Recruitment information

Deliver "Delight and Passion" to people
through space creation

Hikaru Sato has led numerous projects at the forefront of space creation. Currently, as the section chief of the Cultural Environment Business Division, he is demonstrating his skills in a new field with government as a client. How did he establish his unique style of engaging those around him after painful failures in his younger days? We delve into the trajectory of his never-give-up challenges and his passionate feelings about creating spaces. Aligning the team's direction starting from imagination. Facing the challenge of creating spaces with no right answer. Since joining the company in 2014, Sato has consistently been in charge of PR facilities such as corporate showrooms and displays. In 2026, he moved to a department in charge of cultural facilities such as museums and science museums, and is now in an environment that requires a different approach from his previous work with private companies. Sato: "I was assigned to my current department this year, and I'm serving as section chief despite having little experience in cultural facilities. Our clients are mainly government officials, so unlike private sector projects where we are continuously contacted as an extension of established trust, we need to acquire projects from a flat starting point each time, through fair proposals and other processes. Therefore, it requires a perspective that looks ahead to societal trends several years into the future, conducting broad research on social issues and subsidy trends, formulating hypotheses, and finding the seeds of work. The approach is very different from what I've done before, so I make new discoveries every day." In a department with many experienced veteran employees, Sato sees his role as "bringing an outside perspective and expanding the organization," and says the following: Sato: "While inheriting the best practices unique to cultural facilities, I also want to explore new markets that we haven't been able to fully pursue until now. The department I've been newly assigned to has many experienced members who have been involved in cultural facilities for many years. I hope to combine that with a new perspective, based on the knowledge I've cultivated in the private sector. To that end, I want to actively communicate with other departments and expand the scope of our business by involving everyone." Sato, who takes on the role of job leader, bringing together diverse experts from both inside and outside the company and driving the progress of projects, says that there are values that underlie his daily work. Sato: "When we create spaces, there isn't a clear right answer from the start. That's why, even from a sales position, I value imagining how we can solve problems and proposing those ideas to the creative members. I also try to deeply imagine the intentions behind concept design that come in and align with how they connect to solving the client's problems as a team. To that end, I always strive to be someone who understands the project more deeply than anyone else and can show the direction." He earned his place at the company through his proactive approach. The professional responsibility learned from a painful mistake Sato says that during his student days, he took a leave of absence to travel the world as a backpacker. Behind that action was a strong feeling he had at the time. Sato: "I was troubled by the gap between the university life I had initially envisioned and the reality, and I felt impatient and frustrated with those around me. In that situation, I worked backward from the fact that I needed to be able to compete by the time I got a job, and I decided to grow by having experiences that others hadn't had. I saved up money myself, took a leave of absence from school, and went on a backpacking trip to various countries, starting with South America." After returning to Japan, when it was time to look for a job, Sato recalls a certain encounter. Sato: "Seeing me backpacking all over the place, my professor at the seminar I belonged to at the time introduced me to an alumnus who was working in the display industry. I was strongly attracted to the way that person spoke about their work with such enjoyment and pride, and I decided to aspire to work in this industry." Interested in NOMURA Co.,Ltd. during his job search, Sato sought out opportunities himself, even without any connections for alumni visits, and actively tried to deepen his understanding of the company by interacting with people. Sato: "I had a strong desire to work at NOMURA Co.,Ltd., so I explored various ways to find opportunities to talk with employees. Looking back now, it was a lot of trial and error, but as a result I was able to meet with several employees, and they sincerely taught me about the rewards and appeal of their work. I was deeply moved by their warm response and generosity, and I became determined to join the company." After joining the company, Sato was assigned to Osaka, and while busy with his daily tasks, he experienced an event that made him realize the true responsibility of his work. This happened when he was in his fifth year at the company and was in charge of an important project: the 100th-anniversary event of a leading Japanese general electronics manufacturer. Sato: "At the time, I was in charge of a part of a large-scale event. I successfully completed the site work, and the morning of the opening day finally arrived, but at that crucial moment, I failed to fulfill my responsibilities, and my superior severely reprimanded me. Furthermore, at a subsequent overseas displays, I made a series of mistakes that made me painfully aware of my lax approach to the most important moment for the customers. At the time, I felt that I had 'fulfilled my role,' but my superior pointed out that 'work is not just about completing the site work, but also about handing it over to the customer and seeing it through,' and I realized how naive my understanding had been. I realized that I had not been able to empathize with the customer and work from the same perspective, and I deeply regretted it." This experience prompted Sato to reflect on his attitude and change his approach to work. Sato: "Until then, my focus had been on 'completing the tasks,' but I realized that the essence of sales work is not that. What's important is building trust through the work, always looking at the project from a bird's-eye view, not leaving any gray areas that I don't understand unresolved, and increasing the resolution of each detail until I can fully explain it in my own words. The attitude of taking responsibility for the entire scope as a leader is something I acquired because of this failure, which made me painfully aware of my own immaturity." He drew a picture himself to join the discussion. Honest direction that led the JV project ▲Provided by: Osaka Pavilion, Public Interest Incorporated Association, Osaka Healthcare Pavilion Nest for Reborn, Japan International Exposition 2025 / Scope of responsibility: displays design, construction, and maintenance of the entire pavilion, and displays design and construction of the booths of 10 companies Client: Osaka Pavilion Promotion Committee for the Japan International Exposition 2025, Public Interest Incorporated Association, Osaka Pavilion, Japan International Exposition 2025 Having diligently accumulated experience by learning from failures, Sato will take part as a key member in the Osaka Healthcare Pavilion Nest for Reborn, Japan International Exposition 2025, an extremely challenging JV (Joint Venture) project in which multiple companies work together. Sato: "I joined an already-running project midway through, starting with a severe lack of information. Despite my lack of understanding, I took the initiative to organize the information, visualized each piece of information I grasped, and aligned my understanding with members both inside and outside the company. By honestly admitting what I didn't know and leading discussions based on what I did understand, I gradually built trust, and those around me began to listen to my suggestions." Sato's strength lies in his style of deeply engaging in creative discussions despite being in sales, and visualizing ideas by drawing pictures himself. Sato: "I believe that having a shared understanding is paramount for members with diverse backgrounds to move in the same direction. To look at vague information from the same perspective, I led discussions using pictures, diagrams, and analogies. In meetings, both internal and external, whenever I felt that the conversation was going off track, I would draw a picture and say, 'For example, it's like this, right?' to try and align our understanding in detail. Sometimes the response would be, 'That's right,' and sometimes, 'No, no, I was thinking it like this,' but I think it's an important process because it allows us to find discrepancies early and build the discussion from there. I would join the creative members when they were discussing late into the night, and together as a team, we would align on the direction we should take as a company. This style of working alongside the team, which we had cultivated through past projects, became a great driving force in advancing this complex project." After overcoming numerous difficulties, when the project took shape, an overwhelming sense of emotion unique to creating a space awaited them. Sato: "When the Expo opened and visitors actually entered the pavilions we created, and I saw the flow of experiences we had always imagined, and the sight of them enjoying themselves, I was overcome with emotion. It was a continuous series of tough adjustments and dirty work, but it was a moment when I felt that everything had been rewarded, and I thought, 'Ah, we worked so hard to see these smiles.'" Sato says that the greatest appeal of working at NOMURA Co.,Ltd. is the people and the joy of creating something as a team. Sato: "This job absolutely cannot be done alone. I am surrounded by many passionate members who not only teach me the hardships of the job but also genuinely try to enjoy it. To be able to stand at the heart of manufacturing and create spaces together with such warm yet professional people, that is what I feel is the greatest reward of working in sales at NOMURA Co.,Ltd." Accumulating failures makes you stronger. An insatiable desire to explore "experience creation" that goes beyond the framework of space Having experienced numerous sites, Sato is now in a position to lead the organization in his newly assigned department. Looking ahead to his future career, he says the following, with an eye on creating new value that is not bound by the framework of space. Sato: "At the core of my work is always the desire to keep challenging myself with things I've never done before. Our company's work is not just about creating spaces, but about designing the 'thoughts,' 'behavior,' and 'relationships' of the people that are born there. In the future, I want to expand the means of solving our clients' problems by combining the perspective of creating experiences and communication that arise there, in addition to creating the space itself. To that end, I myself want to continue to eagerly absorb new markets and knowledge and keep challenging myself." Furthermore, Sato sends this passionate message based on his own experience: Sato: "The greatest energy source for working is a strong desire to do this. At NOMURA Co.,Ltd., there are many colleagues who will embrace your enthusiasm and work alongside you to make it a reality. If you have even the slightest desire to do it, cherish that feeling and take that first step." And finally, he adds a word of encouragement based on his own experience to everyone who is about to jump into a new environment. Sato: "When you look at the people around you who are successful, it might seem like they are all excellent and never make mistakes. But in reality, everyone struggles behind the scenes and experiences many failures. At first, I also had a period where nothing went right and I was troubled. The fact I learned during this failure-filled working life is the obvious: growth only comes through challenges! If you face your challenges head-on and carefully build up your actions one by one, you will surely be able to do more. That's why I urge you to jump in without fear of failure." Starting his career with unwavering enthusiasm, Sato has grown into a leader who drives projects in cooperation with others, using numerous failures and self-reflection as fuel for growth. His sincere attitude of continuing to challenge himself honestly will continue to open up new possibilities for space while accompanying diverse professionals. *The information provided is as of April 2026.

