Project Introduction

Projects

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

Nomura Naoki joined the company in 2017 as an experienced hire. Building on the connections he had made in his previous job, he has further expanded his network and is creating various businesses through space creation. Nomura, who describes his job as "going to light a fire in a place where there is smoke," talks about his thoughts and passion for his work. New possibilities born from dialogue. Creating new spaces with diverse stakeholdersNomura is the manager of the Development Section of the New Area Project Development Department, First General Affairs Division, Business Production Headquarters. His work is unique and broad, going beyond the typical scope of NOMURA 's work. Nomura: "In the New Area Project Development Department, we are keeping our ears open for new plans that are just starting to emerge. Our main job is to build relationships with stakeholders while catching information, and to create positions and opportunities for our participation in projects. The projects we are involved in range from planning and development of complex facilities, offices, parks, and national projects. We aim to create attractive spaces by thinking together with stakeholders from the early stages of the project, while taking advantage of NOMURA 's strengths in creating spaces in a variety of fields." When talking about Nomura's work, "connections with people" are essential. Nomura: "The core of our work is communication. We talk to a wide range of people, including various business companies, developers, financial institutions, and even landowners. Our role is to work together with various people to create facilities, spaces, and towns from the early stages, while taking into account their wishes." Nomura describes his work as "going to light a fire where there is smoke." This refers to the role of finding potential possibilities and creating business opportunities there, and to that end, he says he is always striving to collect a wide range of information and build a network of contacts. Nomura: "You discover things by meeting people. It's natural to get information from various sources, but there's so much more you can get from talking to people. I think about whether I can get new ideas and hints from them and start a new endeavor. If I don't keep myself in the middle of a whirlpool of information, I won't know what's going on in the world, and I'll feel anxious when talking to people. I try to keep my antenna up and be exposed to a variety of things." Nomura's intellectual curiosity is also shown towards people. Nomura: "I often find myself thinking, 'Why do they think this way?' or 'Why do they feel this way?' So when I communicate with people, I try to ask about their roots, hobbies, and ways of thinking. By deeply understanding the other person, you can naturally build a relationship of trust, and it's also useful when working together. However, I think that in order to do that, it starts with making others understand me. Of course, when I'm working, I think 'for the company,' but first I think about things from the perspective of 'Can I do something for the world?' If I only think about the company, my possibilities will be limited. I value thinking about things not only about the company, but also about the world and stakeholders." Curiosity led me to NOMURA Looking back on Nomura's career, which sees him at his seventh company, NOMURA, where he creates work by utilizing his connections and knowledge, there has been a consistent theme of "creating one from zero." Nomura: "Even before joining NOMURA, I was involved in planning and development work, creating one from zero, at various companies. However, it wasn't as if there was a trigger or clear desire, but rather, before I knew it, I was working on creating towns, facilities and new types of stores." Nomura, who values an "altruistic spirit" in communication, talks about a particularly memorable incident. Nomura: "A client approached me and said, 'I want to build a commercial facility here.' However, after much consideration, I felt it was not a good fit, so I suggested, 'Maybe it's better not to do it.' It would have been profitable for the company if we had accepted the project, but if we decide that it is not the best choice for the client, I think it is our role to stop it. Although I made the client angry immediately afterwards, he later said, 'I was glad that you took the time to face me then.' I still consult with that client, and we continue to keep in touch." Having accumulated such deep connections and experience, Nomura decided to join NOMURA because he wanted to experience the work of a leading company. Nomura: "I simply wanted to know what kind of work NOMURA Ltd. does, so I joined the company with a sense of curiosity." Even after joining NOMURA, Nomura's work style has not changed. Nomura: "Since I joined the company, the format has changed, but I've basically been working in the same field. I use my existing connections and knowledge to 'light a fire where