Recruitment information

Deliver "Delight and Passion" to people
through space creation

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 management, including the executive Executive Officers, but in the concrete phase, I move forward while maintaining close communication 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 at the same time, by grasping the facts, I believe that we can 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 became interested in concept design 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 work on creating 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. He 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-reporting 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 and his customers, and the society beyond, 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 spread, even 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 inputter to use it in practice, and developed a data utilization tool. As a result, we were able to improve the productivity of employees and the quality of 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. 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, there is a future that Sagawa wants 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 think 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 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 challenges. *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.

Designer Yoshida Keisuke 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. Integrating 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 cross-sectional range of projects of a variety of scales, including corporate museums, artwork, and the environmental production pieces that are responsible for creating excitement and promoting culture at Shibuya Scramble Square's SHIBUYA SKY observation facility, and 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 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 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 NOMURA 's challenges and learnings. ▲In the reception room on the executive floor of NOMURA headquarters building, which he worked on shortly after joining NOMURA 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 lab. 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, Ltd." 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 create 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 acquired the basic skills for the job and gradually became able to act independently. I began to see my work as something that concerned me personally, and I started to 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 that goes beyond the company to create something good." He 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 creating videos and presenting, 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 about 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 post are as of June 2024.

Haruka Tashiro is a member of the Cultural & Environmental Business Department.Since joining the company in 2019, she has been involved in proposal activities and project management for public cultural facilities as a sales representative. Tashiro has been involved in social good activities, such as taking on the challenge of acquiring international forest certification for a project she was in charge of. We take a closer look at the thoughts and feelings she cherishes throughout her career. As a sales representative, Tashiro leads space creation projects. space creation Tashiro works as a senior manager in the Cultural Environment Business Department of the Sales Promotion Division, seeking new value for the company's products and services. She is involved in public cultural facilities such as museums and children's facilities, and is responsible for project development and promotion as a sales representative. Tashiro: "During the development phase, sometimes customers contact me for consultation, and sometimes I do door-to-door sales. In either case, my mission is to first sort out the issues and confusion that have surfaced with the customer, identify the problems that really need to be solved, and propose solutions that we can provide. In the promotion phase, we manage everything related to the project, including budgets, deadlines, and human resource assignments, based on the customer's requests and internal conditions. Since projects are live, the situation changes from moment to moment depending on the phase and environment. NOMURA It is a constant process of trial and error to optimize the situation, but I am happy when the project progresses with good cooperation between internal and external parties," says Tashiro. Tashiro: "The business of NOMURA is wide-ranging, from planning, design, layout, production and construction, to operation and management, and I think the attraction is that I can be involved in all kinds of creative work related to space creation, from BtoB to BtoC. I am currently working on my MBA in order to learn management and marketing perspectives, and I learned the framework "The Elements of Value" (*). It consists of "30 elements of value that customers want," divided into four stages: Functional, Emotional, Life Changing, and Social Impact. Applying this framework to our business, we feel that our company, which has both hardware solutions through design and construction and software solutions through operations and management, has the potential to create more value, depending on the ideas of each individual. Senior and Nicolas Bloch, "The Elements of Value", BAIN & COMPANY, 30 Jan 2023 Facing domestic challenges was a turning point. His interest in space creation, cultivated through his cross-cultural experience ▲ Renewal of the Hamamatsu Children's Museum, which he took charge of in his second year at the company, Tashiro's interest in the field of space creation began when he was a university student. While majoring in cultural anthropology and studying development studies, there was an event that marked a turning point. Tashiro: "I had the opportunity to give a lecture to a woman living in a Kenyan slum, and after the