Yuji Kato has led numerous challenging projects at the forefront of space creation. From spring 2026, he will be transferred to Tokyo, where he will be showcasing his skills in a department that handles the largest developers. Starting his career with a gap between his initial assignment and his current role, how has he established his own unique style? We delve into his breakthrough power to challenge uncharted territory and his strong vision for shaping the future of space. Thinking through the optimal solution. A stance of stripping away conditions and discerning the "essence" of the customer. Kato belongs to the Urban Retail Promotion Headquarters and is in charge of promoting projects as a chief. He talks about his role as he deals with high-level projects on a daily basis. Kato: "I'm involved in various projects, taking on two roles: as the client's sales contact and as the project manager. I'm not only managing the progress of projects that have already been awarded, but also doing sales promotion to develop future work. My current department is small but highly skilled, and the environment demands a high level of both quantity and quality. That's why I myself must take the lead in embodying added value. I also believe it's an important role of mine to give back to the team the knowledge I gained from working with many developers during my time in Osaka, and to support members who are busy with their work." Kato has certain values that underlie his work as he manages projects handled by the largest developers, projects that demand high standards in both quantity and quality. Kato: "What I always keep in mind is the perspective to discern the essence of things. I think about the true feelings behind the words the other person is saying, and where their explicit and implicit needs lie. In the business world, the direction of proposals is often determined by conditions such as profit, cost, and effort, so I make it a point to remove all those conditions, think through 'what is truly best,' and then add the conditions to find a solution. I value this kind of complex thinking process." Furthermore, this value is also reflected in Kato's sales style of expanding his own scope of work. Kato: "I value not limiting my own scope of work and always expanding my field. Even in unfamiliar areas, I can work in a way that is true to myself by asking questions, proactively proposing ideas that lead to new value, and driving them forward on my own initiative. That's why I don't get caught up in short-term profits, but broaden the scope of communication with a curiosity that looks to the future. I feel that such proactive actions ultimately lead to providing value that exceeds customer expectations." Jumping into new fields. Overcoming the gap between expectations and reality, this young employee took on the challenge based on fundamental skills. ▲ "Hankai Tramway Hanadaguchi Station Canopy Renovation Work" Provided by Hankai Tramway Kato says that during his student days, he aspired to work in a field that would have an impact on society and aimed to work for an advertising agency. He reflects on how he decided to join NOMURA Co.,Ltd. during his job search as follows: Kato: "Actually, during my job search, there were times when I hesitated about accepting the job offer I received, but when I honestly explained my situation and thoughts, they treated me with sincerity. Their humanity and high expectations of me were the deciding factors in my joining the company. At the time, I applied with the understanding that it was an event company, but after joining, I was exposed to the unexpected depth of the display industry, specifically spatial production, and I realized the excitement of taking on challenges in a new environment." His workplace and assigned market were different from what he had initially hoped for. However, in that environment, Kato increased his motivation with his unique perspective. Kato: "Although I started in an environment different from what I had initially hoped for, I had the mindset to find and create enjoyment wherever I was. First, I thought I would do my best wherever I was given. I played soccer when I was a child, but because my father's job required us to move around a lot, I had the experience of joining new soccer teams wherever we went. From that, I learned that in any community, it is essential to have a solid foundation and the basics before relying on any outstanding abilities. The same applies to work, so I considered the first 10 years as a period of training to build a solid foundation that would be useful anywhere, and I focused on doing more practical work than anyone else." While building that foundation, he also explored new work with his natural curiosity. Kato recalls that a few years after joining the company, he volunteered for an unprecedented project to renovate a streetcar station. Kato: "The project came from the government, and the budget for the planning aspects, such as the concept and concept design, was limited. However, I was strongly drawn to it because I wanted to take on a new challenge with no precedent. It was a large-scale construction project that involved digging up roads and rebuilding the station, so there were concerns within the company that it was 'not a job for a spatial display company, but rather in the realm of the construction and civil engineering industry.' But that's precisely why I felt it was worth taking on." Despite internal concerns and strict budget constraints, Kato forged a path forward with great enthusiasm. Kato: "I conveyed my passion and vision to overcome the budget hurdles and persuaded my superiors that I wanted to gain new experience together with younger members. In the end, I teamed up with new employees and diligently completed the project. Even without a budget or precedent, I conveyed my passion and involved those around me to bring it to fruition. This experience of stepping into uncharted territory is a major starting point for me today, and it directly leads to my current work style of expanding my scope of work and proposing new value." Bringing together complex interests. The dynamism of space creation born from honest adjustments and passion ▲ "Nakaza Kuidaore Building" Kato, who has steadily accumulated experience through numerous projects, will eventually come to lead massive projects. He talks about his feelings at the time regarding the renovation project of the "Nakaza Kuidaore Building," which he volunteered to be in charge of in his fourth year at the company. Kato: "This project is symbolic of my 20s and 30s, and it is the work that helped me grow the most, both within the company and with the client. At the time, I was very happy and excited to be entrusted with such a large-scale project as a young person. When it restarted after the COVID-19 pandemic, the client told me, 'We want to continue to leave it to you, Kato,' so I took on the project with a strong sense of responsibility." Kato says that although there were complete changes to the plan during the long-term project, the client placed complete trust in the direction of concept design and entrusted it to our company's creativity. Kato: "I think a major factor was that the entire team, including our own designers, worked on the project while carefully considering the client's domain. Also, in a situation where a total of 40 people from various companies, both inside and outside the company, were gathered, I gained experience in a coordinating role, bridging the gap between their opinions, and finding common ground while respecting each other's views, which contributed greatly to my own growth." Furthermore, in the "Nichirakuza Sumo Hall" project, which began in 2023, he was required to act as an intermediary between the facility management and the tenants, coordinating under complex circumstances. Kato: "It was a project with many high-level demands, such as schedules and the facility's requests. I made sure to organize all the conditions, visualize the advantages and disadvantages, and build a process that would allow all stakeholders to make decisions with agreement. I feel that carefully understanding the intentions of each department and supporting internal coordination within the client, such as finding the optimal solution in the overall meeting, was key to the smooth progress of the project." In this project, Kato's unique flexible thinking was also put to good use in addressing the challenge of how to secure the budget. Kato: "I proposed the idea of using celebratory flowers from the opening as decorations to create 'celebratory lanterns,' and it was adopted. If you make a proposal that you have thought through with sincerity, it will surely be accepted even in difficult situations. The greatest appeal of this job is being able to improve the situation through your own actions and increase the number of allies." When in doubt, choose the difficult path. Kato expands his scope into unprecedented areas and leads the future of space, not only in his role as a salesperson but also taking on a wide range of tasks himself. In order to be able to do this, collaboration and building relationships within the company are indispensable. Kato: "If you clearly convey your thoughts and passion, people around you will surely listen. That's why I am always conscious of building relationships not only with project members but also with people on the same floor or in the building. I also value communication outside of work and try to be agile and show up at various events. And above all, I am committed to leaving a solid track record in order to make my words persuasive. I believe that only with a track record can I have the influence to take on new challenges." Having accumulated a track record and trust both inside and outside the company, Kato says this about the goals he wants to take on in the future. Kato: "Until now, our focus has been on creating spaces, but going forward, I want to create a new business model that is like 'consulting consultants,' where we can propose overall optimization while considering branding and operations, incorporating architectural expertise. Also, as a team, I want us to be a group that always looks ahead and 'leads the ship' ourselves. I want to create time for us to think independently and use that time to provide more essential value, and I want to spread this organization from my own team." Kato, who continues to lead the future of space, looks ahead to co-creation with colleagues he will meet in the future, with the appeal of working at NOMURA Co.,Ltd. and his own business philosophy in mind. Kato: "This industry is an environment where you are constantly facing unknown challenges, but for those who find that exciting, this is the perfect company. First, steadily master the 'basics and fundamentals,' and then build upon that foundation with your own challenges. Also, if you are presented with two options, please choose the one that is 'more difficult' for you. By making choices without fear of risk, you will find that it becomes a great asset before you know it. The spaces we create can directly bring joy to end users and have a significant impact on the world. I look forward to working with people who share this vision and are willing to take on challenges together." Kato never confines himself to a box and continues to sincerely engage with others. His passion for stepping into unprecedented territory without fear of risk will continue to draw out the knowledge and enthusiasm of the professionals around him, powerfully leading the way in exploring new possibilities for spaces. *The information provided is as of April 2026.