there is smoke'. I've been involved in a national project given to me by the company since I joined the company, as it is a long-term project. This project has also led to new opportunities, such as being involved in other national projects, and I'm happy that my work has expanded in a new way." A chain of success created by connections. Creating spaces for a new era, as seen in the Meiji Park project▲Metropolitan Meiji ParkNomura works under the name NOMURA, but in his own unique style. The best part of his work is taking advantage of the connections between people to create new value. One example is the Meiji Park project. Nomura: "Fortunately, members with whom I had been in contact until now are now active in various places, and we have been able to form a network. The project for Meiji Park was started when a colleague and junior colleague from my previous company worked for the business company in charge of its development. Meiji Park is one of the park revitalization projects promoted by the Tokyo Metropolitan Government through public-private partnerships. After deepening our cooperative relationship with business companies and applying to various local competitions, this project finally came to fruition." For this project, NOMURA was responsible for the overall concept and planning, and also supervised concept design. Nomura: "While we were working on the Meiji Park project, the client told us they wanted to start a new business. The company already had knowledge of developing bathing facilities, so the talk expanded and led to the development of the urban spa facility "TOTOPA" in the park. My role is to be involved in the project from the concept stage, not just this project, and to accompany the project while connecting it with the right people and resources. For example, we introduced a planner who seems to be a good match. This work led to the real estate company and the planner hitting it off, and we are still working together. In addition, we introduced the facility to the media through the connections of the project members, and the facility was introduced on TV. In this way, I feel joy in using my connections and ideas generously to move the project forward." Nomura's work is not limited to simply creating spaces. He talks about what he keeps in mind when working. Nomura: "I think of my work as creating a business, rather than creating a space. Even if you create a space, if it doesn't generate money, it's not a business in the end. There are many jobs in the world that involve creating businesses, but I think of the business as being centered on space." Overflowing curiosity - endless challenges to new possibilities While valuing the connections and trust he has built with people, Nomura is working hard to create spaces and ultimately create businesses. What are his future prospects? Nomura: "I would like to continue working while valuing the relationships I have built up so far. I hope that these relationships will lead to some kind of shape, such as a new project. People are often surprised by this, but I have hardly ever done any sales activities up to now. By constantly interacting with people and keeping my antennae up, interesting stories naturally come to me. That's how I work." This is Nomura's seventh company. Thanks to the connections he has built up over the years, he has contact with experts in a wide range of fields. Nomura: "Thanks to my long-standing relationships, I am now in an environment where I can approach the field I want to be involved in through various connections. In the future, I would like to further expand these connections." Nomura has a strong desire to be the "starting point" of NOMURA. Nomura: "I aim to be someone who makes people inside and outside the company think, 'We can do something together with Nomura' or 'If you ask Nomura, we can make it work.' I don't want to give up this position to anyone. I feel that I need to always keep my antenna up and actively approach people so that they think, 'There are interesting stories around Nomura.'" Finally, he talks about the appeal of NOMURA. Nomura: "I feel that the company gives me many opportunities. It allows me to go to many different places and provides me with the opportunity to make many connections. Thanks to this environment, I have been able to meet a wider variety of people and gain a wider range of knowledge and information. Another attractive feature is that there are many colleagues who agree with my ideas and act together with me. For example, when I was interested in a certain business and suddenly suggested, 'Let's go to this event,' there were colleagues who showed interest and joined me. It makes me happy to know that they see potential in me." Nomura's vision of the future is not just about personal growth, but also has the potential to breathe new life into NOMURA, Ltd. as a whole and the entire industry. His attitude of valuing connections with people and always taking on new challenges may embody the ideal image required in the future. * The content of this article is as of September 2024.

