community ▲The Royal Park Canvas Sapporo Odori ParkSugimoto's first full-scale project was the condominium gallery "Brillia Shinagawa Minamioi Communication Salon oooi." He reconsidered the concept of a condominium gallery and proposed a new form. Sugimoto: "We felt that conventional condominium galleries were like 'black boxes' that suddenly appeared before a property went on sale and were removed once the sale was over. We questioned this approach and started by asking ourselves, 'What kind of new condominium gallery would be appropriate for the coming era?'" The project aimed to create a space that was open not only to potential buyers of condominiums, but also to local residents. Sugimoto: "The important thing is whether or not people can imagine living in the area. So we divided the space into the first and second floors, and made the first floor a communication space that local residents can use. People thinking of buying a condominium can come down to the first floor after looking at the model room and hear local people talking and taking part in activities, get a feel for the local atmosphere, and get an idea of what life in the area would be like. Even before the condominium is built, relationships between new residents and local residents will gradually develop. We aimed to create a place like that. We created a space that connects the inside and outside, like a 'veranda,' and made the facility visually and psychologically open, where the connections between people are physically visible from the outside." This initiative won a Good concept design Award. The hotel was highly praised for providing new value that connects people, companies, and communities, and for focusing on solving social issues. Another representative example is The Royal Park Canvas Sapporo Odori Park. This hotel project tackled two major challenges. Sugimoto: "The first was to use Hokkaido wood in a variety of ways. The second was to position the hotel as a showcase for the region. We introduced a system where people could purchase furniture, art, photographs, plants, etc. made by artisans and artists with ties to Hokkaido. By connecting local creators with guests, we aimed to create a circulation of the local economy and make the hotel a base for a small economic zone and a place that would become a starting point for value creation." Among the many new attempts, the hotel deliberately chose not to place TVs in any of the guest rooms, targeting millennials and Generation Z under the age of 30. Sugimoto: "Sapporo is a city of music, where jazz festivals are held. We installed record players instead of televisions, which drew mixed reviews. Some business users were negative, but the younger generation liked the fresh experience of actually dropping the needle and listening to music. A good hotel is a place where you can feel the personality of the creator. We aim to create a memorable hotel by providing cutting-edge experiences, not a safe space that is the most common denominator." Creativity born from collective intelligence. Because it is a company with interesting people, Sugimoto, who has endless challenges and encounters, talks about his future goals and how he aims to realize the dream he has been nurturing. Sugimoto: "I have always wanted to contribute to the international community through culture, so I would like to leave Japan and work around the world, especially in Asia. The facility can be a hotel or a cultural facility, but I would like to create facilities and spaces that can be involved in nation building." Sugimoto was promoted to room chief in March 2025 and is now in a position of team management. He talks about his thoughts as a leader as follows. Sugimoto: "What I feel when I join NOMURA is the wealth of collective intelligence as a team. The wonderful creativity that comes from coming together. Rather than being led by one outstanding talent, we are a group of individuals with rich personalities, and the combination of these individuals produces interesting ideas and new spaces. I want to value creating spaces that make the most of each individual's interesting personality and characteristics, both in projects and with the members of the room." Sugimoto says that the good thing about NOMURA is that it can utilize the long history of spaces built by its predecessors. Sugimoto: "What we value is the perspective of learning from history. Within that, we are always thinking about how we can take the ideas and creativity that our predecessors have spun through the spaces we create. Of course, we do our best to respond to the challenges that our customers give us, but at the same time, as creators, we value what we can leave for the next generation while inheriting the history." Sugimoto sends his support to those who are interested in this field. Sugimoto: "As someone who joined from outside the company, I can say that this is a company with interesting people. I've had many irreplaceable encounters with people of all professions, not just designers, that I feel will remain lifelong relationships with. Because we organize members by project, you get to meet new people all the time. This is a company where we can work on projects of all kinds, large and small, with really interesting people." Sugimoto adds that it's okay if you don't necessarily have specialized training in architecture or spatial concept design. Sugimoto: "We have people with diverse backgrounds, including those with letters degrees, who are active here. It's a place where you can find work that is an extension of what you love. If you're interested, I encourage you to give it a go." *The information written is current as of May 2025.

Large-scale special artifacts, such as monuments and decorations, attract visitors to theme parks and other venues. Yasuhiro Fujinuma has been involved in numerous projects as a director in charge of their production. He is a specialist in sublimating two-dimensional visuals into three-dimensional forms, including "Howl's Castle" at Ghibli Park Witch's Valley. We will discuss the secrets of production management that he has cultivated, and his vision for the future. The key to transforming two-dimensional images into three-dimensional ones is to share the same image with the customer through detailed planning. As a director, he has been involved in numerous projects to create "large-scale special formative objects" such as monuments and ornaments for theme parks and other unusual spaces. Fujinuma: "Most recently, I directed a large-scale renovation project of an art facility for about a year as the director. The work has now been completed and the facility has successfully opened." Fujinuma's projects include photo locations and monuments with an overwhelming presence that leave a lasting impression in the memories of visitors. Fujinuma's work includes large, tall sculptures and large scale decorations that create a sense of "the extraordinary. Fujinuma: "The production of large-scale special forms is an extremely complex process that involves a high degree of fusion of space, structure, and staging. Every step of the process requires a high level of expertise and precision in operations, from the selection of materials and structural design, to the layout planning of lighting and equipment to be incorporated into the interior, and the methods of division, delivery, and installation at the site. If there is even a single flaw in the design, it will directly affect the overall completeness of the project, so uncompromising design and management is essential down to the smallest detail. The most critical aspect is the "appearance" of the product. We pursue a level of realism that exceeds that of the real thing through meticulous design and verification, down to the texture, luster, and surface finish of the materials. To achieve this, it is essential to combine artistic sensitivity with structural knowledge. construction The most delicate and difficult part of sublimating the two-dimensional concept design into a three-dimensional form is "how accurately we can share and realize the image in the customer's head," according to Fujinuma. Fujinuma: "At the beginning, there are only two-dimensional illustrations and perspectives. From there, we realize them into three-dimensional objects, but the specific images, such as the texture of the materials used and the nuances of the details, exist only in the customer's mind. The key to success lies in how accurately we are able to capture that image. That is why we thoroughly listen to the client at the first meeting to find out all the questions and unclear points. We ask questions so detailed that you may think we are asking a little too much, in order to share our worldview with you in depth. We believe that the first meeting is the most important step in order to create a quality product that exceeds the customer's imagination. Especially for projects with short deadlines, a single error in judgment can affect the overall progress of the project. In addition, since visitors will actually see and sometimes touch the product, it is essential to consider safety and durability. We carefully work out every detail, presenting samples and confirming specifications, to ensure both high quality and reliability. Fujinuma: "For large-scale models, it is necessary to divide them into individual parts and transport them to the site. Therefore, we have to precisely plan in advance how the parts will be divided, in what order they will be transported and delivered, and even how they will be assembled at the site. From the production stage, we are required to precisely study the structure and process, just like a puzzle. I had a vague idea that I wanted to be involved in the creation of theme parks, and this idea became a reality when I was given the opportunity to work on the creation of monuments that would become symbols of attractions at an amusement park site led by a senior staff member at NOMURA. Fujinuma: "It was a very moving moment for me to actually be at the forefront of the industry, even though I didn't know what was going on right or left. "After that, I began to get involved in theme park projects in earnest, after working in showrooms and interiors operations such as displays meetings. The following year, however, the scale of the project orders shrank, and Fujinuma was left in charge of the project alone. Fujinuma "desperately thought about how to meet customers' expectations and win more work with limited resources," he said, looking back on that time and showing his strength to overcome the challenges. Gradually, Fujinuma began to win projects, and as he took on both production and sales duties, he accumulated a high level of expertise in the production of large special modeling objects. He became familiar with a wide range of tasks, including schedule management, production method considerations, drawing management, estimation, and quality control. In particular, he established a unique method for managing schedules within a limited production period. This schedule management method was later utilized in the Ghibli Park project and is highly regarded. Fujinuma's work is not limited to mere production, but has established a unique and unparalleled position in the world of large-scale special plastic arts, which requires precise planning and quick response. Fujinuma: "We first create the entire process for two months and make a clear list of necessary tasks. We thoroughly plan, 'Who will come to which plant on what day and at what time, and what will be checked? This ensures smooth progress throughout the project. In large-scale projects, there tends to be waste in the scheduling and progress of meetings, but by sharing the schedule in advance, the project can proceed efficiently. We always pay close attention to schedule management and create an environment where everyone can check the schedule at the same time." There is also a big challenge at construction. Fujinuma: "At sites with fixed operating hours, such as theme parks, work hours are limited, so progress must be carefully planned. In order to efficiently carry in parts, install them with a crane, perform electrical wiring, and assemble them, we calculate the work order and number of workers, and take weather and other factors into consideration. The judgment and efficient work progression skills that I developed on site are the foundation of my current work, The challenge for Fujinuma and his colleagues in charge of production was to create "Howl's Castle" in the Ghibli Park "Valley of the Witches," which was to be completed in 2024. This project, for which he was selected in recognition of his skills cultivated in large-scale special modeling, boasted an unprecedented sense of scale that was integrated with the large-scale architectural exterior. Fujinuma: "This was our first experience with a sculpture that was much larger than anything we had done before and that was also integrated with the architecture. There were many things to consider, and it was a very challenging project." In order to pursue the world view, we were also very particular about the selection of materials. Fujinuma: "Goro Miyazaki, the director of Studio Ghibli who supervised the entire project, presented a clear image of 'a rugged and somewhat mysterious industrial product like a warship,' but it was not easy to express that worldview as a model. What Fujinuma came up with was a composition that combined FRP (Fiber Reinforced Plastic) for the base layer and metallic materials such as copper plates for the surface layer. While expressing a massive and rugged presence, Fujinuma realized a precision modeling design that considered durability, construction performance, and on-site assembly efficiency. Fujinuma: "In the past, I have often worked alone on projects, but this time it was a complete team effort. Each of us was aware of our roles as professionals in structure, mechanics, modeling, drawings, procedures, site management, and so on, and we all fulfilled our roles. Fujinuma: "No one ever said, 'It's impossible,' and they always seriously considered how they could express themselves. This positive attitude was a great help in moving the project forward." With the support of his collaboration with numerous partner companies, Fujinuma describes the real thrill of working as a director through this experience. Fujinuma: "The most exciting part of my job as a director is the moment when I directly feel the reactions of people who say 'wow,' 'cool,' or 'cute' to the shapes and spaces that I have been involved in. I think the true appeal of this job is to deliver surprise and excitement and provide visitors with new experiences." Fujinuma has built a solid track record in the field of large-scale special modeling, challenging himself to go beyond conventional concepts and create "interesting spaces. Fujinuma has built a solid track record of achievements in the field of large-scale special modeling, a challenge that has always been his "attitude of taking on challenges. Fujinuma: "How did you do this? I am attracted to intricate and unique forms that surprise people by asking, "How did you do this? The more difficult it is, the more rewarding it is. As a result, I have become more involved in large scale modeling, but at the core of my work is the desire to continue to create "interesting spaces" regardless of scale or genre. Fujinuma, who has worked on scenography for theme parks and amusement facilities that everyone knows, will continue to create experiences that surpass "Delight and Passion" in the future. Fujinuma, who has been involved in the scenography of theme parks and amusement facilities that everyone knows, will continue to create experiences that surpass ". The information is current as of February 2025.