Kohei Hirota joined the company in 2017 and began his career as a planner. He has supported numerous projects as a planner in settings that require a multifaceted perspective, such as corporate museums and international expositions. He talks about the essence of creating spaces that move the hearts of visitors, which he discovered through coordination, and his determination for the next stage. Inspired by the DNA of passion and challenge behind the technology Hirota, who belongs to the Planning and Production Center of the Creative Division, is currently in charge of project promotion as a Room Chief. One of the projects he is working on is the basic plan for a new museum to be built within the headquarters of a major domestic technology company. Hirota: "We're not just displays the latest technology; we aim to create a space where working people and children can interact with technology and have their inner 'creativity and curiosity' stimulated. We want it to be a place where people can experience the DNA of passion and challenge, and be inspired to think about what they too can do for society. We carefully uncover the 'human thoughts' behind the technology, such as the decisions and challenges of the developers, and re-edit them into displays and experiences that everyone can relate to, regardless of their expertise. And by giving them 'shape' as a space, we are trying to create a place that deeply resonates with visitors." In this process, what Hirota pays the most attention to is matching the "pace" of the dialogue with the customers. Hirota: "Instead of using technical jargon, we choose words that are easy for customers to understand, and we thoroughly share the 'sense of progress'—what stage the project is at and what has been built up. Every time, we carefully start by reviewing the previous meeting, breaking things down and making the progress visible." In parallel, the renovation of the training facility for medical professionals is also underway, which requires a high level of expertise. Beyond simply organizing the necessary functions for the facility, they are required to design a wide range of functions, from displays the company's history to providing lectures on home healthcare. Hirota: "We want to understand our clients' needs and create a facility that aims to contribute to patient safety and the advancement of medicine, not just for medical training. We want it to be a place for valuable communication with diverse stakeholders and to generate new business opportunities. To that end, I spend my days reading through vast amounts of materials, aiming to understand unfamiliar medical terminology and the context of the industry." "How do you get someone who dislikes Asian food to eat it?" The fun of the job that he felt from a question on the entrance exam During his university days, Hirota majored in media sociology and was passionate about competitions in the advertising research club, so he initially aspired to work for an advertising agency. However, during the job interview, he received a crucial point from the interviewer: "You are the type of person who takes time to think things through, which is a little different from the personality required in the advertising industry where quick thinking is essential." Hirota: "To be honest, I had a feeling about it myself. So when I heard that my personality didn't fit into that industry, I accepted it at face value." Later, a friend told him that there were many people with similar ways of thinking in the display industry, including NOMURA Co.,Ltd., Ltd. Hirota: "When I visited NOMURA Co.,Ltd., I was instantly captivated by the way the senior planner who was speaking there spoke. I found his personality interesting, and I felt that his attitude of genuinely loving his customers while working was an appeal that I didn't see much in other companies." The entrance exam for NOMURA Co.,Ltd. also stimulated Hirota's intellectual curiosity. Hirota: "The question I was given was unique: 'How can you get someone who dislikes Asian food to try even one bite?' My answer wasn't simply about persuading them with the taste, but rather presented a logic that unravels the connection to what they usually like. Through the sharp questions about my answer and the presentation of my plan within a limited time, I got a real sense of the enjoyment and challenges of the actual work, realizing, 'This is probably the kind of work they do every day,' and that's when I decided to join the company." Hirota joined the company in 2017 and was assigned to the department in charge of the corporate museum, where she quickly faced the harsh realities of the job. Hirota: "Not only do I have to think about the plan and the words, but I also have to take a multifaceted approach to things, including the graphics, video, and the way the space is designed, and then give it form. At first, it was difficult just to keep up with the conversations. First, I tried to grasp the big picture and not miss what the customers wanted to convey and the points that would resonate with the visitors. That's how I've been working relentlessly since joining the company." Serious questions that arose after the experience, and the value of this job that she felt from the children's faces ▲2025 Japan International Exposition Panasonic Group Pavilion "NOMO Country" A major turning point for Hirota was the 2025 Japan International Exposition Panasonic Group Pavilion "NOMO Country" project. This pavilion was based on the concept of drawing out the potential of children through experience, and Hirota was busy in a hub position that involved concretizing the experience content, managing the schedule, and acting as a liaison with external creators. In this massive project, Hirota deliberately imposed a tough role on herself, saying, "I don't care if I'm disliked, I'll say what needs to be said clearly." With the opening dates already set, the schedule was always tight. Hirota: "Even if it was a request from customers or stakeholders, if I judged that it would detract from the interestingness of the space or would not be beneficial to visitors, I had the courage to firmly refuse, saying, 'That's difficult,' from a feasibility standpoint. I felt that my role was to continue to guarantee the quality of the project." This was also an action to act as a "breakwater" to make the most of the knowledge of talented external creators and produce the best possible output. Hirota: "With the creators, I tried to understand them deeply and change my approach accordingly, while at the same time 'subtly' conveying the essential feelings that customers couldn't compromise on. I focused on creating an environment where everyone involved in the project could function comfortably." During the six-month period of the event, one scene was deeply imprinted on Hirota's mind as he observed what was happening on site. It was the sight of children intently looking at displays and thinking about something with their fresh sensibilities in the "children's section" that had been newly established through operational ingenuity. Hirota: "I witnessed a moment when a child seriously asked their teacher, 'This is what I think, but what do you think, teacher?' about something they had experienced. The children took it more seriously than adults could have imagined. I truly felt that what we were doing was worthwhile and meaningful." I want to create moments when someone's feelings reach out to others. The joy of creating spaces that I want to share with my juniors. Hirota, who was promoted to Room Chief in 2025, has been deeply affected by the words of a senior colleague in the company: "If you can't sell big-picture ideas, you'll have no future as a planner." Hirota: "Until now, I've stuck to a style of working hands-on and supporting the front lines on site, but from now on, I want to have a higher perspective and become someone who can propose the attractive 'framework' of a project itself. If I do that, customers will approach the project with great expectations. Also, even if I don't do everything myself, my juniors will be able to fully utilize that framework. I want to be able to create many big-picture ideas like that." Hirota's evolution from "planner to creative producer" is not something that can be completed alone. Hirota: "There are limits to my own imagination. That's why I value attracting specialists in each field who can lead projects to heights I couldn't reach on my own, and building trust with them. My job is to ensure that designers are confident that 'on the foundation Hirota has laid, we can focus on the best possible expression without hesitation,' and that they can freely unleash their talents. To that end, I continue to hone my skills in organizing the project's objectives and complex conditions better than anyone else, and clarifying the path forward." Hirota describes NOMURA Co.,Ltd. Co., Ltd. as "a place where many people are incredibly sincere in their approach to work." Hirota: "Their unwavering pure curiosity about concept design and communication, and their constant questioning of 'what can we do to make the world a better place,' is what inspires me the most." Hirota has the following wish for the younger colleagues he will work with in the future. Hirota: "At the exhibition, I witnessed a scene where a child was asking a question to their teacher. It was a moment when the feelings of the customers and planners reached the visitors through the creation of the space. I would love to share that scene with others. To see the words you spoke beautifully expressed by the hands of a designer and reach the visitors. I would be happy if my juniors could also feel that emotion." Aiming for that moment when her feelings reach someone, Hirota continues to develop grand concepts to give shape to the possibilities of spaces yet to be seen. *The information provided is as of February 2026.

Keiichi Yamazaki joined NOMURA Co.,Ltd. mid-career in 2020. As a production manager, I am involved in large-scale projects involving developers and general contractors. Yamazaki, a professional who leverages the expertise he gained during his time as a general contractor to lead the field through careful dialogue and meticulous planning, continuously supporting the realization of complex spaces, shares the realities and fulfillment of his work. The front lines of the field where advanced coordination is required. Leading Projects to Success: "Dialogue" and "Planning" Yamazaki belongs to the Sales Promotion Headquarters, First Business Division, Product Direction Division 1, Section 2. This department, consisting of 10 members, mainly collaborates with developers and general contractors to create new spaces. Yamazaki: "Recently, redevelopment projects have increased significantly, and I am increasingly involved in such large-scale projects. At the shortest, I work on a single project for half a year, and sometimes even over a year. Currently, I am in charge of two major projects, one of which is the construction of the new Pontifical Embassy. We carry out overall supervision and management in partnership with general contractors. The other is a partial floor construction plan for the 'tallest building in Japan' due to redevelopment around Tokyo Station. Currently, we are also in the planning stage in collaboration with the general contractor, but once the site starts operating, we plan to be stationed on-site to manage construction." Many stakeholders are involved, and the site requires advanced coordination. To keep projects running smoothly on the front lines, there are two main things Yamazaki always keeps in mind. The first is to build solid trust through communication with those around you. Yamazaki: "Above all, we value building mutual trust as early as possible. If communication is lacking, problems on the ground may not be shared, and problems may only surface after they have grown. The main goal is to prevent such incidents and ensure smooth practical progress. To achieve this, I always strive to create opportunities for close dialogue. For example, after working on site, we go out for a meal and not just talk about work, but also get to know each other's personalities through private topics and daily interests. This creates a sense of distance where reporting and consultation are easier." The second point is thorough schedule management to ensure project completion. Yamazaki: "Instead of postponing time-consuming tasks from the planning stage, we try to proactively respond and schedule with enough flexibility for the later stages. If the schedule gets tight in the second half, we can't respond flexibly to irregular situations, so we always plan to be prepared with plenty of time." From the construction industry to the world of interiors. A new challenge in production management where past expertise comes to use. ▲ Until joining Starbucks Reserve(R) Roastery Tokyo, Yamazaki's career until joining NOMURA Co.,Ltd. was centered around his experience in the construction industry. Yamazaki: "For about 20 years, I have served as a supervisor at new reinforced concrete and steel-frame construction sites, such as rental apartments, nursing homes, and kindergartens, with reinforced concrete and steel frame construction. I have gained comprehensive experience in construction management, including process, safety, quality, and cost control." Although Yamazaki has supervised various sites, he gradually deepened his interest in interiors. Yamazaki: "I have been involved in various architectural projects as a general contractor, but gradually, I became fascinated by interiors 's work that meticulously creates indoor spaces down to the smallest detail. At that time, I learned that 'Starbucks Reserve(R) Roastery Tokyo' was a NOMURA Co.,Ltd. track record, and I was deeply impressed and intrigued by its highly sophisticated and complex interiors. I wanted to take on new challenges by creating spaces filled with meticulous attention to detail, unlike anything I had experienced before. We have handled many well-known properties, and NOMURA Co.,Ltd. was confident that I could gain even broader experience, which led me to join." Yamazaki joined mid-career in 2020. The challenge I faced after joining was 'building collaboration with each department.' Yamazaki: "When you go to the front lines, the period is long, so interaction with the company tends to be limited. Therefore, building relationships on which tasks to consult with which department was the first challenge. If I didn't understand something, I would first consult my supervisor, confirm the appropriate contact point, and then patiently reach out to people in each department to steadily build relationships." Supported by the company's culture that makes consultation and cooperation easier, Yamazaki gradually expanded his internal network. While he was confused by the new environment, he also says that his past experiences sometimes provided solid support. Yamazaki: "Because we understand the general contractor's perspective and desired processes, proactive support allows us to build relationships very smoothly. We actively propose things like, 'This drawing will definitely be needed in later processes,' and 'If we move forward here, it will be easier for other partner companies to join.'" By continuing such efforts, it builds strong trust in the entire team and encourages people to say, 'I'll leave it to NOMURA Co.,Ltd..' It's an environment where you can make use of your experience as a general contractor, and the reward lies in being able to contribute by utilizing your knowledge." Creating complex spaces is a continuous learning experience. The real excitement lies in the process of shaping concept design ▲ Since joining the common areas of the High-Class Residence, which Yamazaki was in charge of, he has handled a wide range of projects. The types of spaces they handle are truly diverse, including interiors work for hotel VIP rooms, interiors of the residence 'Park Well State Kamogawa,' large-scale office renovations for foreign technology companies, and even commercial environment construction for large complexes in the city center. Among such projects, Yamazaki cites the high-class residence project scheduled for completion in 2025 as a successful experience where he felt a solid sense of accomplishment. We achieved a highly challenging space with a complex structure with few straight lines, and received an internal award. Yamazaki: "There were many curved surfaces, and the process of accurately positioning the walls was extremely challenging. Together with partner companies, we created detailed construction drawings to determine which references to use as a reference and proceeded accordingly. In particular, the installation of triangular structures on the ceiling about 10 meters high was carefully considered starting from the underlying structure. We thoroughly examined not only safety but also how to install it efficiently and beautifully. Ultimately, by combining triangular structures, light refracts and creates a very impressive space with beautiful shading. After many adjustments, the sense of security and accomplishment when it fits beautifully just as envisioned was indescribably immense." The continuous challenge of shaping such challenging spaces has become a new learning experience and driving force for Yamazaki. Yamazaki: "When it comes to creating the 'base' for attaching decorative and heavy objects, I am updating my knowledge while tackling it. interiors Encountering new areas to learn, such as unique construction methods and materials, is very fresh and enjoyable. How can we make future maintenance easier and ensure safety for a long time? Whenever new material emerges, the entire company invites manufacturers for study sessions, constantly updating knowledge," Yamazaki says that the process of turning concept design into reality is his true sense of fulfillment. Yamazaki: "I also find the unique appeal of production management more interesting every day. Even in facilities with similar purposes, the way they are created and approaches differ completely depending on the designer's intent. Each project brings new challenges, and the appeal lies in always approaching them with a fresh mindset. I enjoy watching the process of gradually completing a space from a place with nothing, and the sense of accomplishment at completion is truly different." I don't say it's impossible to say. With pride as a specialist, Yamazaki has overcome various challenges to reach the next big stage, and now has goals he wants to challenge in the future. Yamazaki: "I still want to take on a big project of unprecedented scale. As redevelopment projects increase, we want to expand our current area of responsibility by construction and take on larger-scale space creation. I want to keep challenging myself to see how far I can go, to push beyond my limits, to test and expand my potential. At the core of this challenge is the desire to always remain a specialist. I want to value the attitude of deepening my own expertise and not easily saying 'I can't do it' even when making difficult requests, but continuously exploring how to make them possible. To that end, I want to continue absorbing diverse knowledge going forward." While expressing his passionate feelings, he also values his own stance within the team as a supporter. Yamazaki: "Rather than standing at the front lines within the team, I believe my strength lies in overseeing the whole and smoothly advancing projects. I want to take on the role of supporting members who are still inexperienced and sharing the knowledge and know-how they've developed." From Yamazaki's perspective, the best fit for NOMURA Co.,Ltd. and production management roles is "being positive and serious," And they say they are open-minded. Yamazaki: "Even in difficult situations, without a proactive and positive attitude, it is impossible to turn the situation on the ground around. Also, only by consistently responding seriously and sincerely can you earn the trust of those involved. Furthermore, not only are they good at speaking, but they also need listening skills to accurately grasp the other person's intentions. Only by understanding what the other person truly wants and having an open attitude to empathize with them can you cooperate well with those around you and guide projects in the right direction." Finally, Yamazaki talks about the appeal of working at NOMURA Co.,Ltd. as follows. Yamazaki: "There are many cheerful and humorous people in the company, and while we approach our work sincerely, we have a warm environment where you can easily consult with each other. Another attractive point is that the project areas handled by each division are truly diverse. From entertainment venues to cultural venues, and even redeveloped commercial areas like the ones I oversee, the nature of the client's industry and space is completely different. Because each division handles different spaces, our company's appeal lies in expanding the opportunities for a wide range of challenges." Based on solid technology and expertise, Yamazaki will continue to take on the challenge of creating spaces on an unprecedented scale with pride as a specialist. * The information provided is as of February 2026.