lecture I showed her around Tokyo. She asked me, "Japan is indeed an economically rich country, but are there many happy people? In search of a model for the city of the future, Tashiro went to Totnes, a small town in the south of England, and this experience became the starting point of his interest in space creation. Tashiro: "Totnes is the birthplace of Transition Towns, a citizens' movement to transition to a sustainable society. Transition Towns are now spreading all over the world, aiming to move from fragile societies that consume large amounts of energy to more flexible and resilient societies that use just the right amount of energy and where local people work together to create a more resilient society. I felt as if I could see a clue to solving a problem that a woman in Kenya had confronted me with when I was a student, as she vividly talked about a community that is friendly to both "the earth" and "themselves" in an open process. I felt as if I could see a clue to the solution to the problem that the Kenyan woman had confronted me with when I was a student. I wanted to be involved in creating spaces where this kind of community could be created, so I joined NOMURA, which is involved in a wide range of business areas, including the creation of spaces for local base facilities." Through the creation of spaces, the company acquired its first international forest certification. Encountering ways to contribute to a recycling-oriented society ▲ After joining the "Magic Literature Museum" (Eiko Kakuno Children's Literature Museum, Edogawa-ku, Tokyo), which opened in November 2023, Tashiro has worked mainly in cultural and public facilities as a sales representative. There is one project that left a particularly strong impression on you. Tashiro: "In my second year with the company, I was in charge of the renewal of the Hamamatsu City Children's Museum. Hamamatsu City Children's Hall is a public facility that provides an environment for parents to enjoy raising their children. The project was an unprecedented attempt for us to acquire FSC Project certification, the world's highest level of forest certification, by utilizing Tenryu lumber, which is produced in Hamamatsu City, in conjunction with the renovation. However, through the teamwork of the Hamamatsu City Forestry Promotion Division and the forward-looking and highly motivated partners, together with the Hamamatsu Castle project, which was renovated at the same time, we became the first castle and similar public facility for children in Japan to be certified under the FSC® Project. Tashiro: "Connecting the appropriate supply chain is a way of contributing to a recycling-oriented society that only a company that uses a lot of wood in the manufacturing process of a space and works with many partner companies can make. I didn't know there was such a way! At the same time, I felt slowly rewarded by the fact that I was doing concept design an invisible process that contributes to circulation. We were given the opportunity to gain valuable insights from the people of Hamamatsu City, who have a strong commitment to the facility's philosophy and the utilization of wood. Later that day, I participated in the "Tour of the Tenryu Mountains" organized by the Hamamatsu City Forestry Promotion Division and saw a forest that was not only beautiful but also protected the diversity of living creatures and plants, and I was very happy to have been able to make even a small contribution. The "Magic Literature Museum" (Eiko Kadono Children's Literature Museum, Edogawa-ku, Tokyo), which opened in November 2023, is another project that Tashiro will never forget. Tashiro: "Eiko Kakuno is a children's literature author known for "The Witch's Delivery Service" and the winner of the International Andersen Prize, the Nobel Prize for children's literature. I was in charge of the displays design construction project for the Museum of Literature to pass on her imaginative worldview and achievements to future generations. The "Magical Literature Museum" was created as a place where children can freely select and enjoy books and nurture their rich imagination. In the process of creating the Literature Museum, we had the opportunity to work with the people of Edogawa Ward, Eiko Kadono, art director Mario Kuboshi, the people of Eiko Kadono Office, architectural firms, landscape design firms, publishing companies, and many others, as well as in-house members and partners, to create a form of imagination that has yet to take shape. I have learned a lot through this very valuable experience. I was very happy the other day when a friend of mine who has just had a child mentioned the "Magical Museum of Literature" as one of the places she would like to take her child when it is born. NOMURA displays construction I am delighted to be involved in the creation of spaces that nurture the senses by seeking out experiences that can only be had in a realistic setting. Tashiro will be in charge of the project management of the "Shizuoka City Ocean & Earth Museum Project (tentative name). Under the project concept of "a campus for everyone connected to Suruga Bay," he is involved in creating a space that conveys the joy of exploring the earth and its oceans with the aim of opening the museum. Tashiro: "This is the first time we are participating in a PFI project as a representative company, and we will be responsible not only for the displays production but also for its operation for about 15 years. Our goal is to create a new type of museum that is not only fun to see and experience, but also encourages activities to protect the future of the earth and its oceans. It is not an easy task, but it is a challenge that we can take on only because we have decided to take on not only the design and production but also the operation of the museum. I would like to use my experience to expand the possibilities of creating a three-way system through space creation." As a member of NOMURA, Tashiro's challenge to contribute to the creation of multifaceted value continues. The information is current as of January 2024.