Nomura Naoki joined the company in 2017 as an experienced hire. Building on the connections he had made in his previous job, he has further expanded his network and is creating various businesses through space creation. Nomura, who describes his job as "going to light a fire in a place where there is smoke," talks about his thoughts and passion for his work. New possibilities born from dialogue. Creating new spaces with diverse stakeholdersNomura is the manager of the Development Section of the New Area Project Development Department, First General Affairs Division, Business Production Headquarters. His work is unique and broad, going beyond the typical scope of NOMURA 's work. Nomura: "In the New Area Project Development Department, we are keeping our ears open for new plans that are just starting to emerge. Our main job is to build relationships with stakeholders while catching information, and to create positions and opportunities for our participation in projects. The projects we are involved in range from planning and development of complex facilities, offices, parks, and national projects. We aim to create attractive spaces by thinking together with stakeholders from the early stages of the project, while taking advantage of NOMURA 's strengths in creating spaces in a variety of fields." When talking about Nomura's work, "connections with people" are essential. Nomura: "The core of our work is communication. We talk to a wide range of people, including various business companies, developers, financial institutions, and even landowners. Our role is to work together with various people to create facilities, spaces, and towns from the early stages, while taking into account their wishes." Nomura describes his work as "going to light a fire where there is smoke." This refers to the role of finding potential possibilities and creating business opportunities there, and to that end, he says he is always striving to collect a wide range of information and build a network of contacts. Nomura: "You discover things by meeting people. It's natural to get information from various sources, but there's so much more you can get from talking to people. I think about whether I can get new ideas and hints from them and start a new endeavor. If I don't keep myself in the middle of a whirlpool of information, I won't know what's going on in the world, and I'll feel anxious when talking to people. I try to keep my antenna up and be exposed to a variety of things." Nomura's intellectual curiosity is also shown towards people. Nomura: "I often find myself thinking, 'Why do they think this way?' or 'Why do they feel this way?' So when I communicate with people, I try to ask about their roots, hobbies, and ways of thinking. By deeply understanding the other person, you can naturally build a relationship of trust, and it's also useful when working together. However, I think that in order to do that, it starts with making others understand me. Of course, when I'm working, I think 'for the company,' but first I think about things from the perspective of 'Can I do something for the world?' If I only think about the company, my possibilities will be limited. I value thinking about things not only about the company, but also about the world and stakeholders." Curiosity led me to NOMURA Looking back on Nomura's career, which sees him at his seventh company, NOMURA, where he creates work by utilizing his connections and knowledge, there has been a consistent theme of "creating one from zero." Nomura: "Even before joining NOMURA, I was involved in planning and development work, creating one from zero, at various companies. However, it wasn't as if there was a trigger or clear desire, but rather, before I knew it, I was working on creating towns, facilities and new types of stores." Nomura, who values an "altruistic spirit" in communication, talks about a particularly memorable incident. Nomura: "A client approached me and said, 'I want to build a commercial facility here.' However, after much consideration, I felt it was not a good fit, so I suggested, 'Maybe it's better not to do it.' It would have been profitable for the company if we had accepted the project, but if we decide that it is not the best choice for the client, I think it is our role to stop it. Although I made the client angry immediately afterwards, he later said, 'I was glad that you took the time to face me then.' I still consult with that client, and we continue to keep in touch." Having accumulated such deep connections and experience, Nomura decided to join NOMURA because he wanted to experience the work of a leading company. Nomura: "I simply wanted to know what kind of work NOMURA Ltd. does, so I joined the company with a sense of curiosity." Even after joining NOMURA, Nomura's work style has not changed. Nomura: "Since I joined the company, the format has changed, but I've basically been working in the same field. I use my existing connections and knowledge to 'light a fire where there is smoke'. I've been involved in a national project given to me by the company since I joined the company, as it is a long-term project. This project has also led to new opportunities, such as being involved in other national projects, and I'm happy that my work has expanded in a new way." A chain of success created by connections. Creating spaces for a new era, as seen in the Meiji Park project▲Metropolitan Meiji ParkNomura works under the name NOMURA, but in his own unique style. The best part of his work is taking advantage of the connections between people to create new value. One example is the Meiji Park project. Nomura: "Fortunately, members with whom I had been in contact until now are now active in various places, and we have been able to form a network. The project for Meiji Park was started when a colleague and junior colleague from my previous company worked for the business company in charge of its development. Meiji Park is one of the park revitalization projects promoted by the Tokyo Metropolitan Government through public-private partnerships. After deepening our cooperative relationship with business companies and applying to various local competitions, this project finally came to fruition." For this project, NOMURA was responsible for the overall concept and planning, and also supervised concept design. Nomura: "While we were working on the Meiji Park project, the client told us they wanted to start a new business. The company already had knowledge of developing bathing facilities, so the talk expanded and led to the development of the urban spa facility "TOTOPA" in the park. My role is to be involved in the project from the concept stage, not just this project, and to accompany the project while connecting it with the right people and resources. For example, we introduced a planner who seems to be a good match. This work led to the real estate company and the planner hitting it off, and we are still working together. In addition, we introduced the facility to the media through the connections of the project members, and the facility was introduced on TV. In this way, I feel joy in using my connections and ideas generously to move the project forward." Nomura's work is not limited to simply creating spaces. He talks about what he keeps in mind when working. Nomura: "I think of my work as creating a business, rather than creating a space. Even if you create a space, if it doesn't generate money, it's not a business in the end. There are many jobs in the world that involve creating businesses, but I think of the business as being centered on space." Overflowing curiosity - endless challenges to new possibilities While valuing the connections and trust he has built with people, Nomura is working hard to create spaces and ultimately create businesses. What are his future prospects? Nomura: "I would like to continue working while valuing the relationships I have built up so far. I hope that these relationships will lead to some kind of shape, such as a new project. People are often surprised by this, but I have hardly ever done any sales activities up to now. By constantly interacting with people and keeping my antennae up, interesting stories naturally come to me. That's how I work." This is Nomura's seventh company. Thanks to the connections he has built up over the years, he has contact with experts in a wide range of fields. Nomura: "Thanks to my long-standing relationships, I am now in an environment where I can approach the field I want to be involved in through various connections. In the future, I would like to further expand these connections." Nomura has a strong desire to be the "starting point" of NOMURA. Nomura: "I aim to be someone who makes people inside and outside the company think, 'We can do something together with Nomura' or 'If you ask Nomura, we can make it work.' I don't want to give up this position to anyone. I feel that I need to always keep my antenna up and actively approach people so that they think, 'There are interesting stories around Nomura.'" Finally, he talks about the appeal of NOMURA. Nomura: "I feel that the company gives me many opportunities. It allows me to go to many different places and provides me with the opportunity to make many connections. Thanks to this environment, I have been able to meet a wider variety of people and gain a wider range of knowledge and information. Another attractive feature is that there are many colleagues who agree with my ideas and act together with me. For example, when I was interested in a certain business and suddenly suggested, 'Let's go to this event,' there were colleagues who showed interest and joined me. It makes me happy to know that they see potential in me." Nomura's vision of the future is not just about personal growth, but also has the potential to breathe new life into NOMURA, Ltd. as a whole and the entire industry. His attitude of valuing connections with people and always taking on new challenges may embody the ideal image required in the future. * The content of this article is as of September 2024.