After working at the local prefectural office and a design office, he moved to NOMURA Co.,Ltd. and is active in the construction management department. He established a new role while building trust as a bridge between project stakeholders and received an internal commendation. We will approach the history of Komuro, who took on the challenge of creating a gorgeous space from a rigid site to the world of creating a gorgeous space, and his future prospects. The key to project success is "dialogue skills". To a presence that supports with technology and trust The Construction Management Department, to which Komuro belongs, is a department that manages interiors space projects and supports businesses for large-scale and special projects. We enter from the planning stage of the project and provide comprehensive support for the technical part on behalf of the client. Komuro is mainly in charge of construction management (CM) related to interiors. Komuro: "My main job is to perform technical management when building new buildings or renovations. Specifically, I am in charge of schedule management, quality control, and risk management in interiors and displays construction as a representative for customers. He is also a coordinator who stands between customers, project stakeholders, and internal members to ensure the smooth progress of the entire project. I am involved in a variety of customer projects, such as commercial facilities and hotels, without being limited to specific fields." As a commercial and project management (PM), communication is the most important thing for Komuro to lead a successful project. Komuro: "I try to take a bird's-eye view of the entire project and carefully understand the positions and opinions of each stakeholder, and if necessary, I communicate with the stakeholders before the meeting and play a role like a "lubricant"." Not only does he play a role as a coordinator, but also as a spokesperson for the client, by building a relationship of trust with internal and external stakeholders. It also serves as a bridge to deliver technical recommendations and judgments to the field. Komuro: "In terms of technical content, we represent points that are difficult for customers to say, and frankly convey their opinions on the pros and cons of construction and the process to designers and construction. Although he is a "spokesperson", he does not just convey it, but carefully conveys what needs to be said while being considerate of everyone involved. We place great importance on that kind of "quality of coordination." The background to this ability to demonstrate this coordination ability is Komuro's diverse experience and NOMURA Co.,Ltd. 's knowledge of space creation that he has cultivated over many years. Komuro: "Through dialogue with various stakeholders, we emphasize finding the best solution for our customers, and we respond to different NOMURA Co.,Ltd. issues for each project, such as whether to prioritize cost or schedule, by utilizing the rich know-how we have cultivated in space creation." From a rigid site to a glamorous stage: a turning point led by challenges▲ Komuro, who studied architectural history at KANDA SQUARE Graduate School, began his career at the local Fukushima Prefectural Office. While in charge of the maintenance and management of public facilities, he is also involved in the construction of government buildings and the reconstruction plan of the joint government building that was damaged by the tsunami. Komuro: "At the prefectural office, I was involved in the construction of government buildings and the renovation of existing government buildings as a supervisor, and I was able to experience building maintenance and earthquake-resistant construction in three years, and I decided to move on to the next step when the government building I was in charge of was completed." After that, he changed jobs to a local design office. While being in charge of a wide range of tasks from design to construction management by myself, an encounter becomes a turning point. Komuro: "When I was in charge of designing an antenna shop for a confectionery manufacturer at the design office where I worked, I had the opportunity to come into contact with interiors construction because Head Office was being built at the same time. That's where I first learned about the display industry and felt that it was a glamorous and interesting job. When I was looking for a new job, I learned about NOMURA Co.,Ltd. and was attracted to entertainment jobs such as creating spaces for amusement parks. I decided to join the company because I wanted to challenge the display world, which I had no experience in before." After joining the company, I was in charge of the KANDA SQUARE project planned in the Kanda area in the design department. On the commercial floor of a 21-story office building built by Sumitomo Corporation in Kanda, Komuro was in charge of the working drawings. Komuro: "It was a challenging project to combine Kanda's history and culture with modern concept design and traditional techniques of craftsmen, aiming for an innovative yet accessible space for everyone. The traditional methods of brick and plastering were used for the walls, but it was necessary to meet high earthquake resistance standards, and the construction of heavy materials compared to painting was a major challenge. Sumitomo Corporation, designers, and craftsmen communicated directly with each other to promote the project and solve technical problems one by one." Komuro recalls that being able to smoothly proceed with the special project gave him confidence in the limited time of two years. Komuro: "We worked with excellent designers and guild members to successfully overcome difficult technical challenges. The customer was very pleased, and even in the subsequent earthquake, there was no damage to the wall, and the project was successful. In addition, I believe that my strength is that I can make various adjustments based on my experience on the client side of the business operator, construction, and designer based on my experience in my previous job." Flexibility and responsiveness to overcome difficulties ▲Rihga Royal Hotel Osaka Vignette Collection In November 2023, Komuro took a one-month childcare leave when her second child was born. It was the timing of the start of the room renovation project at Rihga Royal Hotel Osaka. Komuro: "The first child was able to balance childcare and work due to remote work due to the coronavirus pandemic, but the second child had to travel back and forth to Osaka due to a project. After returning, I continued to travel to Osaka 2~3 times a week for a year and a half, and with the cooperation of my family, I was able to lead the project to completion." This project involved more than 40 people from multiple professions in the company alone, and it took about one and a half years to renovate the guest rooms. Komuro takes on a new challenge there. Komuro: "Previously, sales were in charge of managing the progress of the project, but Rihga Royal was a large-scale project involving more than 40 in-house members, so we decided to take on a new role called 'in-house PM', which is responsible for customer contact work, project progress management, and coordination of each department." This system centralizes operations that were previously handled by each department separately. By answering customer questions, adjusting schedules, and considering design changes, the in-house PM was all in charge of efficient project management. Komuro: "By introducing the new system, we have been able to significantly reduce waste throughout the project by preventing duplicate questions from multiple departments and centralizing schedule changes and cost management. This initiative also led to an internal award in FY2024. Komuro: "We have received internal awards, and there is a growing focus on in-house PMs, but not the same method can be applied to all projects. In the future, we would like to flexibly arrange according to the characteristics of each project and expand it to more projects. By expanding the new role of in-house PM to the entire NOMURA Co.,Ltd., I would like to contribute to improving project momentum." Behind the space, what kind of existence do you aim to have as a construction management department with solid trust and professionalism? Komuro talks about the prospects of the department. Komuro: "We aim to be a department that is recognized by customers as 'if we leave it to NOMURA Co.,Ltd., the project will proceed smoothly,' and for that reason, I would like to increase the number of members who can promote the project as a commercial. Also, as an individual, I am not particular about a specific genre, but I would like to take on projects like amusement parks in the future." In the days of accumulating trust and experience, there are many moments that I find rewarding. Komuro: "There are various large and small mountains in the project, but I get a sense of accomplishment every time I overcome each of them, and I think the joy of completion as well as the sense of satisfaction at the key points of the project are the main attractions of this work." Komuro talks about the appeal of NOMURA Co.,Ltd. from a unique perspective. Komuro: "I think it is a company that creates spaces that move people's emotions, such as exhilaration, excitement, and excitement concept design. I am almost always involved in the buildings that are talked about, so I can feel the pride of being able to say to my children that 'my dad made this' in a stimulating environment." Regardless of the scale or content of the project, we listen to the voices of each person involved and carefully coordinate them. Utilizing this attitude and rich experience, Komuro will continue to strongly support the creation of NOMURA Co.,Ltd. spaces from behind the scenes. * The information is current as of May 2025