Creating value for cultural facilities with unconventional, free-thinking. With the idea of "+Museum" in public facilities, designer Sho Inanobe, who has concept design a variety of cultural facilities such as aquariums, zoos, and libraries, talks about the joys of creating cultural facilities. The joys of working on cultural facilities as a designer and building teams that shine with individuality Inanobe, who serves as room chief for concept design Department 6 of concept design Headquarters First Design Center, is involved in the concept design of a number of cultural facilities. Inanobe: "I am mainly in charge of public cultural facilities, and I work on a wide range of facilities, including museums such as art galleries and aquariums, zoos, libraries, and indoor play parks for children." Inanobe says that he is starting with museums and expanding his scope from there, challenging himself to do various things he can. Inanobe: "Many cultural facility projects have a medium to long term span, with the basic displays schematic design and working drawings each taking a year, and constructing a new building can take more than three years. Because it takes a long time to complete, the me from three years in the future will be working hard every day to realise the picture I had three years ago. So I try to dream big, like 'I hope this place will have a future like this' once it's completed, and proceed with the feeling that I'm throwing the ball to my future self a few years from now. When you have big dreams, it's easier to maintain your motivation." Inanobe says that when proposing concept design, he sometimes even considers the concept of the facility. Inanobe: "We often communicate with our clients to find out what they really want and what they really think behind their words. Then, we sometimes consider the bigger business concept and branding, such as what kind of facility it should be, and make proposals. Especially in projects for cultural facilities, our clients include many professionals who have consistently pursued what they are interested in and have mastered their fields, such as curators, aquarium and zookeepers, and librarians. We each have our own expertise, so the process of bringing together our knowledge and communicating with each other to create something good is really fun." Inanobe has been leading the concept design team as room chief since 2023. He talks about the members as follows: Inanobe: "We have members who are interested in various things, such as giant squids, renovations, and children. It's not that you can be good at something just because you like it, but that interest leads to each person's individuality in the form of expertise, and becomes their identity as a designer. I think that by combining such individuality and individuality, and by utilizing the points that each person is interested in, we can expand the possibilities for challenging various things. That's why, as a room chief, I try to value the combination of such individuality." Inanobe says that the best part of his job is spreading the fun of cultural facilities as a team where individuality shines. Pursuing the possibilities of architecture from displays perspective, creating a base for disseminating culture▲ 45m Lake Suigetsu 70,000 Years of Varve Gallery | "Varve Museum"Inanobe studied architectural design at graduate school. Although there are various genres of architecture such as structure and facilities, he chose the path of concept design. Inanobe: "I liked concept design on the details of the large models I made while studying architecture. I don't think a building is complete until it is designed to look like it will actually be used by people." Architecture as a place for people to gather and interact. Wanting to explore this potential, Inanobe joined NOMURA, Ltd. in 2013 and began his career as a designer. One project holds a special meaning for Inanobe. Inanobe: "The world's first museum, the Varve Museum, explores varves, the striped lake sediments that form over many years of accumulation on the lake floor. It was the first project I was in charge of displays concept design on my own, and it allowed me to create the space I had always imagined, one in which the inside and outside interact. Here, 70,000 years' worth of varves are displays on a 45-meter-long displays wall, and the gallery is made of all-glass walls, so the Satoyama landscape is also part of displays. From the outside, the displays are visible as the building's face, and we were able to realize a harmonious worldview without any boundaries between displays, architecture, and landscape." Since its opening in 2018, the Varve Museum has been bustling with visitors. It has also been highly praised by experts in architecture and spatial display, and has won numerous awards. The Varve Museum project was a turning point for Inanobe. Inanobe: "The more I learn about varves, the more fascinating they become, but our role is to make the general public interested and think that it's worth going out of our way to see them. This time, we came up with a way to use light to highlight the varve patterns. I also think that this project has given the local people an opportunity to take pride in their local culture and technology, and I'm happy to have been able to be a part of this rare opportunity." The challenge of concept design to convey the appeal of living creatures▲ Shark Shadow Tank - Looking up at a school of hammerhead sharks from below - "Kannazuki no Kake" | Shikoku Aquarium Soon after transferring to Tokyo, Inanobe began working on many natural history projects that allowed him to combine his interest in living creatures with his architectural knowledge. The one that remains most in Inanobe's heart is the Shikoku Aquarium. Designing an aquarium that brings out the mysterious form of the hammerhead shark was a new challenge for him as a designer. Inanobe: "Hammerhead sharks, also known as hammerhead sharks, have a distinctive silhouette with a protruding head, so when I thought about where to best view them, I tried a new perspective of viewing them from below. I used indirect lighting to create a floating feeling with a mass of water above. By looking up at the swimming fish from a round window with a diameter of 4.5 meters, you can experience an overwhelming sense of realism and their wild appearance." Inanobe values how to convey the ecology and charm of his beloved creatures. Inanobe: "I aimed to create a space that would captivate visitors by showing them living life itself. I learned from this project that you can arrive at a variety of concept design by starting from thinking about what you want to convey, rather than just bringing in a waterscape from somewhere as it is." At the same time, Inanobe's private life also underwent a major change. He says that the birth of his child had a major impact on his work. Inanobe: "While balancing work and childcare, I was involved in the Morioka City Library renewal project. In order to create a library that local people would feel attached to, I wanted to work together with them to create the facility, so I planned a workshop in which we created a large fabric canopy that would symbolize the children's room together with local children. In the experimental stage, I got my own children to participate, finding their favorite green color from nature and coloring it together." Even the process of building the facility is shared with the local people. Inanobe explains the importance of this: Inanobe: "I think libraries are the most familiar of all government services. Precisely because they are public facilities that are an extension of our lives, it is important that they feel familiar to the people who use them. That's why I thought that by working together to create the facility, everyone would feel that the library is theirs. The library already had a lot of fans, so rather than suddenly and completely changing it, we kept the previous atmosphere, but sprinkled in plenty of ideas that make it a little different." A passion for expanding the possibilities of culture and continuing to convey its appeal Inanobe, who is still involved in various cultural facilities as a designer, is challenging himself with the idea of "+Museum," which expands the concept of culture. Inanobe: "My idea of '+Museum' is not just about museums and art galleries, but also about children's playgrounds, zoos, aquariums and other facilities as museums, and I want to expand the strengths of museum concept design that NOMURA, Ltd. has cultivated to various fields. When I think about the infinite possibilities that exist there, I find many things interesting, and my vision expands, such as 'Let's do this here' or 'It would be better if we did it this way,' so I want to challenge myself to try new approaches. I get very excited about the process." Inanobe continues to create new value in cultural facilities with his free-thinking, unconventional ideas. He says that his family is the driving force behind such challenges. Inanobe: "I started to make sure to concept design from a child's perspective. When I go around the facilities with my children, they give me honest reactions, which can be helpful. I feel that the sensibilities I have cultivated through raising children are hints for conveying the appeal of displays to more people." Inanobe hopes to increase the number of people who will be responsible for concept design cultural facilities in the future. He says that he does not want to keep the specialized know-how he has cultivated to himself, but wants to share it with many people. Inanobe: "When I talk to people, there are surprisingly many who get interested. I want to convey to these people that cultural facilities are a very interesting genre, and recruit them to join the team. Our company has a corporate culture that values the 'interests' of each individual. I think it's appealing that you can build a career by making full use of your interests and what you value." Driven by curiosity, Inanobe is pursuing a career that is unique to him. In an environment that supports this way of working, Inanobe continues to expand his possibilities. With an exciting sense of fun in his heart, he will continue to run at the forefront of cultural facility construction. *The contents written are as of May 2024.