Kenji Takahashi has worked on spatial concept design in a wide range of fields, from corporate showrooms to cultural facilities. Takahashi has always been committed to capturing the essence of displays and creating moving experiences from his own perspective and approach. In this article, he talks about the secrets of spatial creation he has cultivated over his 20-year career and the thoughts he holds dear as a designer. Capture the essence and seek a unique approach. The challenge of seeking moving experiences goes beyond the boundaries of genres. Takahashi is the room chief of the Creative Headquarters, concept design Department 7, Second concept design Center, and leads nine members. He is working on a variety of projects that transcend market areas. Takahashi: "concept design team at the Osaka office is divided into three major fields: commercial, corporate, and cultural, but our rooms are a wide range of fields, from corporate showrooms and museums to displays spaces at cultural facilities. We are currently working on multiple projects at the same time, but the process of capturing the essence of the facility and thinking about how to convey it is the same in any field. Recently, I have been involved from the concept stage of the business, and I have had more opportunities to be involved in not only displays spaces but also architectural concept design proposals." Takahashi has been in charge of a wide range of projects so far. The project he is currently working on is the culmination of his career. Takahashi: "The project I am currently working on is a complex consisting of a product displays floor, an experience displays floor, workshops, a cafe, and shops. I am mobilizing all of the techniques and knowledge I have cultivated, while also taking advantage of my experience in aquariums, museums, restaurants, retail stores, theme park attractions, and architectural concept design." Takahashi has chosen to take on a wide range of work without being picky. As a designer, he has a set of uncompromising beliefs. Takahashi: "I talk to customers repeatedly to find the message they most want to convey, and pursue how to express it in a way that will deeply resonate with visitors. The products and content handled vary from facility to facility. I have always been conscious of a fresh and unique approach, and have aimed to propose ideas that will excite customers. I believe it is difficult for visitors to sympathize with and be moved by something that does not move us, the creators. Rather than thinking that I understand by looking at photos and documents, it is important to see the actual site and the actual thing." A story of life woven with simple expressions. Trust with customers is the source of creativity ▲ After joining the Hiyoriyama Coast Museum, Takahashi was mainly active in the field of corporate displays, but at the same time, his active involvement in competitions became the catalyst for broadening the scope of his career. Takahashi: "The first time I participated in a competition was when the head of concept design department asked me to. After trying a few times, I had more opportunities to be involved in competitions as the main person in charge of displays in parallel, and I became familiar with the sales staff within the company. Competitions are a competition with other companies, so high creativity and the ability to respond quickly are essential. It's tough, but it's a worthwhile challenge, and I feel that this experience has become the foundation of my career as a designer." Takahashi was promoted to room chief in 2014. The following year, he was put in charge of the Hiyoriyama Coast Museum project, which was a turning point for him. Takahashi: "Hiyayama Seaside Museum is a facility within Kinosaki Marine World, and is a 'storytelling' museum with the theme of 'life.' The entire space was concept design based on the concept that the zookeepers working at the facility would themselves talk about the knowledge and discoveries they had gained through their breeding activities. I met the zookeepers face-to-face and heard how they dealt with the creatures and what struggles they had faced. I proposed to incorporate the words that moved me into displays, and incorporated them into concept design. I faced concept design I wanted to express head-on, and as a result, it resonated with the customer, and I think it was a project that was successfully realized." For this project, Takahashi was involved in everything from displays to the architectural concept design, schematic design, and facility logo concept design. Behind this was the relationship of trust he had built up with his clients over many years. Takahashi: "Usually, architecture and displays are often done separately, but for this project, we sat down with the client to discuss the architectural concept design and interior concept, asking, 'Is this really okay?' over a period of about three years, and we created them together. I am the third generation designer to have inherited a relationship that has lasted for 40 years, and I believe that the reason we were able to work on the project as partners from the early planning stages is because our predecessors built a relationship of trust with the client and created an environment in which we could demonstrate our creativity." Since opening in 2019, the Hiyoriyama Kaigan Museum has won various concept design awards both in Japan and abroad. As a designer, Takahashi has received a solid response. Takahashi: "For displays, we treated the 30-meter-wide wall as a single large canvas, and arranged the visuals and displays simply around a copy with a strong message. Museums tend to have a lot of text, but perhaps the fact that we stripped it down to the bare minimum led to the award. After about 20 years of experience, I feel that I've finally reached a point where I can relax with trusted colleagues and stick to my expression and concept design to the fullest." A moving experience led by concept design that connects people and space. New value and possibilities revealed by two examples ▲ Kinosaki Marine World Fish displays Area "SeaZoo"As a project following the Hiyoriyama Kaigan Museum, Takahashi is also in charge of the renewal of the fish displays area "SeaZoo" at the same Kinosaki Marine World in 2024. Takahashi: "I was involved from the planning stage of displays concept, and together with the same staff and keepers as last time, we worked out the overall concept design of the space, the walls around the aquariums, and the communication concept design to convey information about the creatures. The concept of the new displays "CUBE" in SeaZoo is 'Towards an aquarium with more conversation.' We aimed for an displays style that would encourage new surprises and discoveries by utilising 20 cube-shaped aquariums, conversations with the keepers, illustrations, and graphic boards." "In "SeaZoo," the white space was meticulously concept design, with a composition that makes the aquariums, the main attraction, look like artworks in a museum. The communication-based displays is creating new experiences. Takahashi: "When you think of an aquarium, it's not uncommon for aquariums to have a row of tanks on the wall and visitors simply pass by them. So we set up communication boards next to the tanks and wrote short texts in the zookeepers' own words about what they found interesting or impressed while observing the creatures, and what they wanted visitors to pay attention to, without standardizing the expressions. This created a flow where visitors would read the communication board after looking at the aquarium, share the zookeepers' perspectives and thoughts, and then look at the aquarium again. If there were just a row of academic explanations, visitors would move on without even looking at the boards, but more people stopped to look at the zookeepers' real words and illustrations. We also installed monitors in various places where life-size zookeepers appeared and spoke to them, which was effective in significantly increasing the amount of time visitors stayed in the aquarium." Meanwhile, Takahashi also took on a bold concept design challenge in the competition for the "Waste Processing Tour Route" for the "Kikuchi Environmental Factory Clean Forest Koshi" that we took on with our client in 2021. This was also a project that culminated the spirit of adventure that I value as a designer. 」 English: Takahashi: "Usually the theory in a facility like this is to provide information on the walls, but we concept design a sugoroku-style information space that eliminates the boundary between the wall and the floor, and connects explanatory graphics, displays content, and sign graphics with a single line. On the tour route, information is scattered on the walls and floor like a board game, allowing visitors to have fun learning about the waste treatment process by reading explanations of the waste treatment facility that can be seen from the viewing window and taking quizzes. To keep children from getting bored until the end, we aimed for a design that allows them to move on to the next process like turning the pages of a picture book. I believe that the key to success in any job is to find an element that is enjoyable and produce a concept design that satisfies you. Rather than deciding whether or not to take on a project because of the genre, I have always sought to find how to make the project itself attractive and please the customer." Identifying the essence, pursuing new expressions, and giving shape to emotion ▲ Mori Goshi of Kikuchi Environmental Factory Clean "Guided by a single line, we tour the story. The waste treatment tour route" Takahashi says he feels rewarded when he finds a concept design angle that brings unique value and experience to a space, or a clue to create emotion. As a room chief and as a designer, he has a vision for himself. Takahashi: "There is no need to follow existing theories. Different people have different perspectives. Each member is able to honestly and unashamedly express what has moved them and their strong feelings, and I want to be a professional group that can create concept design that ultimately lead to customer satisfaction. Personally, I want to be a designer who is always pursuing new expressions. Currently, I am in charge of not only displays spaces, but also commercial facilities, but the importance of identifying the essence and how to convey it remains the same. I would like to continue to challenge myself in various genres. People around me often say, 'You look like you're having fun at work,' but I feel that I am most myself when I find enjoyment and am working on concept design that I truly believe are good. Question common sense, dig deep into things that you find strange, find a perspective, and incorporate them into concept design. I intend to continue to face concept design that I want to express head-on." And finally, from his position as a designer who has been at the forefront for over 20 years, Takahashi has this to say to his future colleagues: Takahashi: "NOMURA is a company where you can get involved in anything you want, from spatial design to graphics, video, and even architecture, as long as you have the motivation. I hope you will find your own joy in this ideal environment." Even with a career spanning more than 20 years, Takahashi's desire to explore new forms of expression is endless. His challenge to identify the essence and give form to emotion continues to expand into unknown territory. *The content is current as of November 2024.