Kenji Takahashi has worked on spatial concept design in a wide range of fields, from corporate showrooms to cultural facilities. Takahashi has always been committed to capturing the essence of displays and creating moving experiences from his own perspective and approach. In this article, he talks about the secrets of spatial creation he has cultivated over his 20-year career and the thoughts he holds dear as a designer. Capture the essence and seek a unique approach. The challenge of seeking moving experiences goes beyond the boundaries of genres. Takahashi is the room chief of the Creative Headquarters, concept design Department 7, Second concept design Center, and leads nine members. He is working on a variety of projects that transcend market areas. Takahashi: "concept design team at the Osaka office is divided into three major fields: commercial, corporate, and cultural, but our rooms are a wide range of fields, from corporate showrooms and museums to displays spaces at cultural facilities. We are currently working on multiple projects at the same time, but the process of capturing the essence of the facility and thinking about how to convey it is the same in any field. Recently, I have been involved from the concept stage of the business, and I have had more opportunities to be involved in not only displays spaces but also architectural concept design proposals." Takahashi has been in charge of a wide range of projects so far. The project he is currently working on is the culmination of his career. Takahashi: "The project I am currently working on is a complex consisting of a product displays floor, an experience displays floor, workshops, a cafe, and shops. I am mobilizing all of the techniques and knowledge I have cultivated, while also taking advantage of my experience in aquariums, museums, restaurants, retail stores, theme park attractions, and architectural concept design." Takahashi has chosen to take on a wide range of work without being picky. As a designer, he has a set of uncompromising beliefs. Takahashi: "I talk to customers repeatedly to find the message they most want to convey, and pursue how to express it in a way that will deeply resonate with visitors. The products and content handled vary from facility to facility. I have always been conscious of a fresh and unique approach, and have aimed to propose ideas that will excite customers. I believe it is difficult for visitors to sympathize with and be moved by something that does not move us, the creators. Rather than thinking that I understand by looking at photos and documents, it is important to see the actual site and the actual thing." A story of life woven with simple expressions. Trust with customers is the source of creativity ▲ After joining the Hiyoriyama Coast Museum, Takahashi was mainly active in the field of corporate displays, but at the same time, his active involvement in competitions became the catalyst for broadening the scope of his career. Takahashi: "The first time I participated in a competition was when the head of concept design department asked me to. After trying a few times, I had more opportunities to be involved in competitions as the main person in charge of displays in parallel, and I became familiar with the sales staff within the company. Competitions are a competition with other companies, so high creativity and the ability to respond quickly are essential. It's tough, but it's a worthwhile challenge, and I feel that this experience has become the foundation of my career as a designer." Takahashi was promoted to room chief in 2014. The following year, he was put in charge of the Hiyoriyama Coast Museum project, which was a turning point for him. Takahashi: "Hiyayama Seaside Museum is a facility within Kinosaki Marine World, and is a 'storytelling' museum with the theme of 'life.' The entire space was concept design based on the concept that the zookeepers working at the facility would themselves talk about the knowledge and discoveries they had gained through their breeding activities. I met the zookeepers face-to-face and heard how they dealt with the creatures and what struggles they had faced. I proposed to incorporate the words that moved me into displays, and incorporated them into concept design. I faced concept design I wanted to express head-on, and as a result, it resonated with the customer, and I think it was a project that was successfully realized." For this project, Takahashi was involved in everything from displays to the architectural concept design, schematic design, and facility logo concept design. Behind this was the relationship of trust he had built up with his clients over many years. Takahashi: "Usually, architecture and displays are often done separately, but for this project, we sat down with the client to discuss the architectural concept design and interior concept, asking, 'Is this really okay?' over a period of about three years, and we created them together. I am the third generation designer to have inherited a relationship that has lasted for 40 years, and I believe that the reason we were able to work on the project as partners from the early planning stages is because our predecessors built a relationship of trust with the client and created an environment in which we could demonstrate our creativity." Since opening in 2019, the Hiyoriyama Kaigan Museum has won various concept design awards both in Japan and abroad. As a designer, Takahashi has received a solid response. Takahashi: "For displays, we treated the 30-meter-wide wall as a single large canvas, and arranged the visuals and displays simply around a copy with a strong message. Museums tend to have a lot of text, but perhaps the fact that we stripped it down to the bare minimum led to the award. After about 