Akane Arimoto is a designer at the Osaka office. Since joining the company in 2019, she has been active in a wide range of areas, mainly showrooms and displays. Arimoto continues to expand her career possibilities while making use of her experience from her previous job, such as actively participating in overseas projects. She talks about the joys of working as a designer at NOMURA The key to a project is communication with customers and members. Arimoto belongs to the Creative Headquarters Second concept design Center. As of December 2023, she is mainly in charge of corporate projects as a designer. Arimoto: "80% of my responsibilities are corporate projects such as showrooms and displays. In addition, I have recently been involved in commercial projects such as hot spring facilities." Designers participate in every project from the early stages. Arimoto's role is to accompany customers to meetings and negotiate with them to shape their ideas. Arimoto: "It's important to keep up with concept design skills and the latest trends, but you also need to be able to understand and accurately grasp the client's requests and thoughts. Communication is what determines the success of a project. Above all else, I've placed emphasis on building a relationship of trust with the client. If we've built a relationship of trust through communication, we can hear the client's true feelings directly, which helps us to determine the direction we should aim for and makes more appropriate proposals. I've always felt that this also leads to work being carried out in a comfortable manner for both parties. There are many times when the client's image is still vague, or the direction is difficult to determine. In such cases, I have tried to take a logical approach rather than relying on intuition. I try to reach a consensus by explaining things logically based on research results, while also seeking the help of planners." Meanwhile, Arimoto says that the best part of being a designer is working with professionals from a variety of fields. Arimoto: "Our work is completed by bringing together the power of many experts. Even large-scale projects that make you wonder, 'Can we really do this?' are interesting because members from various fields pool their wisdom and exert their strengths to make it a reality. Also, the members who participate in each project are diverse. By interacting with people with different ways of thinking, I have broadened the scope of my own values and feel like I am growing." Interest in space creation cultivated in childhood. Joining Nomura Co., Ltd. in search of new career horizons NOMURA says that he was interested in art and manufacturing from an early age, influenced by his parents who were design administration. By the time he was in high school, he had aspired to work in space creation, and went on to study spatial concept design at an art university. Arimoto: "When I first entered university, it was still the era when drawings were drawn by hand, and I remember facing a drawing board with a T-square. It wasn't until my second year that I started using architectural CAD." After graduating, Arimoto joined a display company. He was mainly in charge of showrooms and displays, learning the basics of being a designer, but eventually he began to think about changing jobs. He looks back on the process as follows. Arimoto: "Because the company was small, each employee was responsible for a huge amount of work, and the work was hard. In addition, many of the projects we were in charge of were similar. I gradually began to feel dissatisfied with the lack of opportunities to try new things. I was looking for a new environment, and NOMURA the largest company in the industry with a wide range of work, was attractive to me. A junior colleague from my previous company who had already moved to NOMURA, guided me to apply for the job, and that's how I got to where I am today." Since joining the company, Arimoto has been active in the same field as his previous job, but has also been actively tackling areas he had no experience in. He has steadily broadened the scope of his career as a designer. Arimoto: "I have been in charge of corporate work such as showrooms and displays, as well as commercial facilities such as restaurants. I was involved in overseas projects from my first year at the company, which I had no experience in at my previous job, and from my fifth year I have been involved in projects for hot spring facilities and the World Expo, so I have been able to realize the career I envisioned before joining the company." A successful experience in overseas projects and hot spring facility projects. New challenges as a guidepost to growth▲Spa World Hotel & ResortAfter joining the company in 2019, Arimoto's first team work with his superiors was the International Consumer Electronics Exhibition 2019 Balance of Being (hereinafter referred to as IFA) and the Consumer Electronics Show 2020 (hereinafter referred to as CES). Arimoto: "IFA is the world's largest trade fair, held every September at Messe Berlin in Berlin, Germany. I was assigned to a Panasonic project to introduce a wide range of products under the theme of 'A Better Life, A Better World', and was in charge of the spatial concept design of some of displays. The following year, I participated in Panasonic's booth at CES, another global trade fair that rivals IFA, and was also in charge of displays space concept design. In both projects, I was involved in the process of incorporating Panasonic's main concept into the spatial concept design." These were Arimoto's first overseas projects. Looking back, he says that they led to great growth as a designer. Arimoto: "At first I was confused by the differences in the way the project was carried out and the sense of speed, but for me, who had been working with the same clients for a long time in my previous job, being involved in new work with new people was a fresh experience in itself. Through repeated dialogue and the process of accepting each other's ways of thinking and having others accept them, I felt that my own values were being dramatically updated. I also felt that it was more important to assert yourself overseas than in Japan. I thought it was the right balance to speak about your thoughts and feelings instantly, and to make a proactive effort to communicate them to the other person. I also made sure to make proposal materials simple and easy to understand for overseas clients. I learned new things in terms of communication as well, and I think it was a very valuable experience." Furthermore, in 2023, she will be entrusted with concept design of a hot spring facility, a task she had no experience with before. Arimoto: "Together with the room chief, I was in charge of renovating the hot spring pool and common areas of Spa World Hotel & Resort. I was particularly particular about concept design of the outdoor pool. With the help of planners and sales staff who overlap with the target demographic in gender and age, we adopted an infinity pool that takes advantage of the location with a panoramic view of Tsutenkaku while incorporating the perspective of the users. I am proud to say that we were able to realize an original concept design. The project was extremely difficult, as we won one competition after another, which led to a larger scale than initially expected, and we were designing a hot spring facility that we were unfamiliar with. However, we were fortunate in that concept design direction between the client and us was aligned, and we received cooperation from our in-house production and design teams, and we were able to complete it without any problems. At the opening ceremony, I was given the role of representing the project members on stage and explaining the renewal concept, which was a very memorable job." Creativity born from teamwork. Bringing together the power of individuals to harness the power of the organization Arimoto will mark his fifth year at the company in 2023. These are the words that describe the appeal of the organizational culture at NOMURA, which has supported his own growth. Arimoto: "Our company mainly handles large-scale projects, so multiple designers work together as a team to advance the project. It is a great joy for me as a craftsman to be able to work with a diverse team of people from various fields, including those from partner companies, to create something that could never be achieved by one person alone. Also, our company is unique in that it has an environment where anyone with the motivation can participate in the project they want, regardless of their length of service. It is very appealing to meet new members and make new discoveries and learn new things every time we work on a new project." Arimoto is currently working on the Osaka-Kansai Expo project. A new challenge has begun. Arimoto: "It has been my wish since I joined the company to be involved in the Expo. My current goal is to lead the current project to success. At the same time, I am keenly aware of the importance of working on overseas projects, not just domestic ones. My long-term goal is to overcome the English communication challenges I faced in both the IFA and CES projects and to be active on the global stage." Aiming for even greater heights as a designer, Arimoto continues to pursue new possibilities. Seeking answers that only I, and only I, can find at NOMURA *The information provided is current as of December 2023.