Daisuke Inoue will be in charge of production management as a director, and will serve as a section manager from 2024. We have been involved in a wide range of projects such as aquariums, museums, and displays associations. He talks about the motivation and learning of creating a single thing in cooperation with various parts of the company and inside and outside the company, and his thoughts on fostering the next generation. Inoue is the manager of the Product Direction Department 2, Section 1 of the Product Direction Department 2 of the Division of the Sales Promotion Headquarters, where the opinions of customers, designers, and production management are coordinated to find a better landing point. We are a team that responds to a wide range of fields, and we are involved in various projects while coordinating 10 members. Inoue: "Currently, I am mainly involved in projects for the Osaka-Kansai Expo to be held in 2025. The job of production management is to embody the concept design drawn by the designer as an actual "space". The basis of my work is to be present at the site and direct the production and construction site while considering not only process management, but also safety and quality management, as well as cost balance. I used to do that kind of work every day until I became a section manager." The process of translating a designer's concept design into an actual construction requires a lot of adjustments. Inoue: Once the concept design is approved by the customer, we explain the contents to the partner companies and reflect them in the construction diagram in order to actually manufacture the product. We will find the best solution through repeated adjustments, such as considering the economic dimensions in consideration of the cost balance, and proposing alternatives that it would be better to change the material because people often touch it and it seems to get dirty. Designers have their own opinions, and customers have their own ideas. As a production manager, we must ensure safety and quality. It's a job where we reconcile our opinions and find a better landing spot." Of course, when working on a project, it is also essential to collaborate with the sales representative. Inoue: "The first thing about the cost of construction is to proceed with the contracted amount, but there may be more or less work to be done as it progresses. In order for the project to proceed smoothly, I think it is important for sales, designers, and production management to communicate closely within the company." Inoue: "I try to communicate with the members by showing up at the site and actively talking to them. Also, in order to reduce the burden on the members of the site, I try to take care of internal communication and coordination as much as possible." Inoue, who has collaborated with major general contractors and gained new insights, says that one of the projects he has been involved in so far has left a particularly strong impression on him is the renovation of the displays of a public archive, which he was entrusted with in his third year with the company. Inoue: Until then, I had been mainly in charge of displays associations, but when I changed departments, I became involved in cultural facilities for the first time. It was at this time that I learned how hard the work is. For example, I learned that if we do not pay attention to the details, such as checking whether the road used for delivery is a public road or a private road, and make various adjustments and considerations, there is a possibility that it will cause inconvenience to customers and related parties, and that construction may be delayed. In addition to this, I also learned the compilation and procedures for submitting documents from scratch, and I think I gained a new understanding of the fundamentals of production management." Four years later, he was entrusted with production management for a large-scale project to renovate a large coral reef tank in one of the world's largest aquariums, and he felt a great sense of fulfillment. Inoue: "This tank is based on the theme of the world's largest coral reef, the Great Barrier Reef, off the northeastern coast of Australia. I was surrounded by people with specialized knowledge, so I repeatedly watched videos introducing the area to gain knowledge of coral reefs in order to expand my image. Even when deciding on the shape of the pseudo-rock to be created in the aquarium, it is necessary to give careful consideration to the living creatures. For example, if there is a depression in the rock, it will become a puddle of water and plankton will be generated, and if the tunnel is not enlarged, fish will get clogged up. It was difficult because there were many unusual considerations, such as covering the acrylic sealing part to prevent sea turtles from eating it, but the work itself related to these creatures was fresh, and I felt that it was rewarding to create a place where many people could see it." In this project, a major general contractor who construction the aquarium, a company that handles equipment in the aquarium, and NOMURA Three companies are stationed in the same field office. "I gained new insights through collaboration," he says. Inoue: "It was the first time that different companies had seats in one office, and I enjoyed the process of the three companies striving toward the same goal. In addition, as I saw the work of each company from a close distance, I was able to see what I wanted to refer to, such as how to proceed with work, how to make arrangements, and how to compile safety documents, and it was a very informative project." I was given the opportunity to learn about work in a wide range of fields, and my horizons were strengthened and broadened▲ Projects involving the Kyoto Railway Museum displays Inoue has expanded from associations to permanent facilities such as cultural facilities and corporate showrooms. At first glance, they seem to be different jobs, but they actually have a lot in common. Inoue: "In the case of a displays meeting with only two or three days of construction, it is characterized by simplifying what can be simplified as much as possible in anticipation of subsequent demolition displays. I was entrusted with the new project and was responsible for the production management of the entire facility. He says that he put his heart and soul into formulating safety standards in accordance with the rules of the railway company. Inoue: "It was difficult to look at the drawings drawn by the designers, coordinate with the railway company what kind of rules to apply to which parts, and reflect them in the construction diagramsI also gained a new perspective through interaction with experts in structural calculations. Inoue: "For example, in the design of buildings and structures, I was able to acquire a certain amount of knowledge, such as the need to increase the strength of the foundation rather than the upper part. By requesting structural calculations based on the sketches drawn based on such knowledge, we were able to proceed efficiently without rework. In addition, there were many railway fans, including customers, so it was very fun to be able to get trivia on the spot, such as the rare license plate of the SL," says Inoue, reflecting on the projects he has been involved in so far, and thanking his boss for giving him the opportunity to learn a wide range of fields. Inoue "Every time a job comes in, I go through trial and error, saying, 'I can't seem to work with my past experience, so I have to think about how to do it,' which is why I am trained and broaden my horizons. Inoue: "There are early days in the morning and periods when I have to work overtime, and there are many situations where I have to struggle to get the people from the subcontractors to work well on site, but when I see the completion of what I have worked on and the joy of the visitors, all the hard work is blown away. It makes me want to work hard again for my next job." "Lateral thinking of withered technology." Inoue, who has experienced the creation of new value through his work in production management, says that he sympathizes with the words of Gunpei Yokoi, who was also called the "father of mobile games," as "lateral thinking of withered technology." Inoue: "It means creating new value by utilizing existing technologies in different fields, and I think this idea has something in common with our work. If there is a way to do it, a new breakthrough can be created by looking at it from multiple angles, from the front, the back, and the side. I think there is something in common with our work in production management, which is to consider any issue from various angles and think about how it can be done." Inoue: "As a production manager, I find it interesting to have various people, including partner companies, work on the project and lead it to completion with the help of wisdom and knowledge, and I would like to continue to contribute to the world through this work," he says, adding that he would like to make use of his own experience to focus on training the next generation. Inoue: "I would like to create many opportunities for my juniors to take on projects that would not succeed unless they approached them with a flexible mindset, just as my boss once trained me. If you find what you can do at your own discretion and work on it, rather than just doing what you are told, you will naturally feel the joy of your work." Finally, he cites the history and achievements built up by our predecessors as the appeal of NOMURA. Inoue: "As our history and achievements show, at NOMURA you can experience a lot of work, including large projects, and there are many opportunities to connect your field of interest and what you want to do to your work. As long as they are motivated, the possibilities of each employee will expand infinitely," says Inoue, who has been active in multiple fields regardless of the field. In the future, I will pass on this know-how and the real pleasure of my work to my juniors, and illuminate the future of my colleagues and the company even brighter. * The information is current as of October 2024.

Tomoaki Onuki joined the company in 2020 as a salesperson with experience. As a person in charge of the hotel market, I promote project management. Onuki, who has been working calmly to organize the team well and taking on big projects since shortly joining the company, looks back on the past and talks about his work ethic and vision for the future. Connecting customers and internal members, sales as a project leaderOnuki joined NOMURA in 2020. The Sales Department 1, Sales Division 2, Sales Promotion Division, to which I belong, handles projects for hotels in Japan and overseas. There are 15 members in the two sections, and each of them is responsible for project management as the leader of each project. Onuki: My role is to communicate with customers, understand their needs, and promote projects while taking into account deadlines and budgets. The main work is coordination work with in-house designers, designers, and production teams. When it comes to a large project, we have a regular meeting once a week for the entire project, and there are many internal meetings and preliminary meetings with customers to prepare for it. concept design is generally left up to the designers, but if the concept design has a material that doesn't fit the budget or has difficult specifications, we may ask them to adjust it to fit the budget." NOMURA 's strength lies in its ongoing customer relationships and high repeat business rate. Onuki: "Cultivating new business is one of our roles, but we also receive many referrals from existing customers, developers, and design offices, and I think that the high repeat rate is proof that our company is trusted." There are things that Onuki values in his work. That is, to be positive. It's the key to facilitating complex projects. Onuki: "In the course of a project, there are many times when new requests arise from customers during the project, and even in such cases, we respond calmly without panicking. If it is difficult to achieve, we will discuss with the in-house designers and directors (production management) where to find the pitfalls and make a proposal to the customer. I think about what roles our members can play and make sure that everyone can work in a good atmosphere," says Onuki, who is sincere with both customers and internal members. In the background is the presence of family. Onuki: "I have a son, but I don't want him to work in a way that makes him think it's 'uncool,' so I want to work honestly and be myself that I can always be proud of." Accomplish it with the support of the members ▲ Hotel Okura Kyoto After graduating from Okazaki Bettei University, Onuki gained experience in the interiors business at a curtain manufacturer and a interiors construction company. Onuki: "I learned the basics of the industry through my work as a salesperson at a curtain manufacturer, handling flooring and other products. interiors construction At the company, I was in charge of sales for the first two years, and then I was in charge of production as a result of job rotation. interiors I was able to experience the entire construction process at the site." When he was involved in the sales and production of overseas luxury brand stores at a interiors company specializing in commercial stores, a certain feeling was born in Onuki. Onuki: "I started to think that I wanted to work in more different fields, and with the milestone of 40 years old, I wanted to further pursue my abilities and jump into an environment where I could realize them, which led to my determination to take on new challenges NOMURA." The deciding factor was the breadth of projects we were working on. Onuki: "I was attracted to NOMURA because it covers a wide range of projects, including commercial and cultural facilities, and has the potential to be involved in projects in a variety of markets." This is a project of "Hotel Okura Kyoto Okazaki Bettei". Onuki: I joined the project at a time when the design was completed and we were promoting construction. At that time, due to the influence of Corona, there was a change in plans, and we had to look at everything from the design of the guest room and lobby restaurant to the construction. About 12 employees in Tokyo and Osaka were involved in this project, and for the first six months or so, I accompanied my previous sales representative, and after that, I was in charge alone. At that time, in addition to the fact that we were mainly communicating online due to the Corona disaster, there were many confusions, such as participating in a project that was already being promoted in the middle of the project, and working with members in Osaka who were even further away. If there was anything that bothered me even a little, I tried to communicate with them, but most of all, I was able to put it all together safely by having the designers and directors (production management) follow up on how to proceed." Onuki: "Commercial stores are often designed mainly from the perspective of the staff, but I felt that the difference was that hotels emphasized the perspective of the guests as well as the staff. I was able to learn the difficulties of the scale by doing it NOMURA." After joining the company, he completed several large projects that involved both design and construction, so he was selected as a JOB leader in a renovation project of a foreign-affiliated luxury hotel. Onuki: It was one of the largest hotel projects for our company to date. We received a total order from design to construction, and I was in charge of three main areas: guest rooms, lower floors, and the 22nd floor. It was an extremely difficult project to completely renovate the hotel in about 10 months while operating it. The hardest part was the number of people involved. It was necessary to coordinate with about 100 members both inside and outside the company. In addition to in-house designers and designers, there are also PM (*1) companies and AM (*2) companies. While considering who to approve and get consensus from, as well as human relations, we appropriately allocated the information to meet the customer's request." In order to lead the large-scale project to success, Onuki focused on "increasing the amount of action." Onuki "I took the initiative and communicated with various people to do what I needed to do. In about a year and a half of this project, I used a total of four notebooks." Onuki: "It's hard to have a large number of people involved, but it's also fun. There is a limit to what I can do on my own, but I find it rewarding to be able to put together a big project while assigning the right people to the right place." *1 Project management. A company that comprehensively manages and promotes project quality, process, cost, etc. *2 Asset management. A company that acts as an agent for the management and preservation of investment assets on behalf of the owner While enriching his private life, Onuki has been taking on new challenges at NOMURA for four years since he joined NOMURA. Now that we have successfully completed a large-scale hotel project, we are aiming for even greater heights. Onuki: "I want to be a company that makes people think, 'I can rest assured if I leave large-scale hotel projects to Onuki,' and eventually I would like to take on the challenge of fields other than hotels. One of the reasons for changing jobs, "I want to work in more different fields," is now being realized. In projects in different fields of scale and large amounts, we pursue the best manufacturing together with the unique members of the company. I feel like it's exactly the kind of environment I'm looking for." One of the attractions of NOMURA is its good work-life balance. Onuki: "Compared to my previous job, the way I work has improved a lot, and thanks to this, I was able to start getting a dog, which my son wanted, and I enjoy walking with the dog in the park on weekends NOMURA." Onuki: "I think it's especially suitable for people who want to try various jobs and have the desire to do big work. It is an opportunity and a responsibility, but I think we have an environment where we can grow through such challenges. I'm looking forward to working with people who want to take on new challenges just like me." NOMURA Onuki has only just begun his new challenge. Onuki's work to unite the power of members and give shape to customers' dreams will further enhance the true value of NOMURA. * The information is current as of June 2024.

