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

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

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

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

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

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

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

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