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

Hirofumi Inoue is a room chief who is mainly in charge of the hotel market. concept design, which prioritize "experiences" that bring about changes in the hearts of users, capture the hearts of customers. Inoue, who is a designer but also serves as a Shinto priest in his family business, uses his own experiences as a personality in his work. We will explore the values that Inoue holds dear. The first thing he thinks about is "experience." Inoue belongs to concept design 4 Department of the First concept design Center of the Creative Headquarters, which creates experiences and sublimates them into concept design. He joined the company in 2007, and since 2017 has been mainly in charge of hotel and regional revitalization projects. Inoue: "I often work with hotel operators who place importance on story and customer experience. For example, I started working with Hoshino Resorts on "Kai Kaga," and was also in charge of OMO7 Asahikawa, the first store in the OMO brand. In 2021, I also helped ARTH Co., Ltd. convert an old house in Izu into an auberge (a restaurant with accommodation facilities) called "LOQUAT Nishiizu." Inoue's commitment to concept design hotels is to first consider the "customer experience." Inoue: "It is quite difficult to attract customers with just the appeal of spatial concept design. When I stay at a hotel, I feel more satisfied with the variety of experiences and the number of times I can talk to the staff than with interiors. When I was in charge of OMO7 Asahikawa by Hoshino Resorts, I thought about experiences that would connect the staff and guests, and created the space with that. I believe that by incorporating mechanisms that lead to experiences within the space, such as creating a faucet in the shape of a wooden carved bear, a standard Hokkaido souvenir that can be used to welcome guests with a local welcome drink, the stay itself will be enriched and satisfaction will increase." The starting point of Inoue's thinking is his own experience. He believes in his own senses and creates customer experiences. Inoue: "At the hotel, we set a persona (a typical user image), for example, 'A couple in their 30s will probably stay here, and they have these hobbies...' but it's not just people who fit that description who come. I think there will be a discrepancy between the persona and the people who actually come, so rather than that, I value the idea that if a hotel is enjoyable for myself and my family to stay at, then anyone would also find it enjoyable." Inoue is currently a part-time lecturer at Tokyo University of the Arts, and also works as a Shinto priest at the shrine in his family's home in Okayama. In a company culture that sees complex working styles as "interesting," he embodies his own belief that "more than being an office worker, you should live your life as a designer." Inoue: "During the New Year holidays, I return to my family's shrine in Okayama to serve as the successor. In 2018, I took a year off work to obtain a license as a Shinto priest. I remember my boss at the time telling me, 'In the future, there will be more freedom in how people work, so I think it would be good to have a designer who works in Okayama as a Shinto priest while doing concept design.' I feel that this is a company where each designer's way of life is directly linked to their work output, and they are interested in my unique career as a unique individual." Moved by the designer's words, "Let's do this together," he joined the company. As a student, he studied architecture at the Department of environmental design at Hiroshima Institute of Technology, and majored in concept design at the Tokyo University of the Arts Graduate School, acquiring a wide range of knowledge from interior design to urban concept design. During his job search, he interviewed in a variety of industries, and what ultimately made him decide to join NOMURA was the words of the interviewer. Inoue: "The main interviewers were three designers, and after I gave a presentation on my urban development work, our current executive creative director, Suzuki Keichiyo, said to me, 'I'm also working on this kind of urban development. Let's work together.' I got the impression that this was a company that was seriously looking for people to work with, and I could imagine myself working as a designer, so I decided to join the company." He had a hunch that the work at NOMURA would be an extension of his own work. After joining the company in 2007, he was assigned to CC Company (CC: an abbreviation for Creative Communication), which handles projects related to corporate culture. Inoue: "At my assigned workplace, I was involved in the creation of facilities that disseminate information such as museums, displays, and corporate showrooms. I spent about 10 years creating spaces with the idea of 'how to convey information,' and in 2016 I was transferred to the Chubu branch under the junior rotation system. There I was in charge of a commercial project for Hoshino Resorts." The first project for Hoshino Resorts that Inoue was in charge of was the renovation of the large bath at "Kai Kaga," which at the time had been struggling with customer satisfaction. Inoue, who started his career in corporate culture, made a proposal from a different perspective than other designers. Inoue: "I made a presentation saying that no matter how cool concept design of a large public bath is, customer satisfaction will not increase. I believe that customer satisfaction depends on how the conversations between customers are generated, so it is important to create a space where conversations such as 'How was the men's bath?' and 'I heard