After joining the company in 2007, Yoshimura Mineto is currently working as a room chief at the Nomura concept design Center No. 1, Creative Headquarters. He has worked on a wide range concept design from commercial spaces to private residences, and is committed to creating spaces that move people's hearts with his unique philosophy of "concept design the entire air." He talks about his passion for his work and his new challenges as a designer. "concept design the entire air." Behind the scenes of a project that creates new value▲ Anniversaire Omotesando Yoshimura belongs to concept design Division 5 of NOMURA concept design Center No. 1, Creative Headquarters. As a room chief, he works with the planning team on a wide range of concept design from commercial spaces to residences. Yoshimura: "Specifically, in addition to concept design more than 10 homes, including private residences, we also design casual Italian restaurants, high-end watch stores in Ginza, and members-only salons for the wealthy. We are involved in a wide range of projects, from large spaces to small spaces related to lifestyles." Yoshimura's work is not limited to simply creating spaces. There is a consistent desire to concept design people's emotions and the atmosphere. Yoshimura: "I often tell my clients that I will 'concept design the entire atmosphere,' but that doesn't mean I'm just trying to make the space look cool and innovative. I focus on how the space will create a wonderful atmosphere for the time spent there, and carefully consider the floor plan. This is true not only for residential buildings, but also for restaurants and hotels." One of the distinctive features of Yoshimura's work is his collaboration with the planning team in charge of the project. This effect is particularly evident in projects that aim to create new value. Yoshimura: "For example, Anniversaire Omotesando. For the large-scale renovation project to mark the 25th anniversary of the opening, the client wanted the venue to be more open to the town and to try new ways of using the venue beyond just as a wedding venue. With the involvement of the planning team, we were able to conduct an in-depth analysis of related data from perspectives other than concept design, such as the characteristics of the people visiting Omotesando, trends in the wedding market, and the atmosphere desired at corporate parties. They were also good at putting concept design into words, which added depth to concept design of each floor and made it easier to communicate to clients. I think what makes NOMURA so interesting is the environment where we can cooperate beyond team boundaries, and I have learned a lot myself." Yoshimura's attitude towards work is filled with a spirit of adventure, always trying to create something new. Yoshimura: "Almost all of our clients want to create new ways of using things and scenes that have never been seen before, and we expect them to propose new worldviews and ways of thinking. Sometimes we are asked to have a global perspective, not just a Japanese one. When working on such challenging projects, I always keep in mind to enjoy concept design. When you try to create something new, you will hit many obstacles. But I think it is important to enjoy even that process. When you start to hear people say, 'I'm looking forward to the finished product,' that is a sign that you are heading towards a good concept design. Ultimately, the important indicator is whether it is a space that you want to take your loved ones to and whether you are excited about it." "A space that blends into people's lives." Passion for concept design that connects people and spacesYoshimura says that what led him to pursue spatial concept design was an experience he had in high school. Yoshimura: "When I was in high school, I often went to a local coffee chain to study. I noticed that the space that I spent 140 yen on a cup of coffee was part of the lives of many people. There was a regular old man who came at a certain time every week, a person who teaches English conversation, and a couple who always sat at the same table and talked. The space that people could spend 140 yen in enriches people's lives. The moment I realized this, I wanted to concept design the space of a store like this. So I talked to my art teacher, and the day after he told me about art school, I started going to an art school." With a strong passion for spatial concept design he went on to art school. During his time at school, he had the opportunity to take a class from Shigechiyo Suzuki, the current executive creative director of NOMURA, and through his interactions after class, he began to become interested in the company. Yoshimura: "Every time we met, he would talk about his work with a smile on his face and look like he was having fun. Suzuki was in his mid-50s at the time. Seeing someone with many subordinates talking about their work with such enthusiasm made me think, 'This company has lively designers and a sense of momentum.' So I started researching NOMURA, interviewed, and decided to join the company." After joining the company, Yoshimura began his career as concept design in the commercial environment company. In 2010, he joined the concept design team called "AND." Yoshimura: "AND is a group of designers led by Kosaka Ryu (Senior Executive Officer concept design Officer at NOMURA), who specializes in creating high-quality spaces. For around 10 years, Kosaka thoroughly drilled into me the essence of concept design. During that time, I will never forget the first time we were entrusted with the project of the restaurant, GENIE'S TOKYO. I learned the difficulty of creating a restaurant while considering various things such as the profitability and facilities of the restaurant, and the movement of staff and customers. As a designer, I don't just draw pictures, but also collaborate with people from all kinds of industries to create a store." Through this experience, Yoshimura realized the dynamism of how a single line drawn by him can move many people and money, and the weight of responsibility that comes with it. Yoshimura: "There was one time when I had them make something based on the pictures and drawings I had made, but a mistake occurred...I had to bow my head and ask them to fix it, and it was a project where I really felt the weight of failure. At the same time, I learned a lot about the importance of connections with people. I was thankful to have become friends with the people on site, and they helped me out when I ran into trouble at work later on. I really felt the importance of not just concept design, but relationships with the people on site." Envisioning a future of rich housing with an innovative concept design approach ▲ Dear Homes Mita Yoshimura returned to NOMURA in 2021, formed his own team, and took on the role of room chief. He would then go on to work on two memorable projects. Yoshimura: "The first one was Dear Homes Mita (a renovation project for an apartment building for the wealthy). It all started with my work at AND, and the client I was in charge of contacted me and said, 'I heard you've returned to NOMURA Ltd. We'd love to work with you again.' To be honest, I was surprised. They asked me to do the work personally, not as a member of AND, the team that Kosaka was on. I was very happy that they appreciated my careful work and my approach to concept design." Yoshimura says that it was a project he put a lot of energy into in order to meet the client's expectations. He took on the challenge of residence concept design from a new perspective. Yoshimura: "In the housing market for wealthy people, calm tones and colors that seek comfort were mainstream. However, based on my experience in restaurants and commercial facilities, I thought it would be good to incorporate more upbeat and uplifting colors and concept design into homes. For example, I proposed using color in the main areas that are usually white, or flipping over a shelf to change from wood to colorful leather, making it easy to redecorate like changing clothes." This innovative approach led to the next big project. Yoshimura: "When I spoke with art director Shun Kawakami in a talk show for nomlog*, he was very interested in the design process of this house and the way it expresses the richness of the house, and asked me to work with him, which led to the job of concept design a new bathroom concept for LIXIL." This project gave Yoshimura the opportunity to fundamentally rethink the concept of bathroom space. Yoshimura: "I realized that while I carefully consider the layout of the living room and bedroom, such as the position of the walls, the visibility of the storage, the movement of the eyes, and colors, I had not given much thought to the spatial composition of the bathroom. I wanted to propose a way for users to enjoy the bath in a variety of ways, so I concept design based on the time axis. By simply installing a small curved wall in the bath, I proposed an idea that would change the mood between the time spent washing the body and the time spent soaking in the water. I also emphasized the importance of expanding the range of options. Although a home is one of the most expensive purchases in life, I feel that there are limited concept design. I thought that reflecting the breadth of options when choosing a cell phone or clothes in bathroom concept design would lead to the richness of the home, so I increased the options for colors and designs." Through these projects, Yoshimura deeply considers the richness of the home and proposes new values. It creates a change in the hearts of the people who spend time in that space. *nomlog: https://www.nomlog.nomurakougei.co.jp/ NOMURA Group's media that pursues the possibilities of "space" and "experience". Professional space creators will share the behind-the-scenes of projects, their daily efforts, and their own unique thoughts. "Aiming to be a designer team that people choose." Yoshimura Room's challenge to connect with people and create spacesYoshimura says that the rewarding part of his job is the connections he makes with people. Yoshimura: "I strongly feel that creating a space cannot be done by one person. No matter how talented a designer you are, it won't come to fruition without the craftsmen who can give it shape. Of course, it won't start without customers. That's why I love the sense of accomplishment of creating something together, and that's why I continue to do this job. When a long-term project is over, we sometimes make a photo album as a gift for the customer. It includes sketches of concept design that have never been shown before, inspections at the factory, and photos that have been taken up until now. I really love the moments when we can share that we have all made something good together." Yoshimura, who has always valued connections with people, talks about his vision for the future. Yoshimura: "I want to challenge myself to see how well we can be accepted on the world stage in a few years. Even if I'm in charge of a facility in Japan, the customers who use it are those who have seen wonderful places all over the world. I have to create something that many different people will find wonderful. With that in mind, I'm feeling more and more eager to see if my aesthetic sense and sensibility can really be accepted overseas." Yoshimura Room also has a clear goal. Yoshimura: "For the past four years, our goal has been to become a design team that is chosen. This is a pretty big word, and it's not easy to achieve. But we will continue to set big goals, and ultimately we aim to become designers who are requested by name from overseas." Finally, Yoshimura talks about the appeal of NOMURA Yoshimura: "The appeal of NOMURA is that there are so many people who are willing to help, as well as seniors I can respect and juniors who inspire me. It's probably not often that you can immediately think of a senior in your own company that you respect or a junior who you think is excellent. I feel very blessed to be able to improve myself in an environment where we can discuss concept design on a daily basis. That's what's great about our company, which is why I'm still here." With his sights set on the world in a stimulating and growing environment, Yoshimura will continue to pave the way for the future of spatial concept design as he carefully deals with each and every space. *The content is current as of September 2024.

