New Graduate

New graduate recruitment

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 fun of working on cultural facilities as a designer and building teams that shine with individuality Inanobe, who serves as room chief at 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 deposition 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 get the general public interested and think, 'It's worth going out of your way to see them.' This time, we came up with a way to use 'light' to highlight the stripes of the varves. 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 "Kannazuki no Kake" - Looking up at a school of hammerhead sharks from below | 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 left the strongest impression on Inanobe was the Shikoku Aquarium. Designing an aquarium that would bring 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 to 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 attractive 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 in large-scale projects that make you wonder, 'Can we really do this?', the interesting thing is that we can make it happen by bringing together members from various fields and using their wisdom and strengths. 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 began to aspire to a career 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 this 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, he will be entrusted with concept design of a hot spring facility, a task he had no experience with before. Arimoto: "Together with the room chief, I was in charge of renovating the hot spring pool and common areas at 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 the concept design direction between the client and us matched, 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: "At our company, which mainly handles large-scale projects, multiple designers work together as a team to advance the project. It is a great joy for those involved in manufacturing to be able to work together with members of diverse backgrounds, 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 IFA and CES projects and be active on the global stage." Aiming for even greater heights as a designer, NOMURA * The contents are as of December 2023.

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

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