this area is famous for Kutani ware' are generated naturally. When I proposed, 'This time, we will focus on how to increase the number of conversations and concept design,' President Hoshino praised it highly, saying, 'That's an interesting proposal.' Since then, I have continued to work on projects for Hoshino Resorts." Proposing a hotel concept design to increase customer satisfaction ▲ "OMO7 Asahikawa by Hoshino Resorts" Of the various projects he has been involved in, Inoue's most memorable projects are "OMO7 Asahikawa by Hoshino Resorts" in 2018 and "LOQUAT Nishiizu" in 2021. The theme for OMO7 Asahikawa was "A hotel brimming with hospitality that will get you excited with playfulness and humor," and we proposed a plan to fit that theme. Inoue: "There are many ways to raise excitement, so I proposed creating mechanisms throughout the hotel. For example, Asahikawa is a wood-producing region, so when you check in, you receive a kit to make a wooden carved spoon, and then eat your breakfast the next morning with that spoon. I think that this would make the food taste even better. I proposed creating lots of mechanisms like this to increase customer satisfaction, and this was selected in the competition, allowing us to move on to the design." The difficult part was "how to imagine the roots of what the customers wanted and come up with an answer." Inoue: "As the project progressed, the person in charge told us, 'We particularly want to change concept design of the restaurant. If your proposal were a soup, it would be like a consommé soup. What we want to make is pork soup.' We interpreted in our own way what customers thought pork soup was, and realized that what they were looking for was a space that would not change its base even if various ingredients were mixed in, and that this was what they were looking for, a space that was easy to use, so we made bold changes to concept design. Now, in the space we left in concept design, the staff is coming up with one idea after another, and it seems to be evolving into a fun hotel." For LOQUAT Nishiizu, an old Japanese house was converted. Looking back, during the planning stage, "the deciding factor was how well we could imagine the finished product and persuade people," he recalls. Inoue: "Most of the old-style hotels that are on the rise these days have refinished walls. However, I heard from Mr. Okada of Okada Construction, whom I respect, that 'how can we preserve the memory of the building? We should make efforts to preserve what little we can.' After that, I kept saying, 'Even if the design does not look beautiful at first glance, preserving even a little of this memory will lead to customer satisfaction during their stay, and it will also become a topic of conversation for the staff to talk to customers about.' The president and staff asked us to repaint all the earthen walls because it should look dirty, but we kept telling them that painting them would lose their commercial value, and they finally agreed. As a result, communication between the staff and customers has increased, and we have been able to differentiate our hotel from other old-style hotels. Now, we have a constant stream of repeat customers, and it has become a popular inn that is difficult to book." Based on the idea of emphasizing experience, Inoue has gained experience across multiple markets, such as cultural facilities, corporate showrooms and displays, and commercial hotels, and is able to utilize his experience in various industries. In the future, he will utilize his experience to demonstrate his strengths without narrowing down to a specific industry. Inoue: "It's not that I want to do this one thing, but I enjoy solving problems no matter what kind of work comes my way. I'm currently involved in designing residences for seniors and utilizing unused land in rural areas, and my goal is to contribute to society using the know-how I've cultivated. For example, in a residence for seniors, creating a mechanism for going out into the city can increase opportunities for walking and extend healthy life expectancy. As a room chief, I am conscious of being able to effectively contribute know-how to society regardless of genre." Inoue also oversees the training of new employees at the Creative Division. He says that if you hone your imagination, the work itself becomes more enjoyable. Inoue: "When I was asked to concept design a place to drink coffee, if I made it without thinking, I think it would end up being concept design with a good atmosphere like the major coffee chains that are doing well now. However, what's important here is to think about the roots of what the situation is when you feel that the coffee is really delicious. It could be coffee you drink outside on a very cold day, or instant coffee made by your child. If you think about it to the root, it shouldn't be concept design like the major coffee chains. If designers themselves can't come up with answers from their own feelings that artificial intelligence can't come up with, I think that in the near future, designers' jobs will disappear completely. However, ideas and minds that come from your own feelings cannot be denied, and there will surely be people who can empathize with them. The ideas that are created will become products as they are, so it is the designer's responsibility to come up with ideas that make people think, 'I want to experience this too' or 'I want to go there.'" Inoue concept design with an emphasis on the story behind them, not just the visible parts. With the idea of "creativity = product power" as his weapon, he will continue to create concept design that stand out from the rest. * The contents are as of December 2023.