Momoko Sagawa joined the company in 2019. After gaining on-site experience in the sales department, she made a career change and is now involved in formulating short- to mid-term business strategies and providing support to executives in the Corporate Strategy Office. Sagawa believes in the power of concept design and has worked to solve problems from the other person's perspective throughout her career. She will talk about the future vision of business that only NOMURA can paint. Synergy created by diverse backgrounds. Sagawa is a member of the Corporate Strategy Office, with the aim of realizing strategic management with an eye to the future. Her main responsibilities include formulating short- to mid-term business strategies and supporting executive decision-making. Sagawa: "Our mission is to formulate a management strategy while analyzing the environment in which our company finds itself from a bird's-eye view by grasping the trends of society, industry, customers, competitors, and all stakeholders. In doing so, we aim to contribute to management by considering what our company should be like in light of the current situation within the company and changes in the external environment, and by considering and implementing appropriate measures. The Management Strategy Office was established only a few months ago. We work closely with various departments within the company, including the business division as well as the Management Planning Office, which is responsible for mid- to long-term management strategies." The Management Strategy Office is made up of professionals with diverse backgrounds, including sales, business planning, and directors (production management). They each utilize their expertise in their work. Sagawa: "I'm currently in charge of the Sales Promotion Department, which is the largest organization in the company. The Sales Promotion Department is responsible for working with customers to create each and every space. My main job is to understand the strategies and initiatives of Executive Officers and each business division that are leading the strengthening of the business, and to consider how to develop the business as a whole company based on that. Data management is also an important role, and I am working on effective ways to utilize accumulated data and improve its accuracy. In the early stages of strategy planning, I mainly communicate with Executive Officers, but in the concrete phase, I communicate closely with each business division manager and team member." Sagawa is in his sixth year at the company. Throughout his career, he has valued the idea of concept design. Sagawa: "concept design is not just about drawing up plans or creating designs, but a process of grasping the essence of a problem and finding a solution while engaging with people's hearts and sensibilities. I believe that concept design thinking can be applied to any business, and as a universal value, it has been the foundation of my work. For example, data shows facts, but it is only one element for decision-making. In dialogue with others, it is important to understand the true meaning of the words, their true causes, and the background, while also grasping the facts, which I believe allows you to correctly understand the current situation and make the best decision regarding the essence of the problem." A book paved the way to solving problems. Sagawa's interest in concept design began when he was in high school, in search of creativity without boundaries. It all started with a book given to him by his father. Sagawa: "Through the book 'concept design that Works for Energy Issues' that my father, who works in concept design, gave me, I learned that thinking itself is concept design, and that it can be a means to solve various social issues. I remember being greatly shocked, because until then I had thought that concept design was the domain of a select few people with good taste." After that, Sagawa studied spatial concept design at university, and a wide range of subjects from product concept design to urban development at graduate school. After graduating, he was looking for an environment where he could create something from nothing, and he ended up at NOMURA Sagawa: "After considering other industries, I decided to work in the display industry. I thought that by being involved in creating spaces that are closer to people's lives and have many points of contact, I could move the hearts of many people. The reason I chose NOMURA Ltd. was because I felt that there was a possibility for me to try something new and unprecedented. Even if it was an unprecedented project, we could make innovative proposals for customers and work on a wide range of concept design because we are at the top of the industry. The wide range of value we could provide was very attractive. I was also attracted to the organizational culture. During the interview, I was impressed by the fact that we were able to talk to each other as people, beyond the relationship between student and interviewer. I was impressed by how strongly the freedom, flexibility, and customer-first attitude were conveyed through our conversation." After joining the company, Sagawa was assigned to the sales department, which was his own request. Sagawa: "I wanted to work in a position where I could directly communicate with clients, deeply understand the essence of their issues, and provide value in ways other than spatial design. I also wanted to use my knowledge of architecture and concept design concept design which is my strength, to understand the client's requests in detail and then consult with the in-house director (production management) on how to create them, or to digest the designer's intentions and explain them to the client as clearly as possible. I also wanted to play the role of an interpreter, so to speak." Sagawa gained on-site experience for about four years. What he learned was the importance of putting yourself in the other person's shoes. Sagawa: "Customers have different levels of understanding of spatial creation. Some can read blueprints, and some can't. Depending on the characteristics of the client, I made an effort to create materials with image diagrams and attach a separate sheet of an outline to the estimate. I was conscious of not just submitting blueprints according to the client's requests, but also of working in a way that would be easy for the person in charge to explain when they brought them back to the company. My experience as a salesperson, understanding what the client really needs, is still useful in my current work." From the sales field to the strategy department. Using his field experience as a weapon, Sagawa took on the challenge of resolving organizational issues. In his sales position, he was in charge of a variety of cases, mainly commercial-related, and worked hard to ensure the success of projects, including obtaining a commercial facility license. Sagawa: "Even in stores that operate nationwide, detailed customization is required according to regional characteristics, customer attributes, and store features. I wanted to use all my knowledge to help customers solve their problems, so I worked to acquire a wide range of knowledge, from commercial facility design and planning to store operation and marketing. As a result, customers trusted me as a partner, and I felt a great sense of responsibility and fulfillment in being asked for my opinion as a space production professional." Furthermore, Sagawa's work led to him deepening his knowledge of business strategy and management. His desire to contribute to the organization led to a major turning point in his career. Sagawa: "I thought that by incorporating my sales experience and field perspective into the work of the corporate division, the entire company could work more as a team, so I used the self-reporting system (※) to apply for a transfer to the Management Strategy Office (formerly the Business Strategy Department). There are many people with practical experience in the Management Strategy Office, but I think that my self-reported request was accepted because the perspective of young talent was needed in the flow of strengthening strategies across the company." His driving force was the desire to "be useful to someone." Sagawa's feelings toward the seniors who have trained him up to now, his customers, and the society beyond them have driven him. Sagawa: "I'm the type of person who gets emotional when it comes to doing something for someone else. When I was in sales, I was focused on customers, but now I'm focused on the company and my colleagues, so nothing has fundamentally changed. Since I moved to the Business Strategy Office, the range of people I interact with has expanded dramatically. When I was in sales, it was very rewarding to see the smiles of customers and end users after the properties were completed and to hear their words of gratitude, and I feel like I was in a position where I could have an impact on society through customers. Now, I feel the same way rewarded when I think that the measures I was involved in have helped employees and the company's decision-making, and when I think that many employees are making an impact on society through customers, just like I did before, I feel that my influence has expanded, even if indirectly. That's why I feel a great sense of responsibility as well as a sense of reward, and I work with the desire to have a positive impact as soon as possible." Sagawa has been in the Business Strategy Office for over a year. He says that his experience from his sales days has been very useful in his current job. Sagawa: "Until now, there was an issue that valuable information collected through the efforts of the field was simply accumulated and not fully utilized in business operations. Therefore, we proposed a system that automatically visualizes the data collected by field employees and allows the data inputters to use it in their work, and developed a data utilization tool. As a result, we were able to improve the productivity of our employees and the quality of our strategy planning, and we received high praise from many stakeholders, including the business department. It was a very happy experience to be able to demonstrate the field perspective I developed during my time in sales." * Self-reporting system: A system that allows employees with three or more years of service to request a transfer to another department as part of their career development. Turning the power of each employee into the power of the organization. The future vision of the organizational structure drawn by the strategy department One of the roles we aim to play as the strategy department is to show guidelines and wave the flag for the entire company to move in the same direction. As a member of the Management Strategy Office, Sagawa has a future that we want to achieve. Sagawa: "I feel like the activities of the corporate division are hard to see from the business divisions. By increasing transparency, we can make it clear that we are all facing the same direction as the business divisions, and we aim to build an organization where each employee can feel that the entire company is working together." This is something that can only be achieved at NOMURA. Sagawa has the following to say about the appeal of the company and what it should be like: Sagawa: "I believe that the greatest appeal of NOMURA is its ability to demonstrate teamwork in the face of unprecedented challenges and create innovative solutions with a unique approach. Looking around, I'm confident that there are few companies that contribute to society through such interesting manufacturing. I believe that this creative problem-solving ability is the source of our competitive advantage. If we can take the lead in creating an environment where each employee in the business division that provides spaces to customers can continue to work happily and with a place where they can fully utilize their abilities, I believe that the potential of the organization will increase even more than it is now, and we will be able to continue to provide customers with richer, happier spaces." Going forward, Sagawa will continue to support the evolution of NOMURA and the creation of new value by utilizing concept design thinking and focusing on the essence of the issues. * The content of this article is as of July 2024.