20 years of experience, I feel that I've finally reached a point where I can relax with trusted colleagues and stick to my expression and concept design to the fullest." A moving experience led by concept design that connects people and space. New value and possibilities revealed by two examples ▲ Kinosaki Marine World Fish displays Area "SeaZoo"As a project following the Hiyoriyama Kaigan Museum, Takahashi is also in charge of the renewal of the fish displays area "SeaZoo" at the same Kinosaki Marine World in 2024. Takahashi: "I was involved from the planning stage of displays concept, and together with the same staff and keepers as last time, we worked out the overall concept design of the space, the walls around the aquariums, and the communication concept design to convey information about the creatures. The concept of the new displays "CUBE" in SeaZoo is 'Towards an aquarium with more conversation.' We aimed for an displays style that would encourage new surprises and discoveries by utilising 20 cube-shaped aquariums, conversations with the keepers, illustrations, and graphic boards." "In "SeaZoo," the white space was meticulously concept design, with a composition that makes the aquariums, the main attraction, look like artworks in a museum. The communication-based displays is creating new experiences. Takahashi: "When you think of an aquarium, it's not uncommon for aquariums to have a row of tanks on the wall and visitors simply pass by them. So we set up communication boards next to the tanks and wrote short texts in the zookeepers' own words about what they found interesting or impressed while observing the creatures, and what they wanted visitors to pay attention to, without standardizing the expressions. This created a flow where visitors would read the communication board after looking at the aquarium, share the zookeepers' perspectives and thoughts, and then look at the aquarium again. If there were just a row of academic explanations, visitors would move on without even looking at the boards, but more people stopped to look at the zookeepers' real words and illustrations. We also installed monitors in various places where life-size zookeepers appeared and spoke to them, which was effective in significantly increasing the amount of time visitors stayed in the aquarium." Meanwhile, Takahashi also took on a bold concept design challenge in the competition for the "Waste Processing Tour Route" for the "Kikuchi Environmental Factory Clean Forest Koshi" that we took on with our client in 2021. This was also a project that culminated the spirit of adventure that I value as a designer. 」 English: Takahashi: "Usually the theory in a facility like this is to provide information on the walls, but we concept design a sugoroku-style information space that eliminates the boundary between the wall and the floor, and connects explanatory graphics, displays content, and sign graphics with a single line. On the tour route, information is scattered on the walls and floor like a board game, allowing visitors to have fun learning about the waste treatment process by reading explanations of the waste treatment facility that can be seen from the viewing window and taking quizzes. To keep children from getting bored until the end, we aimed for a design that allows them to move on to the next process like turning the pages of a picture book. I believe that the key to success in any job is to find an element that is enjoyable and produce a concept design that satisfies you. Rather than deciding whether or not to take on a project because of the genre, I have always sought to find how to make the project itself attractive and please the customer." Identifying the essence, pursuing new expressions, and giving shape to emotion ▲ Mori Goshi of Kikuchi Environmental Factory Clean "Guided by a single line, we tour the story. The waste treatment tour route" Takahashi says he feels rewarded when he finds a concept design angle that brings unique value and experience to a space, or a clue to create emotion. As a room chief and as a designer, he has a vision for himself. Takahashi: "There is no need to follow existing theories. Different people have different perspectives. Each member is able to honestly and unashamedly express what has moved them and their strong feelings, and I want to be a professional group that can create concept design that ultimately lead to customer satisfaction. Personally, I want to be a designer who is always pursuing new expressions. Currently, I am in charge of not only displays spaces, but also commercial facilities, but the importance of identifying the essence and how to convey it remains the same. I would like to continue to challenge myself in various genres. People around me often say, 'You look like you're having fun at work,' but I feel that I am most myself when I find enjoyment and am working on concept design that I truly believe are good. Question common sense, dig deep into things that you find strange, find a perspective, and incorporate them into concept design. I intend to continue to face concept design that I want to express head-on." And finally, from his position as a designer who has been at the forefront for over 20 years, Takahashi has this to say to his future colleagues: Takahashi: "NOMURA is a company where you can get involved in anything you want, from spatial design to graphics, video, and even architecture, as long as you have the motivation. I hope you will find your own joy in this ideal environment." Even with a career spanning more than 20 years, Takahashi's desire to explore new forms of expression is endless. His challenge to identify the essence and give form to emotion continues to expand into unknown territory. *The content is current as of November 2024.

