Mid-career Professional

Career recruitment

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

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

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

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

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

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

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

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