Rather than the scale and impact of the work, the time spent working with the members is more impressive, says Keiko Kamoda with a smile. As a salesperson who leads multiple projects, I deal with many stakeholders on a daily basis. Kamoda, who has also started walking as a manager who organizes a team, talks about the real thrill of sales, the appeal of NOMURA. Sales Section 1 has many projects. What is important is the daily communication, and the person who serves as the manager of the 1st section of the Sales Department 1 of the 5th Division of the Sales Promotion Headquarters. The department is in charge of the specialty store market, and together with six members, we are constantly promoting multiple projects. Suzuta: "Our section is in charge of a wide range of areas, including apparel shops and merchandise stores in commercial facilities, banquets at bridal facilities, restaurants at resort facilities, vocational schools, and history museums. NOMURA Each project is called a "job," and one of the characteristics of our section is that the number of jobs is extremely large even within the company. As a section manager, it is an important role not only to manage the sales and attendance of the team, but also to grasp the progress of each JOB that the section staff is in charge of and support the promotion of the project, including advice." Suzuta: Basically, we ask them to record the progress of each project in the weekly report and share it with the subcommittee meetings held every week, but what is more important is daily communication. I believe that by increasing such daily conversations, we can create an atmosphere and relationships where we can consult at any time." On the other hand, as a player, he is currently in charge of 3~4 major projects. The division of roles with members is explained as follows. Kamoda: When NOMURA comes to us for consultation, there are many cases where the content of the request is not clearly decided from the beginning, such as "I would like to ask you to do the work from here to here" or "I would like to ask you to do this kind of construction at this price." For this reason, our sales team first organizes the customer's request in detail, clarifies the roles, responsibilities, and business contents of both parties, and presents an estimate. Recently, the number of projects has become larger, so the initial arrangement has become even more important. In many cases, I lead this arrangement, and when the JOB begins to take shape, the members take the lead." Even in a big pinch, I dare to smile. It has been about 11 years since I was in charge of sales at a large-scale project NOMURA that I survived with such colleagues. He has been involved in a number of projects, but he says that the large-scale renovation of a certain facility left a particularly strong impression on him. Suzuta: "The reason why I feel that this work was rewarding is not so much because of the scale of the project or the results itself, but because of how much time I was able to spend with the JOB members before it was completed. Of course, the impact on the company and society is important, but I am more impressed by the work that overcomes difficulties and creates something of value together with the members. In that sense, I will never forget this project, which I was involved in as a JOB leader for about one year and six months. In fact, we had to make significant adjustments to our budget after we presented the perspective, and it was an unprecedentedly difficult situation." How to keep the necessary functions and concept design in place and within the budget was a process of trial and error. Kamoda: "We changed the structure under the floor, changed the finishing materials, and shared our wisdom to see if there were any parts that could be removed, taking care not to affect the quality and appearance. As a result of three months of VE adjustments, such as repurposing furniture from the customer's existing store, we managed to make it within our budget. Even though it was such a difficult situation, when the members got together, they talked about each other and laughed (laughs). I think that's why I was able to overcome it, and it was a particularly memorable job for me." The project had separate phases of design and construction, and Kamita joined from the construction phase and led the team. While many of the members were working together for the first time, there was one thing they kept in mind. "First of all, I focused on getting to know me and building a relationship of trust, clarifying what I want to achieve and what I want to achieve in this team, and unifying the common language and tools used by the team to say, 'Let's all perform well!' It was also important to create a mood. In addition, I think that I gained the trust and cooperation of the members by facing each issue with a strong will to 'I will follow up no matter what failures I make' and 'I will work for everyone and for the team.'" Taking on the challenge of a new career in an environment where she can balance child-rearing With her father being a craftsman who makes Japanese-style lighting fixtures, she grew up in an environment where "manufacturing" was familiar from an early age. "Since I was a child, I have seen large pieces of lumber brought into my father's workshop, and after a while, they are shipped as products. There, he became interested in store displays and moved to interiors company. After working there for about 6 years, I chose to retire when I got married. Kamoda: "My previous job was at a small company, so I was involved not only in sales but also in production work, from ordering to on-site support. Although I felt that it was worthwhile, I wanted to work a little more slowly after marriage, so I found a job offer for an office job at NOMURA and got a job as a temporary employee. However, it seems that office work was not suitable for my personality (laughs). I finished working as a temporary employee when I gave birth to my first child, and after giving birth, I joined the company again as a salesperson." Although she felt the difficulty of raising children, she was supported by understanding friends around her. Kamoda: "When I suddenly had to take a break due to my child's illness, everyone would say, 'I'll pick you up because it's okay,' or 'I'll be able to manage because I'm working as a team,' which was really helpful. In addition, there are many seniors in the company who have returned to work after maternity and childcare leave, so it was easy for me to have an image of what it would be like to return to work. I think it is because of this environment of mutual support and an atmosphere that accepts diverse work styles that I have been able to continue working." I look back on my thoughts up to that point as follows. Kamoda: "A few years ago, I gained confidence that I could manage to clear even the most difficult projects in my sales job at NOMURA, but I ...... having a hard time finding my next goal. I wanted to try something new and find something that would serve as a foundation for my career, and my boss recommended me to a managerial position. To be honest, I was hesitant, but I decided that if I was given the chance, I would give it a try. I'm still in my early days as a section manager, but I would be happy if I could build a career that will serve as an indicator for the members in the future, including the way they work." The real thrill of meeting the expectations of a full order. When asked about the appeal of working in sales at NOMURA to Kamita, who wants to continue to grow with his colleagues who love manufacturing, he says with a twinkle in his eye: Kamoda: "It's about getting a request from a customer for a complete full order every time. The real pleasure of this job is to draw out the customer's request and explore what we can do to meet it. I feel that the process of planning and concept design invisible issues in the NOMURA and creating the space I am aiming for is the most enjoyable. In addition, I can meet customers from various industries through my work, so it seems that I am learning about society every day, which is very stimulating. Every time I meet with a customer, I learn something like, 'I don't know this kind of business,' or 'I didn't know this kind of information,' and I'm happy that my knowledge expands by doing my own research." "There are many people who have a passion for manufacturing, even if they have different occupations and positions, such as sales and designers, and because they are all people who care about those around them, good teamwork is born, and that is why we can overcome any difficulties together. Finally, he has a powerful message for students who are interested in sales jobs and those who want to change jobs. Kamita: When you hear the word "sales," you may have an image of being mentally and physically demanding, such as standing at the front desk as a coordinator with customers. But NOMURA salespeople don't have to deal with it alone. If you have a problem, the members of the team will support you, your boss and seniors will consult with you, and sometimes they will accompany you to the customer to support you in negotiations. Just because you're a salesperson, you don't have to think and make decisions alone, and you can work with peace of mind because you have a system in place to support the entire organization. What is required of sales is not the vitality to do everything alone, but the attention to detail. Both customers and colleagues in the company are happy to be able to notice and consider small things, and I would be happy to work with such people." Her words brighten up the entire team and give us the courage to look forward even in difficult situations, and I believe that her brilliance will continue to illuminate the future of NOMURA. * The information is current as of July 2024.