Daisuke Inoue will be in charge of production management as a director, and will serve as a section manager from 2024. We have been involved in a wide range of projects such as aquariums, museums, and displays associations. He talks about the motivation and learning of creating a single thing in cooperation with various parts of the company and inside and outside the company, and his thoughts on fostering the next generation. Inoue is the manager of the Product Direction Department 2, Section 1 of the Product Direction Department 2 of the Division of the Sales Promotion Headquarters, where the opinions of customers, designers, and production management are coordinated to find a better landing point. We are a team that responds to a wide range of fields, and we are involved in various projects while coordinating 10 members. Inoue: "Currently, I am mainly involved in projects for the Osaka-Kansai Expo to be held in 2025. The job of production management is to embody the concept design drawn by the designer as an actual "space". The basis of my work is to be present at the site and direct the production and construction site while considering not only process management, but also safety and quality management, as well as cost balance. I used to do that kind of work every day until I became a section manager." The process of translating a designer's concept design into an actual construction requires a lot of adjustments. Inoue: Once the concept design is approved by the customer, we explain the contents to the partner companies and reflect them in the construction diagram in order to actually manufacture the product. We will find the best solution through repeated adjustments, such as considering the economic dimensions in consideration of the cost balance, and proposing alternatives that it would be better to change the material because people often touch it and it seems to get dirty. Designers have their own opinions, and customers have their own ideas. As a production manager, we must ensure safety and quality. It's a job where we reconcile our opinions and find a better landing spot." Of course, when working on a project, it is also essential to collaborate with the sales representative. Inoue: "The first thing about the cost of construction is to proceed with the contracted amount, but there may be more or less work to be done as it progresses. In order for the project to proceed smoothly, I think it is important for sales, designers, and production management to communicate closely within the company." Inoue: "I try to communicate with the members by showing up at the site and actively talking to them. Also, in order to reduce the burden on the members of the site, I try to take care of internal communication and coordination as much as possible." Inoue, who has collaborated with major general contractors and gained new insights, says that one of the projects he has been involved in so far has left a particularly strong impression on him is the renovation of the displays of a public archive, which he was entrusted with in his third year with the company. Inoue: Until then, I had been mainly in charge of displays associations, but when I changed departments, I became involved in cultural facilities for the first time. It was at this time that I learned how hard the work is. For example, I learned that if we do not pay attention to the details, such as checking whether the road used for delivery is a public road or a private road, and make various adjustments and considerations, there is a possibility that it will cause inconvenience to customers and related parties, and that construction may be delayed. In addition to this, I also learned the compilation and procedures for submitting documents from scratch, and I think I gained a new understanding of the fundamentals of production management." Four years later, he was entrusted with production management for a large-scale project to renovate a large coral reef tank in one of the world's largest aquariums, and he felt a great sense of fulfillment. Inoue: "This tank is based on the theme of the world's largest coral reef, the Great Barrier Reef, off the northeastern coast of Australia. I was surrounded by people with specialized knowledge, so I repeatedly watched videos introducing the area to gain knowledge of coral reefs in order to expand my image. Even when deciding on the shape of the pseudo-rock to be created in the aquarium, it is necessary to give careful consideration to the living creatures. For example, if there is a depression in the rock, it will become a puddle of water and plankton will be generated, and if the tunnel is not enlarged, fish will get clogged up. It was difficult because there were many unusual considerations, such as covering the acrylic sealing part to prevent sea turtles from eating it, but the work itself related to these creatures was fresh, and I felt that it was rewarding to create a place where many people could see it." In this project, a major general contractor who construction the aquarium, a company that handles equipment in the aquarium, and NOMURA Three companies are stationed in the same field office. "I gained new insights through collaboration," he says. Inoue: "It was the first time that different companies had seats in one office, and I enjoyed the process of the three companies striving toward the same goal. In addition, as I saw the work of each company from a close distance, I was able to see what I wanted to refer to, such as how to proceed with work, how to make arrangements, and how to compile safety documents, and it was a very informative project." I was given the opportunity to learn about work in a wide range of fields, and my horizons were strengthened and broadened▲ Projects involving the Kyoto Railway Museum displays Inoue has expanded from associations to permanent facilities such as cultural facilities and corporate showrooms. At first glance, they seem to be different jobs, but they actually have a lot in common. Inoue: "In the case of a displays meeting with only two or three days of construction, it is characterized by simplifying what can be simplified as much as possible in anticipation of subsequent demolition displays. I was entrusted with the new project and was responsible for the production management of the entire facility. He says that he put his heart and soul into formulating safety standards in accordance with the rules of the railway company. Inoue: "It was difficult to look at the drawings drawn by the designers, coordinate with the railway company what kind of rules to apply to which parts, and reflect them in the construction diagramsI also gained a new perspective through interaction with experts in structural calculations. Inoue: "For example, in the design of buildings and structures, I was able to acquire a certain amount of knowledge, such as the need to increase the strength of the foundation rather than the upper part. By requesting structural calculations based on the sketches drawn based on such knowledge, we were able to proceed efficiently without rework. In addition, there were many railway fans, including customers, so it was very fun to be able to get trivia on the spot, such as the rare license plate of the SL," says Inoue, reflecting on the projects he has been involved in so far, and thanking his boss for giving him the opportunity to learn a wide range of fields. Inoue "Every time a job comes in, I go through trial and error, saying, 'I can't seem to work with my past experience, so I have to think about how to do it,' which is why I am trained and broaden my horizons. Inoue: "There are early days in the morning and periods when I have to work overtime, and there are many situations where I have to struggle to get the people from the subcontractors to work well on site, but when I see the completion of what I have worked on and the joy of the visitors, all the hard work is blown away. It makes me want to work hard again for my next job." "Lateral thinking of withered technology." Inoue, who has experienced the creation of new value through his work in production management, says that he sympathizes with the words of Gunpei Yokoi, who was also called the "father of mobile games," as "lateral thinking of withered technology." Inoue: "It means creating new value by utilizing existing technologies in different fields, and I think this idea has something in common with our work. If there is a way to do it, a new breakthrough can be created by looking at it from multiple angles, from the front, the back, and the side. I think there is something in common with our work in production management, which is to consider any issue from various angles and think about how it can be done." Inoue: "As a production manager, I find it interesting to have various people, including partner companies, work on the project and lead it to completion with the help of wisdom and knowledge, and I would like to continue to contribute to the world through this work," he says, adding that he would like to make use of his own experience to focus on training the next generation. Inoue: "I would like to create many opportunities for my juniors to take on projects that would not succeed unless they approached them with a flexible mindset, just as my boss once trained me. If you find what you can do at your own discretion and work on it, rather than just doing what you are told, you will naturally feel the joy of your work." Finally, he cites the history and achievements built up by our predecessors as the appeal of NOMURA. Inoue: "As our history and achievements show, at NOMURA you can experience a lot of work, including large projects, and there are many opportunities to connect your field of interest and what you want to do to your work. As long as they are motivated, the possibilities of each employee will expand infinitely," says Inoue, who has been active in multiple fields regardless of the field. In the future, I will pass on this know-how and the real pleasure of my work to my juniors, and illuminate the future of my colleagues and the company even brighter. * The information is current as of October 2024.