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

Chihiro Tokai has been interested in urban development since her student days. After joining the company in 2007 and gaining experience in development sales and leasing, she is now working as a planner for mixed-use development and commercial facilities. It is a dream job that involves carefully communicating with the people involved and drawing up the city of the future. We will unravel Tokai's career and aspirations. In charge of many large-scale projects. The key is "accumulating small decisions" Tokai belongs to Planning Division 2 of the Planning Center of the Creative Headquarters. As a department head, she manages about 20 members while also working on the ground. Planning Division 2 is responsible for planning in a wide range of fields, including mixed-use development, commercial facilities, sports and entertainment, public facilities through public-private partnerships, and regional revitalization. She deals with everything from creating spaces to creating systems in all kinds of fields on a daily basis. While working on the ground as a player, as a department head, she decides which members to assign to which projects and follows up on the work that members are promoting. What she values in her work is the importance of valuing "small decisions." Watarai: "The projects that my department handles tend to be large-scale developments. The larger the project, the longer it takes to complete. We have many long-term projects that will be completed after 2030. Sometimes we feel impatient or frustrated when what we have been doing does not take shape immediately, or when we are unable to accompany the project to the end due to various circumstances, but no matter how big the job, it is a series of small decisions. We are conscious of carefully building up each and every consideration and decision." It is the accumulation of small steps that leads to the best work. Watarai: "What is common to all of our work is that there is no single correct answer. Even for the same issue or purpose, there are countless ways to approach it, methods, and proposals. It is a collaborative effort in which the team seeks out the optimal solution through dialogue with the customer. For any project, we have to keep thinking of something new and custom-made every time, which is difficult. But that is also the interesting point. As we exchange opinions together, the feeling of gradually getting closer to the optimal solution is interesting and rewarding." During his university days, he witnessed the revitalization of the city. I felt the potential of working in urban development▲ "Tokyo Solamachi" Ⓒ TOKYO-SKYTREETOWN I majored in urban planning at university and graduate school. In a research lab with the theme of regional revitalization, I was thinking about approaches to revitalizing the city. Watarai: "There is an unforgettable scene that I witnessed in a city where I frequented for research activities. One day, a cafe opened in a corner of a chaotic city center lined with small and medium-sized office buildings. Thanks to the personality of the owner and the open and sophisticated atmosphere, a new community was born around the cafe, and new stores opened in the surrounding area, and the city gradually became more active. It was a transitional period when the number of residents increased due to the development of apartment buildings in the surrounding area, and the city changed from a place to work to a place to live. I later learned that the store was finally realized because the building owner had a strong desire to turn the first floor of a building that was a warehouse into a place where everyone in the city could gather. I was moved by his feelings for the city, and at the same time, I realized the power of a store. I strongly felt that I wanted to work in a way that would bring about positive change in the city." I want to become a planner who can be involved in urban development. With hope in his heart, he dived into his job search and connected with NOMURA. Watarai: "What particularly impressed me about my interview with NOMURA was the openness of the place. Everyone was natural, even the executives were not pretentious at all. Regardless of their position, everyone was very relaxed and charming. I also remember being shown the details of the work of my seniors during an alumni visit. Based on various proposals, they carefully explained the whole story to me: how they interpreted the characteristics of the area, what elements the town needed, and what usage scenarios they envisioned when planning and concept design. I felt that this was the job I wanted to do." After joining the company, he was involved in projects in the sales development department for two years. Tokai: "My first job was working on the basic concept for Tokyo Solamachi, a commercial facility at the base of Tokyo Skytree. As I was new, I didn't know much to do, but I was overwhelmed by the passion that everyone put into their work. Every day, all kinds of stakeholders from inside and outside the company gathered for regular meetings. My senior sales person at the center of these meetings was like the conductor of an orchestra. He took a bird's-eye view of the situation, identified the issues, and decided what measures should be taken in advance, and the planners and designers would act in response. It was an experience that left a strong impression on me: this is what it means to work as a team." After two years in sales, he moved to the tenant leasing department in 2009. Watakai: "Tenant leasing is the job of working with developers to create strategies for attracting customers and generating revenue that are suitable for each commercial facility, and attracting the most suitable tenants to realize those strategies. Commercial facilities cannot exist without the power of tenants. We carefully talk to each company and negotiate to attract them. In the leasing department, even young people often faced business negotiations alone. The other parties were the president and store development managers, people with far more experience and knowledge than I had at the time. Naturally, I was scared at first, but I gradually came to enjoy the time spent having thorough conversations, conveying my thoughts and strategies in my own words and asking the other party about the brand's concept and future prospects. I made many mistakes, but it was a period in which I learned a lot and gained courage." Joined a redevelopment project in an area in the city center. After childcare leave and maternity leave, where I made adjustments while overseeing the entire business, I transferred to the planning department in 2018. I have been involved in projects related to commercial facilities and area revitalization in various areas, including central Tokyo and regional cities. The big job he has been in charge of recently is the redevelopment of an area in the heart of Tokyo. Watarai: "This is an area where large-scale redevelopment will continue around the station over the next four to five years. Several high-rise buildings that combine various urban functions such as commercial facilities, offices, halls, and hotels are planned, and I am involved in the basic concept of the low-rise lively zone for some of these projects. I was also involved in creating a commercial master plan, not only deciding how each individual project should be, but also how each development should divide up the roles and revitalize the entire area. I gathered people from the relevant departments in charge of each project and had a lively discussion with about twenty people. It was quite difficult at first because there were many different people with different vectors." Watarai says he felt a great sense of accomplishment in seeing the people who were initially disjointed come together. Watarai: "It's a long-term development, so the policy may change in the future. But I put my current vision into words and tried to proceed along with it for now. I made adjustments as I went along. I felt a sense of accomplishment in creating the foundation to encourage such movement." How to make the most of "Infinite Art Style" Focusing on the assignment of planners Every day, I am involved in the planning of urban development, which was a dream of mine in my student days. Although there are many difficult cases, I will continue to face them sincerely. Watari: "Although commercial facilities are profit-making businesses, I think they are also very public-oriented businesses in the sense that they create a place for everyone in the city. For example, I would like to create facilities that fulfill the role required as a central point of the community, such as approaches to social issues such as loneliness, co-nurturing children in the community, and initiatives that utilize the unique charm and assets of the community." I will continue to encourage my members and move forward. Watari: "We have employees with various characters and styles of performance. We have 600 creators, so if two people come together, we can produce 360,000 different outputs, and if three people come together, we can produce 200 million different outputs. Within the company, we talk about "infinite styles of performance." That is why it is very important to decide what type of work we will tackle with what type of members. I would like to act like a talented manager at a talent agency to match people who will produce better results." I aim to further upgrade not only my department but the entire company. Watanabe: "The number of planners who work while raising children has increased considerably, but when I returned to work after childcare leave, I was the only working mother in this department. That's why I've always wanted to work in a way that would make my juniors, who may have children in the future, think, 'I could do that too.' Not to try too hard, not to restrain themselves in a weird way, but to work hard and be active in the normal way. There are still many things we can do to support this. I would like to try to improve the environment, such as streamlining and systematizing work. Also, in terms of business, I would like to find ways to sell planning at a higher price. I feel that there are many tasks that are too cost-effective compared to the quantity and quality of the output. I want people to correctly understand the value and significance of NOMURA 's planning, and I want to use this to gain recognition from society. I hope to raise the position of planners even more." A job that creates cities with rich ideas and thinking skills. By involving many people, we will continue to realize an exciting future. * The contents of this article are as of December 2023.