Haruka Amano joined NOMURA Co.,Ltd. as a new graduate in 2015, wanting to be involved in the cultural market, such as museums and public facilities. As the sales chief of the Cultural Environment Business Division, she has worked on numerous projects. Having experienced childbirth and raising children, Amano, who is also involved in R&D activities addressing the psychological and psychological accessibility issues faced by various users of cultural facilities, talks about her career so far and her thoughts. To be the best understanding partner for our clients. Grasping their true feelings through careful listening. Amano belongs to the Sales Promotion Headquarters, Cultural Environment Business Division, Sales Department 1, Section 2, which has national and local government clients and handles projects for public facilities such as museums, art galleries, science museums, libraries, and childcare support facilities. Amano: "The area we cover spans all over Japan, from Hokkaido to Kyushu. Within that, I mainly handle projects in Tokyo, and currently I am working on multiple projects, including the design of a national displays facility and consulting work for a ward's tourist center and library." The large-scale national displays facility project currently underway is in schematic design stage. We carefully listen to our clients' requests regarding the kind of space and displays they envision, and then work with our team of designers and planners to translate those requests into plans and concept design. Amano: "As a sales representative, I'm responsible for the detailed communication with our clients. My role starts with project management and also involves drawing out the clients' true feelings. As a sales representative, I want to be the client's greatest confidant. I want them to feel that I'm easy to talk to and that they understand me, and I strive to be closer to the client than any other member of the company. I don't just listen; I try to understand the thoughts behind what the client says. In this project, some of our clients are creating museum displays for the first time. That's why I believe that carefully and thoroughly listening to their essential needs is the key to realizing what the clients truly want." Amano also explains that working with public facilities presents different challenges compared to corporate projects. Amano: "Public facilities are projects that use valuable tax money, so we need to prioritize thinking about how they should be used by users such as citizens (taxpayers). A method we often use is workshops with users such as citizens. Recently, we have been conducting interviews with people who have had difficulty going to museums in the past, such as people with visual or hearing impairments and families with small children, who feel that they 'want to go but can't.' There is a growing movement to make these places more open." Amano, who has become aware of these issues through his work, has been participating in an in-house R&D activity called "Inclusion & Art" for the past three years. Amano: "With the themes of 'creating an inclusive society' and 'creating co-creation mechanisms' through creative activities, we are conducting research on 'how to improve the psychological and physical accessibility of destinations for all people.'" For example, we're creating a card-based workshop tool called "Inclusive concept design Pattern" that involves creating spaces through dialogue with the users of those spaces, and we're also developing new tools that allow people to enjoy appreciating paintings by relying on touch and sound rather than sight." Development and proposal skills learned at cultural facilities nationwide. After maternity and childcare leave, she moved to a new way of working. At NOMURA Co.,Ltd., even sales employees usually spend their first year gaining experience in the production department before starting their sales careers in their second year. However, Amano's case was a little different. Amano: "I was interested in planning even before joining the company. So, with the understanding of my supervisor at the time, I was able to gain experience in the planning department in my second year." Although this kind of career path is not basically set up in the current system, as an exception at the time, after gaining experience as a planner for a year, she was able to work in sales for a year, taking on projects at cultural facilities nationwide. From 2016 to 2019, Amano worked on numerous projects, including the design displays for Kumamoto Castle's main tower and Matsumoto City Museum, and construction of Kikuchi City Central Library. "Government projects are characterized by the lack of continuous customer relationships like those with corporations. Once a project is completed, you have to rebuild relationships with clients from scratch and create new projects and work yourself. I learned that 'development skills' are extremely important in sales in the Cultural Environment Business Division. Also, having gained planning experience in my second year, I began to think that by combining 'development skills' with 'proposal skills,' I could become a salesperson who can draw out the essential needs and desires of clients more effectively. For example, if a client wants to create digital content, instead of just introducing trends and examples, I propose various alternative methods in different directions, drawing out the realization that 'this is what I really wanted to do,' and connecting it to concrete work. I felt that I wanted to develop the ability to present possibilities for turning ideas into reality." After that, she took maternity and childcare leave from 2019 to 2021. Before returning to work, she had a meeting with her supervisor, and she recalls that being able to carefully discuss her future work style gave her peace of mind. Amano: "I told them that I wanted to work shorter hours, that before giving birth I was in charge of projects all over the country and traveled a lot, but from now on I would like to be assigned to projects in the Kanto region with less travel distance, and that I wanted to gradually increase my workload." After returning to work, she became more conscious of working more efficiently with the support of those around her. Amano: "With the understanding of my supervisor and colleagues, it's an environment where it's easy to communicate requests and situations. Currently, I leave work on time without doing overtime to match the time I pick up my child from daycare. I've become more thorough with my schedule management than before I returned to work so that I can respond even if my child suddenly gets a fever or urgent work comes up. I prioritize things considering their urgency and importance, and manage my daily schedule down to the minute." A new challenge utilizing her knowledge of inclusion and art. Her cultivated proposal skills are blossoming ▲ National Museum of Emerging Science and Innovation permanent displays "Nanairo Quest - A story of the future living with robots" Immediately after returning from maternity and childcare leave, Amano gradually got used to her new way of working by taking on a supportive role for her supervisor. He says that he gradually felt a growing desire to "take on more challenges and manage work on my own as a salesperson." Among the projects he took on were the permanent displays at the National Museum of Emerging Science and Innovation (Miraikan), "Hello! Robot," "Nanairo Quest - A Story of the Future Living with Robots," and "Nobel Q." He tackled large-scale projects for about two years, from the development stage to securing the proposal, design, and construction. Amano: "It was a cross-functional team with members I had never worked with before, such as the company's content team and graphic team, and there were many stakeholders, so it was difficult to coordinate everything. In particular, displays content was a new and unprecedented approach, such as displays that combined robots with puzzle-solving and displays that allowed visitors to experience aging, so we worked together with the company team and the client, grappling with the challenges as we created it." In this project, he also emphasized the perspective of inclusive concept design. Amano: "We invited people with visual and hearing impairments, wheelchair users, children, and the elderly to conduct numerous demonstrations and tests of displays, and incorporated the various opinions that came up. It was a field I was personally interested in, but this was the first time I had been seriously involved in it as a job. I learned a lot from the discoveries and insights I gained from the opinions of those directly affected." In 2023, after being promoted to chief, Amano took on her next challenge by participating as a supervisor in the Tokyo National Museum's "Asobiba☺Tohaku" project. ▲ Tokyo National Museum "Asobiba☺Tohaku" ©Nakasa & Partners Amano: "In November 2024, the museum opened for the first time a place where children and their guardians could play freely together for a limited time, and NOMURA Co.,Ltd. was in charge of planning and supervision. 'We want children who will be the future leaders to take home the feeling of "That was fun!" after playing to their hearts' content at the museum. And we also want to provide a comfortable space for guardians who bring their children to the museum, where they don't have to worry about disturbing others.'" "With that in mind, the Tokyo National Museum planned this project. We leveraged our in-house R&D expertise in "Inclusion & Art" to propose safety aspects for the fixtures and fittings in the play space for children, as well as the design of graphics and signage, and the design of the calm-down space. It was really nice to see the children having fun playing after it actually opened." Aiming to create a cultural facility that is open to a wide range of users in an environment that supports what you want to do Amano says that in the future he wants to create a cultural facility that is open to even more people. Amano: "Cultural facilities should be open to everyone, but I feel that the people who actually visit them are biased. In terms of broadening the base and in terms of boosting the cultural market, I want to propose a space that leaves no one behind and is easy for everyone to visit. What I aim for is a world where cultural facilities such as museums are included in people's choices of places to go out. I hope they will become one of the familiar spots that can be enjoyed casually, rather than being difficult places." Amano's thoughts on the cultural market are deeply rooted in his experiences in his hometown of Kumamoto. Amano: "When I entered university, I moved to Tokyo, and it was only after leaving my hometown that I truly appreciated the good things about Kumamoto. From that experience, I thought that if there was a museum that could showcase the charm of the region, people could come to love their hometown even while staying there. This is also why I aimed for NOMURA Co.,Ltd., Ltd. and wanted to be involved in the cultural market." Amano describes the appeal of NOMURA Co.,Ltd., Ltd. as follows: Amano: "I think it's a company that supports what you want to do. I'm involved in a cultural facility project, which was my dream, and if I want to challenge myself with inclusive concept design or something new, I can gather colleagues, master it, and put it into practice in my work. I feel that it's a company that not only helps you complete the tasks in front of you, but also allows you to achieve self-realization. Also, the environment that allows you to return to work smoothly after maternity or childcare leave, and the good relationships with superiors, are all attractive features that make it easy to work in accordance with various life stages." Finally, what does Amano think is interesting about working in sales? Amano: "I get most excited when I'm working on competitions and proposals. That's because it's a situation where my ability to understand the client's needs is put to the test. When my proposal is accepted, it's proof that I've become the client's best confidant. The moment I realize that is the happiest moment for me." *The information is current as of May 2025.