We have invited architect Nagayama Yuko, known for her architectural concept design that include not only the building itself but also the experience of the place, to speak with NOMURA, Ltd.'s Harayama Asako about the new relationship between architecture and interiors, sustainable architecture for the future, and more.

We want to protect Japan's forests - everyone wants to do this, but when it comes to how to achieve it, it's hard to find an answer. However, there is a team that thinks together with the people in timber-producing areas and keeps working to inject new value into their work.

A new area, "Witch's Valley," has opened at Ghibli Park. In a secluded corner, "Howl's Castle" stands as if it were a living thing, just like in the world of the film. What kind of ingenuity and challenges did they face to realistically express the worldview of the animated film in an actual building?

Among the many technologies that support spatial creation, BIM (Building Information Modeling) is one of the most popular at present. BIM continues to evolve day by day, and is set to dramatically change the way work is done, from spatial design, layout to on-site construction.

It has been about two years since the grand opening of the Shizuoka City Museum of History. This is the third installment of a series that delves deeper into the significance of the establishment of a history museum in Shizuoka City. This time, we interviewed Ayano Masuda, the curator in charge of the early modern displays, Nayu Ota (in 2022), who was in charge of the modern displays, and NOMURA technical director who was in charge of the actual displays production of dioramas and models...

Hamamatsu Science Museum "Mirai-La", operated by NOMURA, Ltd./SBS Promotion Joint Venture as the designated manager, has gone beyond the framework of a social education facility and promoted initiatives to promote the attractions of the region and resolve local issues. As a model case of museum management in today's co-creation society, we interviewed the director and staff about their efforts over the past five years and their thoughts on the community-participation-based displays renewal.

Not only do they create spaces and displays, but they also create original museum goods... We will introduce some of the wide range of work that NOMURA 's planners are involved in. A research and breeding facility for the Amami rabbit, a special natural monument, is scheduled to open in the spring of 2025. In the first article, we reported on the development of museum goods, which also serve to build momentum...

The Japan Association of Museums has put together a document called "Desirable Museums." It has been more than 20 years since the document proposed a "museum of dialogue and collaboration." So, this time, Eri Saito, a planner at NOMURA, interviewed Tomoyuki Nakao, who worked at a museum before moving to the Agency for Cultural Affairs. To what extent have these proposals been realized? What is important for museums in the future?