In this series of interviews [nomlog MEETS→], NOMURA Group employees meet with experts from various fields to explore the possibilities of "space" and "experience" in the future. The theme of this interview is "What content and space can do for the future of children." Designers and planners in charge of experiential facilities for children at NOMURA Group...

In June, Green Display Co., Ltd. held a preview event called "Emotional Forest" in Tokyo. The event introduced trends in spatial decoration centered on Christmas, and Nomura's "emograf" was incorporated into the display. We asked them about the reason why "emograf" was adopted and their impressions after the preview...

In December 2023, NOMURA and Echizen City Tourism Association (Inc.) collaborated to plan and hold the "Handicraft Journey*" with the aim of allowing architects and designers with a strong connection to handicrafts to learn more about the crafts of Echizen City, Fukui Prefecture. NOMURA, Ltd.'s planners and designers actually visited Echizen City and visited various traditional craft workshops such as Japanese paper, lacquer, and roof tiles...

In December 2023, NOMURA and Echizen City Tourism Association (Inc.) collaborated to plan and hold the "Handicraft Journey*" with the aim of allowing architects and designers with a strong connection to handicrafts to learn more about the crafts of Echizen City, Fukui Prefecture. Planners and designers from NOMURA actually visited Echizen City and visited various traditional craft workshops such as Japanese paper, lacquer, and roof tiles in 1...

NOMURA Group has been publishing its owned media called "Cultivate" to make recommendations to society. The concept of the site is to open up new cultural horizons by examining themes such as "knowledge," "information," "creativity," and "communication" from multiple angles as elements of the "cultural environment" that surrounds us...

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 cultural facilities such as museums, science museums, and art galleries, including research and curatorial departments. We provide support to the various people who belong to these facilities...

NOMURA Group is a comprehensive space production company that not only designs and construction spaces, but also manages facilities after they open. We provide comprehensive and inclusive management of the entire facility, including research and curatorial departments, focusing on cultural facilities such as museums, science museums, and art galleries. We, the Business Production Headquarters Public-Private Partnership Project, are the driving force behind our business...

Now that sustainable social activities are in demand, the nature of architecture and space is also changing dramatically. On November 21, 2023, NOMURA, Ltd. held a seminar and talk session titled "Long-time Value of Space." The first half of the event was a seminar talk with Shinichi Hashimoto, Representative Director M's Lab Co., Ltd., and the second half was a talk by NOMURA Co., Ltd.'s CEO...

My name is Haruna from the Brand Communication Department. I usually work in the Brand Management Department, where I am in charge of SNS (X and Instagram), corporate website operations, branding initiatives, etc. This time, I participated in an eco-art experience event at River City 21 Shinkawa, and decided to visit a 505-unit rental apartment building with an open view.

We want to create concept design that are thought up with our hands. When we, the members of Tezain, visited Hanno City, Saitama Prefecture, a forestry area close to us, walked through the forest, and experienced the various expressions of wood and the thoughts of the producers, the experience came back to us as a strong question to ourselves. "We want to create concept design that are thought up with our hands." This project was a creative work that was done only with a computer and in our heads...