Yosuke Ando's career at NOMURA Co.,Ltd. has been driven by two interests he had as a student: architecture and spatial experience. Since joining the company in 2005, Yosuke Ando has been working to create spaces that are in tune with "how people spend their time. We will unravel his thoughts and journey as he continues to take on challenges, innovate, and create value through experiences. Ando is involved in the entire process from planning to architecture and interiors- keeping the concept concept design ApproachAndo belongs to the Creative Production Center "no.10" in the Creative Division. He is a member of a team that works on a wide range of projects from architecture to interior design, creating new experiences concept design through space. Ando: "My area of responsibility varies depending on the project. Recently, we worked on an in-house recruiting space, an apparel store, and a café in Saudi Arabia. Last year, I worked on a house from architecture to interiors, and now I am working on a hands-on training facility in collaboration with a local specialty product and the renovation of a large-scale commercial facility. In recent years, we have seen an increase in the number of projects in which we are involved in the entire process from the initial planning stage to architecture and interior design. He is involved from the planning stage in collaboration with planners. Ando: "In my team, we emphasize the importance of "ease of understanding" in giving form to the initial concept as it is. By being involved from the planning stage, it is easier to build a coherent concept for the facility as a whole, and we believe that we can create a space with a higher degree of perfection than if we were to proceed piecemeal. However, it is difficult to complete everything on your own, so collaboration with planners is essential." no.10 focuses not only on the quality of concept design, but also on customer satisfaction in the process. As part of this process, we use software called a game engine to visualize the completion projection. Ando: "With the game engine, you can experience the completed space as if you were actually walking through it. Unlike conventional still-image perspectives, the game engine can intuitively convey an image of the space, which speeds up the decision-making process for the client and ultimately improves the quality of the project. Although it is time-consuming, we use it for most of our projects." Construction takes time and money, and it is not easy to redo a project once it has been completed. Ando: "We want the client to be satisfied with the project before moving on to the next phase. To this end, we use digital tools to carefully build consensus. I think this process is very important in the creation of spaces. He was attracted to the "charm of space itself" during a visit to the Toyota Municipal Museum of Art when he was in high school, and chose to study architecture at university. Ando: "At the time, I had the strong impression that architecture was a job of creating a "box" called a building, a work of art in which the architect projects his own personality. However, as I studied, I came to think that I wanted to make proposals that were closer to people's lives and rooted in their actual lifestyles. I also like music, and I used to be a DJ when I was a student. I was strongly attracted to work that is "close to people" through the experience of directly feeling the joy of customers up close and personal. interiors This is also how I became interested in the display industry." With these thoughts in mind, I came across NOMURA Co.,Ltd. while conducting my job search. Ando: "I was attracted by the results I saw in magazines and the way my seniors at the university seemed to enjoy working there. The free atmosphere of the company building at the time was also appealing." He felt that concept design was an environment where he could work closely with consumers and decided to join the company. After joining the company, I was assigned to the Communication concept design Department, where I was in charge of designing corporate showrooms and event spaces. As he was involved in the creation of spaces, he became more and more convinced of something. Ando - "The way people spend their time changes a lot depending on concept design and the space. The shape of a space naturally guides people's gaze and movement. displays By designing how things are presented and how they are perceived, the quality of the visitor's experience itself can be enhanced. This approach came to fruition in 2015 with the "Yaskawa Electric Miraikan," an interactive showroom for which Ando was in charge. Ando: "I worked on this space to communicate industrial robot and motor technologies to the general public in an easy-to-understand manner. As a facility to displays showcase futuristic technology, we made the space itself feel like you are inside a robot concept design and used slanted walls instead of the usual vertical walls. The walls are not at 90-degree angles, but rather irregularly shaped to create a distinctive space. We also installed LEDs in a line on the floor to express a futuristic feel through color changes and blinking. Ando: "In a design with many slanted wall surfaces, it is necessary to adjust the angles in detail while checking the actual appearance in the 3D space. Usually, we outsource perspective production, but to create the intended space, it is much smoother to verify and fine-tune the design by ourselves. This project won several awards. The method of creating spaces with an awareness of people's experience and behavior had a great impact on subsequent projects. A one-of-a-kind space created through a combination of technology and thought ▲Rias coast residenceIn 2016, Ando was transferred to the concept design team "onndo," which was in charge of commercial projects, a position he had desired since joining the company. This team is the predecessor of no.10, to which Ando still belongs today. What awaited him there was a large-scale project to renovate an entire building, Times Square, a commercial facility in Shanghai, China. Ando: "It was a complete renovation, including the architecture and interior design, including removing the flooring, building a bridge, and completely renewing the exterior. It was an ideal project for me because I was able to conceptualize the entire space from scratch over a period of about three years. Ando: "When making proposals to people in other countries, due to language and cultural differences, it is difficult to convey our intentions with just drawings, and I feel that it is difficult for them to understand without visuals. Therefore, in the past, we were asked to revise our perspective many times. As a result, we felt that there was nothing better than a "hands-on" proposal, so we decided to introduce VR. Ando: "During the presentation, I had the president put on VR goggles and had him experience the space while I operated the goggles with a controller. We also partnered with an outside company to analyze the VR model, and by measuring the brain waves of six subjects, we were able to quantify their feelings about the space, such as how comfortable they felt. By quantitatively showing the difference before and after the renovation, the presentation became much more persuasive. This was the culmination of a project that encompassed everything from architecture to interior design. Ando: "It is rare for NOMURA Co.,Ltd. to be entrusted with the design of a house, and the opportunity to be involved from the architectural stage was also valuable. For this project, we made full use of BIM (Building Information Model)* and managed data consistently from design to construction. We consolidated all information, including materials used, floor and wall specifications, and facility details, as if we were constructing an entire building in a digital space." The strong northerly winds characteristic of the Sea of Japan region were addressed by incorporating the city's alleyway structure into the architecture. design administration Ando: "The most enjoyable part of the project was that we were able to design not only the building itself, but also the relationship with the surrounding topography and streetscape, as well as the scenery seen from the residents' point of view. For Ando, this was a project in which he was able to mobilize all of his learning and perspectives, and it won awards both domestically and internationally. BIM stands for Building Information Modeling. concept design BIM is a system that streamlines operations by using information for design, construction ・maintenance and management by providing 3D digital models with "attributes" such as floors, walls, and ceilings, and "management information" such as finishes, costs, and schedules. In his work from architecture to interior design, Ando has pursued a concept design that is close to people's lives. The most rewarding part of his work, he says, is the moment when a client is pleased with his work. Ando: "In architecture, it is difficult to see the whole picture until completion, and it is a repetitive process of hypothesis and verification. In the process, I find it very rewarding when I realize that my hypothesis was correct, or when I gain the client's sympathy for my attention to detail. The moment when I feel that I have made even a small contribution to people's happiness is a moment that gives me an irreplaceable joy. Ando: "I studied architecture as a student, but I joined NOMURA Co.,Ltd. because I wanted to work on concept design, which is closer to consumers and their daily lives. On the other hand, I have always wanted to be involved in architecture from a people-centered perspective. Recently, I have been entrusted with more and more architectural projects, and I feel that I am getting closer to the ideal I had envisioned when I was a student. NOMURA Co.,Ltd. I would like to continue to pursue concept design, always with people at the center of my work, while expanding the scope of my work from areas close to people, such as consumers and interior design, to architecture and urban development. Ando: "Looking back, NOMURA Co.,Ltd. provided an environment that gave me many opportunities as long as I was willing to learn and challenge myself. I am very grateful that I was allowed to work on what I was interested in and wanted to challenge myself at each milestone, such as the introduction of digital tools or a change in departments. I am grateful for the opportunities I was given. Believing that "space has the power to change people's behavior," Ando continues to take on new challenges in the field today. The above information is current as of May 2025.

Mizuki Ogura joined NOMURA Co.,Ltd. in 2018 as a development sales representative. Currently, she is a team leader involved in the conceptualization of mixed-use developments in Japan. Ogura, who previously worked at a trust bank managing domestic securities assets for institutional investors, talks about the background of her career change after encountering space creation and the sense of fulfillment she has found in her new environment. Mizuki Ogura belongs to the Yokohama Sales Office, Development Department 1, First Division, Business Produce Headquarters, and is involved in the development of various businesses as a business producer. Ogura: "In my department, we support the planning and consideration of mixed-use developments and new facility developments in urban areas, mainly for domestic developers. We mainly receive consultations on conceptualization work, including the land acquisition stage and business decision stage, which are at the very beginning of the project." Among these, Ogura is in charge of building a network with developers mainly in the Yokohama area and developing new businesses. Ogura: "We're involved in a variety of development projects, including commercial facilities, offices, entertainment facilities, hot spring facilities, and parks. Sometimes we get consultations at the planning stage, with vague ideas like, 'We're not sure what kind of use or scale would be best for this location, or what we should do,' while other times clients have already done some research and are asking for our professional opinion." In response to these consultations, we assemble a team, mainly consisting of our in-house planning staff, to analyze the area and location. We then derive a direction that takes into account the needs of the region and the intentions of the client. He says that what he values most in this work is "information editing ability." Ogura: "Because we never know what angle a consultation will come from, we make an effort to gather information from a wide range of genres. We exchange information with our clients on a regular basis, picking up on the characteristics of their business and what they might be interested in, so that we can respond immediately when they come to us for a consultation. Sometimes, bringing up a topic ourselves can lead to new business. As part of our information gathering, we actively participate in seminars and inter-industry networking events. Whenever we come across keywords that are currently in the news, such as 'sustainable' or 'agriculture and food,' we go and check them out, building networks with people that our clients might not otherwise have contact with. We sometimes meet mutual acquaintances in unexpected places or connect with unexpected people. We then edit the knowledge and information we have gained in this way and proceed with conversations with our clients, searching for the key to solving their problems." NOMURA Co.,Ltd. says that its strength lies in having employees with diverse know-how and expertise, and being able to assign the appropriate personnel according to the needs of each client. Ogura: "We have a diverse range of talent, allowing us to create appropriate teams and provide a sense of security and comprehensive capabilities. Furthermore, when originality or industry-specific expertise is required, we can also assemble teams by utilizing our external network. NOMURA Co.,Ltd. takes on the overall direction and project management, enabling us to create optimal teams that leverage both internal and external networks." The need for a balance in the workplace opened the door to spatial concept design for Ogura, who previously worked in asset management at a trust bank. Feeling that a space for refreshing oneself is necessary in a workplace that requires concentration and accuracy, he began studying spatial concept design at a concept design school for working adults around 2015. After leaving the bank in 2017, he gained experience through internships at concept design and architectural firms. Ogura: "Through my experiences at concept design school and internships, I realized the significant psychological effect that changes in space have on how people's moods change. I also learned about the power of concept design and wanted to meet the needs of this industry." Realizing that she could utilize her skills from her previous job through project management work, Ogura aimed for a sales position at a company related to space creation, and in 2018 she encountered NOMURA Co.,Ltd. Ogura: "The job opening was for 'Development Sales,' and I was attracted to the fact that I could be involved in the upstream processes of a wide range of conceptual projects, such as developing new customers and new business models. My previous job mainly involved working with a fixed group of people and following established rules, but I wanted to team up with more diverse people and challenge myself with new approaches to work." For Ogura, who started this new career, the first symbolic project as a salesperson was the project related to the "Sumitomo Life 'Vitality' Plaza." Ogura: "Our relationship started around the summer of 2018 when I approached them at displays show where they were promoting health-promoting insurance, and we exchanged information. As I listened to them, I realized that they didn't just want to sell a new product, but wanted to collaborate with the community and provide health support that was tailored to people's lifestyles. At the time, NOMURA Co.,Ltd. had a track record of community development that focused on regional revitalization, so we continued to communicate from that perspective. Then, they mentioned wanting to have a physical base to realize that philosophy, which led to them consulting with us." After about a year of communication, they received the order to develop the business model, and instead of a store that sells insurance, they opened the first store in 2019 as an information hub where people can experience and support health-promoting activities, followed by the second and third stores, and finally the flagship store in Ginza in 2021. From this experience, Ogura gained an important insight. Ogura: "Instead of proposing methods such as store design from the start, I learned that by focusing on understanding the customer's vision and mission, and engaging in repeated discussions as an advisor, we can ultimately build trust and achieve success." The "value of networking" is common to different challenges: new product development and anniversary projects. ▲Yokohama Landmark Plaza "Yokobaru" From 2021, as a challenge in a new field, we have been involved in the development project of "(tentative name) WOOD FLOOR UNIT 3.2," a product utilizing domestically produced timber. Ogura: "We were approached by a client with whom we had a long-standing business relationship regarding the development of a new product for a group company that operates a comprehensive forestry business. What was unique was that we aimed to create a product that could be mass-produced as an off-the-shelf item, rather than a custom-made one. We started by holding idea exchange meetings within the company to gather knowledge from each department. We also reached out to external companies such as a comprehensive metal building materials manufacturer and a wax manufacturer, and ultimately formed a development team with six companies, including Mitsubishi Estate and MEC Industry, and were able to release the product. We aimed to develop a product that could be adopted on a large scale, taking into consideration the revitalization of the forestry industry and the cycle of forests. Various verifications were necessary, such as balancing price and strength, and achieving the load-bearing capacity level of a typical floor. Product development was a first for me, but I worked in cooperation with experienced members of the company, as well as the legal and public relations departments, and completed it in two and a half years. Currently, with the growing awareness of environmental considerations, we are receiving inquiries for large-scale projects such as 'we want to adopt it for an entire building.'" Another project that we have been working on since 2021 is one that was created to commemorate the 30th anniversary of Yokohama Landmark Plaza. Ogura: "As a facility representing Yokohama, we have been discussing with our customers for several years how we can continue to be a driving force in the city. What was distinctive about this project was that we interviewed experts in multiple fields and incorporated external perspectives in an unbiased way. Usually, we decide on the direction of the project and then conduct interviews for verification, but in this project we decided on the big framework and adopted an approach of listening to opinions without preconceived notions." As a result, creating a place that showcases the charm of the region and its food was chosen as the theme for the first phase, and "Yokobaru" opened on May 29, 2025. Ogura: "The reason our client chose 'food' from among many themes was because it's something that visitors can easily relate to. Also, we were able to ask Yokohama-based artist Ryohei Yamashita to create the mural thanks to an introduction from someone who was in management at concept design school where I was studying. Through this project, I realized that by having regular contact with people from various fields, new approaches to work and proposals can be born, which was a great learning experience." Ogura says this about the appeal of development sales, which involves picking up on a client's words and finding clues to solutions based on information from both inside and outside the company. Ogura: "I find it rewarding when we can move forward with a client's 'unclear project.' It's interesting to work together with the client, racking our brains together, and although there is pressure at times, it is also rewarding." In building trust, Ogura keeps in mind a deep understanding of the business and a flexible approach. Ogura: "It's important to delve deeply into our clients' businesses and thoroughly understand their concerns and needs. Even for issues that come up in casual conversation, we don't say 'we can't do it,' but first explore feasible ways to implement them. In situations where there is no single right answer, I believe the mission of development sales is to make the best decisions based on the client's needs and the information gathered both inside and outside the company." Regarding future prospects, he says he wants to advance business development along two axes. Ogura: "The first is to propose spaces and projects that not only espouse themes such as 'sustainable society' and 'coexisting with the Earth,' but actually translate them into people's daily lives and lifestyles. The second is to incorporate extraordinary elements such as entertainment into everyday life. I feel that these elements are in demand when considering how to attract customers. Ultimately, I want to combine both axes to create new spaces. In the future, I hope to involve everyone and take on new challenges regardless of genre." Ogura speaks about the appeal of NOMURA Co.,Ltd. as follows. Ogura: "I feel that there are many people who are working in a way that makes the most of their individuality. Rather than having uniform knowledge and skills, there are many people who have made their interests, passions, and areas of expertise their specialized skills. Especially in development sales, the team changes with each project, so you are constantly required to build teams with new members. I think it is a suitable environment for people who want to meet various people, incorporate diverse ideas, and update their own way of working." Ogura himself has a clear vision of what he wants to achieve within the organization. Ogura: "I want to be the kind of person that people think, 'If I just consult with Ogura, he'll probably be able to create a good team,' 'I'll probably get some ideas from him,' and 'If I ask him, I'll probably get some useful information.' I consider my own individuality to be that I am very curious and interested in everything. I want to continue to be interested in a wide range of fields and express my true self." *The information is current as of May 2025.