Keisuke Yoshida is a designer who creates experiences by fusing digital technology, programming, and space. He has participated in many collaborative projects with external artists and creative teams, and is involved in projects of various scales. "There is meaning in continuing to create," says Yoshida, as he talks about his passion for his work. Interweaving experiences into space - creating new value through computational concept design ▲Shibuya Scramble Square observation facility "SHIBUYA SKY" | Transition space "SKY GATE"Yoshida belongs to the Creative Direction Department of the Creative Headquarters Content Integration Center. He is skilled at creating spaces that include "experiences." Yoshida: "I don't just concept design spaces. I create spaces that combine experiential content and incorporate digital production, fusing them with technology, programming, and other digital technologies. We work on a range of projects of a variety of scales, from corporate museums to artwork, the observation facility SHIBUYA SKY at Shibuya Scramble Square, and the environmental production works that are responsible for creating excitement and promoting culture at Shibuya Sakura Stage, which opened on July 25th. I often work in teams with external creative teams and artists. I'm currently working on several projects in parallel." Yoshida's specialty is "computational concept design." Yoshida: "Computational concept design is a method of generating concept design by programming the concept design mechanism and solving complex conditions such as structure and function. It can be used to save time compared to using human hands, and it can also create highly accurate shapes that cannot be reproduced by human power alone. You might think that anyone can make the same thing because it's a computer, but in fact, the creativity and originality of the person who programs it is reflected, so even if another designer uses the same method, the result will not be the same. That's what makes it interesting." Yoshida continues to pursue spatial experiences that make full use of computational concept design. He is also participating in NOMURA Co. Ltd. Group's innovation laboratory "NOMLAB" (website renewal scheduled for autumn 2024). Yoshida: At NOMLAB, in addition to developing software for client work, we also set up several research themes and work with external creators to develop prototypes of new expressive devices that use interaction and control. I joined the team when NOMLAB was launched in 2017, and although I left for a while, I rejoined the team in 2024. At first, it was a small group of two or three people, like a club activity, but now it has grown in size. In my usual work, we often have partner companies make the final product, but at NOMLAB, we can "make things" with our own hands, so I learn a lot, such as understanding how things work, and it's a lot of fun. While exploring the possibilities of spaces that combined media and control devices, my desire to create things that fused technology and space gradually grew, and I feel that this is what led to my current work." *The Content Integration Center (Imagination Implementation Group) is a creative team at Nomura that uses a deep understanding of content to transform exciting "imaginations" into new experiential value and "implement" them into all kinds of spaces and into society. "I want to be involved in manufacturing," was the vague idea behind the challenge and learning that led NOMURA NOMURA ▲In the reception room on the executive floor of NOMURA Head Office building, which he worked on shortly after joining the company, Yoshida's encounter with architecture and concept design was truly fateful. It was an encounter during his student days that led Yoshida into the world of architecture. Yoshida: "There was a guy studying architecture at my part-time job at a graduate school, and I happened to have the opportunity to see his portfolio. It had a lot of buildings with unique concept design, such as pointed and slanted walls, that you don't see in normal buildings. I was amazed that buildings could be made with such freedom. That experience prompted me to study architecture at university and graduate school." Yoshida says he has always liked working with computers. In graduate school, he will study computational concept design in the architecture and urban systems laboratory. Yoshida: "When I was job hunting, I actually hadn't decided exactly what I wanted to do. It was also because of a friend in the lab that I applied to NOMURA However, I had always felt that I was suited to the world of displays, which has a shorter time span than architecture and allows decision-making by a small number of people, and I joined the company with the vague feeling that I wanted to be involved in manufacturing." Yoshida says that it was after joining NOMURA that he realized its appeal. Yoshida: "When I first joined the company, I struggled with the guidance of my superiors, but I worked hard. One project that left a strong impression on me was the renovation project for the reception room on the executive floor of our company. It was a valuable experience that allowed me to think deeply about NOMURA" Yoshida says that for the project, they aimed to "combine art and manufacturing," following the character "gei" in NOMURA Ltd.'s name. As it was a major project for the company, they had a hard time deciding on the direction. Yoshida: "Because it was a reception room that welcomed various customers, I had the opportunity to talk with people from various departments and positions, such as the management, administrative department, and sales department, and it was a good opportunity to learn about the diversity of NOMURA It was also a very educational three years in terms of work. Not only did I learn about concept design techniques and quality, but I was thoroughly taught the basics of work, such as how to conduct meetings, how to prepare materials, and how to take minutes." Yoshida laughs and says that there was no time that was as difficult as this. He also says that the experience he gained at that time has been useful in his later work. Yoshida: "After this, I started working at NOMLAB, and I was able to work on projects that allowed me to utilize my field of expertise, computational concept design. When I first joined the company, I worked hard as an assistant, but thanks to that, I was able to acquire the basic skills for the job and gradually become able to act independently. I was able to take my work personally and think about the impact that the spaces I created could have on society, which was a sign of growth." Inspiration from artists and creators outside the company. A constant stream of surprising ideas ▲Sakura CHORUS, which stands on Shibuya Sakura Stage, catches the wind like a row of cherry blossoms in full bloom, creating a harmony of light and sound. Yoshida often works on projects with artists and creative teams from outside the company. He enjoys co-creating with them. Yoshida: "I'm always getting various stimulations in terms of creativity. To begin with, their way of thinking is completely different, so I'm always surprised when they come up with proposals that would never have come up in-house. I often work with video and visual professionals, and I'm always impressed by their wonderful output. There are many artists that I've known for a long time, so recently there's been a strong awareness that we should all work together as a team beyond the company to create something good." Yoshida talks about what he keeps in mind when working with various stakeholders. Yoshida: "I feel this especially when working with artists, but what they want is far beyond my imagination, and it's not uncommon to feel that it's difficult to realize. That's why I try to polish what I propose as much as possible and raise the quality to the highest level. I also try to be creative in how I propose things. In spatial concept design, we often use perspective, but I try to use methods such as making videos and presentations so that the content of concept design and ideas can be easily conveyed." Yoshida says that he always keeps his antenna up and values inputting the works of creators around the world. Yoshida: "What I find particularly wonderful are artists who continue to hone the same technique throughout their lives. Something that was not so impressive at first can become a wonderful piece that catches everyone's eye after many years of polishing. It's amazing to see how much something can be created when someone pursues one thing, and it makes me realize how immature I am and think, 'I have to work harder.'" A place where freedom of working style and serious manufacturing come together--What is the appeal of NOMURA? Now that it's been 10 years since he joined the company, Yoshida talks about his feelings for NOMURA. "We have many free and unique employees, and I think the appeal is that while there are rules and responsibilities, there is freedom in the way we work. Designers also have firm decision-making power, and I like the fact that we can seriously work on manufacturing. However, I personally don't rely on the company's name, and I work with the desire to be able to make a living with my own skills at any time. I think that the more employees who work with that kind of attitude, the stronger the company will be." Yoshida is attached to NOMURA, but is also conscious of independent careers. He talks about the atmosphere at the company as follows. Yoshida: "When concept design, people tend to think about it first, then create concept design, but we have many designers who say, 'Draw before you think, think while you use your hands,' and I was greatly influenced by them when I first joined the company. Therefore, I think that active people and people who are quick on their feet are suited to our company." Yoshida also reflects on his own future prospects. Yoshida: "Right now, I think I am an extension of what I have done so far, so I think that if I continue to do my best on the projects in front of me, new paths will open up. When I look at the works of great creators in the world, I sometimes feel frustrated by my own shortcomings, but I think there is meaning in continuing to create even in such situations without giving up." Yoshida is calm, but always enthusiastic about each project. He will continue to hone his own sensibilities while being inspired by those around him, and create wonderful spatial experiences. *The contents of this article are as of June 2024.

Thirteen years have passed since the Great East Japan Earthquake. Reconstruction has finally begun in some areas. What kind of reconstruction will they aim for in these disaster-stricken areas, which are still uninhabitable? The challenge continues to be to build new community spaces where people of all ages can gather and connect, while reviving the connections that once existed between people.

We have invited architect Nagayama Yuko, known for her architectural concept design that include not only the building itself but also the experience of the place, to speak with NOMURA, Ltd.'s Harayama Asako about the new relationship between architecture and interiors, sustainable architecture for the future, and more.

We want to protect Japan's forests - everyone wants to do this, but when it comes to how to achieve it, it's hard to find an answer. However, there is a team that thinks together with the people in timber-producing areas and keeps working to inject new value into their work.

A new area, "Witch's Valley," has opened at Ghibli Park. In a secluded corner, "Howl's Castle" stands as if it were a living thing, just like in the world of the film. What kind of ingenuity and challenges did they face to realistically express the worldview of the animated film in an actual building?

Among the many technologies that support spatial creation, BIM (Building Information Modeling) is one of the most popular at present. BIM continues to evolve day by day, and is set to dramatically change the way work is done, from spatial design, layout to on-site construction.

REMARE was founded in 2021 near Toba Bay. REMARE's initiative is to recycle marine plastic waste into highly artistic materials. Why did REMARE start this initiative, and what is their vision for the future?

Cities are creatures of the times. As time passes, what people want from a city changes, and the city also changes its position and reassesses the value it provides. Where on earth should this city head? One city has thought long and hard about the future and created a symbol of what it aspires to be.

Representative Director President and CEO Kiyotaka Okumoto, who has been involved in space creation for over 130 years since the company was founded, talks about the type of space he would like to challenge in the future.

In the Business Production Department where I work, we draw up ideas to solve social issues and engage in business development activities to realize them. In particular, in the Public-Private Partnership Business Development Department, we are working on the development of new public facilities in response to the recent increase in dual-income households, changes in the environment surrounding children, and the aging of public facilities, which has led to a growing movement to reorganize facilities.

The R&D project "material record" that NOMURA Future Creation Laboratory has been working on and the resulting sound device "noon by material record"* (hereinafter referred to as "noon"). Just recently, the Osaka Healthcare Expo 2020 Osaka Kansai...

How children spend their time after school is a major issue in society today. There are issues such as overcrowding in childcare facilities and being busy with extracurricular activities and cram schools, which means children are unable to find time to play freely. In December 2023, the government will announce "Guidelines for creating places for children," which include specific efforts to create places for children, such as "increasing" and "...

How children spend their time after school is a major issue in society today. There are issues such as overcrowding in childcare facilities and being busy with extracurricular activities and cram schools, which means children are unable to find time to play freely. In December 2023, the government will announce "Guidelines for creating places for children," which includes specific efforts to create places for children, such as "increasing" and "striving"...

It has been about two years since the grand opening of the Shizuoka City Museum of History. This is the third installment of a series that delves deeper into the significance of the establishment of a history museum in Shizuoka City. This time, we interviewed Ayano Masuda, the curator in charge of the early modern displays, Nayu Ota (in 2022), who was in charge of the modern displays, and NOMURA technical director who was in charge of the actual displays production of dioramas and models...

Hamamatsu Science Museum "Mirai-La", operated by NOMURA, Ltd./SBS Promotion Joint Venture as the designated manager, has gone beyond the framework of a social education facility and promoted initiatives to promote the attractions of the region and resolve local issues. As a model case of museum management in today's co-creation society, we interviewed the director and staff about their efforts over the past five years and their thoughts on the community-participation-based displays renewal.

Not only do they create spaces and displays, but they also create original museum goods... We will introduce some of the wide range of work that NOMURA 's planners are involved in. A research and breeding facility for the Amami rabbit, a special natural monument, is scheduled to open in the spring of 2025. In the first article, we reported on the development of museum goods, which also serve to build momentum...

The Japan Association of Museums has put together a document called "Desirable Museums." It has been more than 20 years since the document proposed a "museum of dialogue and collaboration." So, this time, Eri Saito, a planner at NOMURA, interviewed Tomoyuki Nakao, who worked at a museum before moving to the Agency for Cultural Affairs. To what extent have these proposals been realized? What is important for museums in the future?

In this article, under the theme of "Possibilities for future work styles as contemplated by someone born in a temple or shrine," planner Ito, who was born in a temple, will look into the issues surrounding local shrines and temples, such as a lack of successors and the problem of vacant and abandoned temples, from the perspective of "work styles." In this article, Ito, a planner born in a temple, will look into the issues surrounding local shrines and temples, such as a lack of successors and the problem of vacant and abandoned temples, from the perspective of "work styles." Nakatani, a designer born in a temple who is in the same situation, and Ito, a man born in a shrine who works mainly in the hotel market...

NOMURA Group is a comprehensive space production company that not only designs and construction spaces, but also manages facilities after they open. The Business Production Headquarters Operation Business Division is responsible for the comprehensive operation and management of the entire facility, including research and curatorial departments, with a focus on cultural facilities such as museums, science museums, and art galleries. We provide support to the various people who belong to the facility...