Taku Sugimoto joined NOMURA Co.,Ltd. in 2019 through an experienced hire program. He is currently involved in planning hotels, displays spaces, and facilities that collaborate with local communities. Sugimoto has a unique background, having previously worked at a foreign financial institution. He talks about the reasons for his career change, the sense of fulfillment he has found in his new job, and his outlook for the future. Bringing the "greenery" of Odaiba into the building. Creating a space that changes with the passage of time ▲ Sugimoto belongs to the Planning and Production Center of the Creative Headquarters of ARTBAY TOKYO. He works on projects in various fields, including commercial facilities, libraries, and exhibitions, mainly in the hospitality field centered on hotels. Sugimoto: "Currently, I mainly handle work for hotels, commercial facilities, and exhibitions, but from there I am also working on urban development and branding for new facilities." One of his representative achievements is "ARTBAY TOKYO" (ended), which was held in Odaiba. This was an art-based urban development project based in the waterfront sub-center area, and it challenged itself to create a space that brings out the charm of the land. Sugimoto: "What was interesting about this project was that my team, in a producer-like role, collaborated with a wide variety of creators, including external architects, artists, and designers. I received a lot of inspiration in the process of creating it together with various people, from world-renowned artists to up-and-coming architects of my generation." The project began with research in 2018 and was carried out over approximately two years until its completion in the latter half of 2020. Sugimoto: "Odaiba has many commercial facilities, but it doesn't have the same strong historical context as other cities. So, we had in-depth discussions with architect Motosuke Bandai, whom we invited to design the ARTBAYHOUSE pavilion, which symbolizes the project, about 'what kind of space and experience is characteristic of Odaiba?' In fact, Odaiba still has an island that was created in the Edo period, which is the origin of its name. By transplanting plants that grow there into the pavilion and letting them grow, the entire building becomes covered in greenery over time, creating a space that changes. There are open spaces with no roofs, and rooms where the way the light enters differs. Nature comes in and changes. We have created an interesting space where you can experience a new relationship between people and greenery." The opening took place during the COVID-19 pandemic, which limited traditional public relations activities, but the response through social media was greater than expected. Sugimoto: "We took advantage of the striking white walls of the building's concept design, and it became a hot topic, with young people using it as a photo spot for social media and being featured in architectural magazines. We also made new connections with designers and creators through the cafe that was located inside. I think the gravel texture used for the flooring particularly stimulated the senses of children and elicited various reactions from visitors. Word of mouth spread through social media and other channels, and it eventually became such a popular pavilion that there were long lines of people waiting to enter." The happiest job in the world, an extension of what he loves Sugimoto is currently active as a professional in space creation. The origin of this lies in the television programs he watched as a child. Sugimoto: "When I was in elementary school, I loved watching TV programs that introduced houses, and I was always fascinated whenever a building full of attention to detail was introduced. As the youngest child in a family of five and not having my own room, I even thought about rebuilding my parents' house and presented a simple floor plan to my parents." Sugimoto's desire to study architecture grew stronger, and he majored in architecture at university. He later studied abroad in Switzerland, where he gained a new perspective on architecture. Sugimoto: "In Switzerland, I learned the fundamental way of thinking about architecture. For example, when designing schools or museums, the approach is to start by considering the very nature of the facility itself. Switzerland is a politically and economically stable country, so there was an environment where I could purely pursue the interest and beauty of space and architecture, asking myself, 'What is good architecture?' and 'What is a beautiful space?'" During his studies in Switzerland, there was an event that greatly changed Sugimoto's values. Sugimoto: "In Japan, it is common to get a job immediately after graduating from university, but it was completely different in Switzerland. Many people were building their lives at their own pace, such as studying sociology before studying architecture, or going back to school in their mid-30s. They carefully considered what they wanted to cherish and decided on their path while gaining various experiences. I was surprised and impressed by that attitude." His experience of visiting Sri Lanka during his travels around the world as a student also had a great influence on Sugimoto's career. Sugimoto: "I was very impressed by a cultural facility near a World Heritage site that I saw in Sri Lanka. It had displays showing the restoration work and interactive/experiential displays, and it was very well done. When I learned that it was a Japanese ODA (Official Development Assistance) project, I was strongly drawn to the idea that there is also this way of contributing to international affairs." Drawn to international contribution, Sugimoto first began working as an intern at an international organization while still a student. There, he received advice from the director of his internship site that "knowledge of finance and economics is important not only for architecture but also for a career in an international organization," which led him to aspire to work for a foreign financial institution as his next step. Sugimoto: "I joined an international comprehensive financial services company, but it was a very demanding environment with a small number of people handling many tasks. I learned the importance of individual professionalism and producing results every day, but finance was a field far removed from my interests. It was a valuable experience, but I didn't feel that it was a job I wanted to do for the rest of my life." Amidst all this, a series of coincidences led him to NOMURA Co.,Ltd. Sugimoto: "One of the first projects I worked on after joining the company was a research project to consider the future of commercial facilities. Although the field was different, research was something I had experience with in my previous job. I became engrossed in the project, going through trial and error, studying the historical changes of commercial spaces and the latest examples from Japan and abroad. In the end, it became a very substantial document, as voluminous as a dictionary, and was well-received by the client. The members assigned to the project were all unique individuals, and being able to think about and concept design the future of spaces with such interesting people was the best job I could ask for." Questioning the ordinary and going beyond preconceived notions. Creating new spaces that connect with the community ▲The Royal Park Canvas Sapporo Odori Park Sugimoto's first major project was the condominium gallery "Brillia Shinagawa Minami Ooi Communication Salon oooi." He re-examined the concept of a condominium gallery and proposed a new form. Sugimoto: "We felt that traditional condominium galleries are like 'black boxes' that suddenly appear before sales begin and are removed once sales are over. We questioned this approach and started with the question, 'What kind of new condominium gallery would be appropriate for the coming era?'" The project aimed to create a space that is open not only to prospective condominium buyers but also to local residents. Sugimoto: "What's important is whether you can imagine what it would be like to live in that area. So, we divided the space into the first and second floors, making the first floor a communication space that can also be used by local residents. When people who are thinking of buying a condominium come down to the first floor after seeing the model room, they can see local residents talking and doing activities, get a feel for the atmosphere of the area, and get a realistic image of what it would be like to live there. We aimed to create a place where relationships between new residents and local residents can gradually be built even before the condominium is completed. We created a space that connects the inside and outside, like a 'veranda,' making it a facility that is open both visually and psychologically, where connections between people are physically visible from the outside." This initiative won the Good concept design Award. The company was highly praised for providing new value that connects people, businesses, and communities, and for its emphasis on solving social issues. Another representative achievement is "The Royal Park Canvas Sapporo Odori Park." In this hotel project, they tackled two major challenges. Sugimoto: "One was to use Hokkaido timber in a variety of ways. The other was to position the hotel as a showcase for the region. We introduced a system where guests can purchase furniture, art, photographs, plants, etc., made by craftsmen and artists associated with Hokkaido. By connecting local creators with hotel guests, we aimed to create a cycle in the local economy, and for the hotel to become a hub in a small economic zone, a starting point for value creation." In addition, among many new initiatives, they deliberately chose not to put televisions in any of the guest rooms, targeting millennials and Gen Z under the age of 30. Sugimoto: "Sapporo is a city of music where the Jazz Festival is held. We installed record players instead of TVs, which has sparked both praise and criticism. Business users have expressed negative opinions, but on the other hand, the younger generation has praised the novelty of actually dropping the needle and listening to music. A good hotel is a place where you can feel the personality of the creators. We aim to be a memorable hotel by providing cutting-edge experiences, rather than a safe, commonplace space." Creativity born from collective intelligence. Because it is a company with interesting people, challenges and encounters are endless. Sugimoto speaks about his future goals, aiming to realize a dream he has nurtured for a long time. Sugimoto: "I have always wanted to contribute to the international community through culture, so I would like to go beyond Japan and work in the world, especially in the Asian region. It doesn't matter if it's a hotel or a cultural facility, but I would like to create a facility or space that can be involved in nation-building." Sugimoto was promoted to Room Chief in March 2025 and took on a team management position. He speaks about his aspirations as a leader as follows. Sugimoto: "What I feel since joining NOMURA Co.,Ltd. is the richness of collective intelligence as a team. The wonderful creativity that is born from coming together. Rather than being led by one outstanding talent, it is a collection of unique individuals, and interesting ideas and new spaces are born from the combination of those individualities. I want to cherish creating spaces that make the most of each person's interesting individuality and characteristics, both in projects and for the members of the rooms." Sugimoto says that the strength of NOMURA Co.,Ltd. lies in being able to utilize the long history of spaces that our predecessors have built. Sugimoto: "What I value is the perspective of learning from history. Within that, we are always thinking about how we can take the ideas and creativity that our predecessors have woven together a step further through the spaces that we create. Of course, we do our best to respond to the challenges from our customers, but at the same time, as creators, we value what we can leave behind for the next generation while inheriting history." Sugimoto sends a message of encouragement to those who are interested in this field. Sugimoto: "As someone who joined from the outside, I can say that this company is full of fascinating people. Not just designers, but people in any profession have had many invaluable encounters that seem like they will last a lifetime. Since members are assembled for each project, you can meet new people all the time. It's a company where you can work on projects of all sizes and genres with truly interesting people." Sugimoto says that it's okay even if you haven't studied architecture or spatial concept design professionally. Sugimoto: "People with diverse backgrounds, such as those with a background in literature, are thriving here. It's a place where you can find work that is an extension of what you love. If you're interested, I'd love for you to jump in." *The information is current as of May 2025.

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

2025年4月からの半年間で、約2557万8900人の一般来場者が訪れた2025年日本国際博覧会（大阪・関西万博）。象徴的な大屋根リングに囲まれた会場は、個性的なパビリオンで埋めつくされ、それぞれが考える未来社会を描いて見せた。その大阪・関西万博で、乃村工藝社は25のパビリオンを含む50以上のプロジェクトを担当。55年ぶりの大規模な国際博覧会に、かつてない態勢で臨んだ。乃村工藝社は、いかにして、広大な会場に散らばる50以上ものプロジェクトをまとめ、支え、つくり上げたのか。その要となった大阪・関西万博推進統括部のメンバー5人に語り合ってもらった。

Takekoma Shrine is located about 20 minutes south of Sendai Station on the Tohoku Main Line in Iwanuma City, a city surrounded by lush countryside. Founded in the Heian period, this shrine is one of the most prominent in the country. Since ancient times, it has been counted as one of Japan's three great Inari shrines and has been widely revered as the local guardian deity. However, with the passage of time, the number of visitors has gradually decreased. In order to make it a core for revitalizing the area, local people have come together to take on a project to bring back the vitality of the shrine grounds.

The 2025 Japan International Exposition (Osaka-Kansai Expo) is also a competition of architecture. In a corner of the venue, which is filled with pavilions with unique concept design, there is a small but futuristic wooden building that looks ahead to practical use in the very near future. It is the guidance hall of the demonstration plant [RITE Future Forest] which captures carbon dioxide from the atmosphere. Now, as wooden architecture is attracting global attention from a sustainable perspective, the project team has taken on the challenge of building an architectural structure that is extremely simple, yet difficult precisely because of its simplicity, for the first time in Japan.

Chiba City Zoological Park, which opened in 1985 as a zoo close to the hearts of the citizens, has had an animal science museum attached to it since its opening, where visitors can learn mainly about tropical animals, making it a pioneer in Japan. In March 2025, to commemorate its 40th anniversary, the animal science museum underwent a complete renovation of its displays. While pursuing a high level of academic excellence, it was reborn as a facility where visitors can learn while experiencing the tropical rainforest, reminiscent of a theme park.

Kuniyasu Hiraiwa, the founder of the after-school NPO Afterschool, has been working to create safe spaces for children after school. Yuha Nakamura and Aoi Okabe of NOMURA Co.,Ltd., who make solving local social issues one of their jobs, discussed the ingenuity they used in their first joint project and what they learned about the future of safe spaces in society.

For NOMURA Co.,Ltd., computational concept design is one of the most important tools for expanding the possibilities of creativity. Rather than using computer capabilities primarily for efficiency and labor saving, they utilize computers to enhance the creative power of creators. This opens up new possibilities for "spatial concept design" and "spatial experience." What exactly does computational concept design entail? We asked them to talk about the practical aspects of concept design production.

Kubota AgriFront is a unique agricultural learning facility where children can learn about current issues in food and agriculture and come up with multiple solutions together. Despite the theme that tends to be rather serious, the children who participated all seemed to enjoy themselves. Even children who don't know each other quickly become friendly and engrossed in the program. How did this facility come about? We followed the facility from concept creation to operation.

There are over 20 large hotels in the area surrounding Tokyo Disney Resort. Urayasu City has approximately 12,000 guest rooms. It is the number one theme park town in Japan, and also one of the largest concentrations of hotels in the country. One of these large hotels has undergone a revolutionary renovation with a new perspective and ideas, following a change in management company. A convenient and comfortable hotel designed with the customer in mind has been born.

Fumito Matsuda, CEO of Heralbony, a company that handles art by people with disabilities, and Akane Yamaguchi, a designer at NOMURA Co.,Ltd. Ltd., who has been exploring spatial concept design that fosters various forms of communication, are collaborating to discuss what new value they hope to create.

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

The Amami Rabbit Museum Quru Guru, which opened in April 2025, is a conservation and research facility that treats and rehabilitates injured Amami rabbits (hereinafter referred to as "rabbits") with the aim of returning them to the wild. It also uses interactive displays to promote research on the rabbit's ecology, environmental education, and coexistence with humans...

In July 2025, "mirocco," an indoor children's playground planned, designed, and operated by NOMURA Co.,Ltd. Group for approximately 11 years, opened. This is our first time operating a children's playground, despite our extensive experience in creating various spaces. *Project details here: Located on the 22nd Century Hill "Tamari..." owned by Kakegawa City, Shizuoka Prefecture.

The "Osaka-Kansai Expo concept design Exhibition" was held at the Osaka Prefectural Enokojima Cultural and Artistic Creation Center (enoco) from October 1st to 19th. This article introduces a discussion from the talk program "See You Again, Expo—What Does an Expo Leave Behind for Society?" held on October 11th. After the opening of the Osaka-Kansai Expo, derivative works by visitors and fans were created on social media...

NOMURA Co.,Ltd. As a comprehensive space production company, the Group not only designs and construction spaces, but also manages facilities after they open. The Facility Business Operation Department of the Business Produce Division comprehensively manages entire facilities such as museums, science museums, and art museums, including research and curatorial divisions. Our facility operation business opened on November 3, 2005...

NOMURA Co.,Ltd. As a comprehensive space production company, the Group not only designs and construction spaces, but also manages facilities after they open. The Facility Business Operation Department of the Business Produce Division comprehensively manages entire facilities such as museums, science museums, and art museums, including research and curatorial divisions. Our facility operation business opened on November 3, 2005...

In early August 2025, we opened the EXPO GALLERY at our Osaka office to the public. Until now, the EXPO GALLERY has been open to a limited audience, primarily customers and researchers. However, with the 2025 World Expo in Japan (Osaka-Kansai Expo) approaching, we hope to have more people experience the significance of the Expo and the power of spatial design...

Introduction Hello. I am in charge of recruiting new graduates at NOMURA Co.,Ltd.. We hold various events for students throughout the year to convey the appeal of the NOMURA Co.,Ltd. of "delivering "Delight and Passion" to people through space creation. In this sales one-day internship, sales professionals who promote projects at the forefront of space creation...

"Inclusive concept design"—the vague image and concept that this term evokes—is there a better way to share this idea concretely and give it form in the function and concept design of better spaces? With this in mind, the members of the Future Creation Institute R&D "Inclusion & Art" team, who were searching for such a method every day, encountered...

The HERALBONY Art Prize 2025 is an international art award established by HERALBONY, a creative company whose mission is to "Unleash your unique style." The award will be held on January 31, 2024, "Isai Day," with the aim of enabling people with disabilities to be recognized for their talent as artists and pave the way for further success.

NOMURA Co.,Ltd. As a comprehensive space production company, the group not only designs and construction spaces, but also manages facilities after they open. The Facility Business Operation Department of the Business Production Division provides comprehensive and comprehensive operation, management services for entire facilities, including research and curatorial departments, focusing on cultural facilities such as museums, science museums, and art museums. Magic Literature Museum (E...