Project Introduction

Projects

Rather than the scale and impact of the work, the time spent working with the members is more impressive, says Keiko Kamoda with a smile. As a salesperson who leads multiple projects, I deal with many stakeholders on a daily basis. Kamoda, who has also started walking as a manager who organizes a team, talks about the real thrill of sales, the appeal of NOMURA. Sales Section 1 has many projects. What is important is the daily communication, and the person who serves as the manager of the 1st section of the Sales Department 1 of the 5th Division of the Sales Promotion Headquarters. The department is in charge of the specialty store market, and together with six members, we are constantly promoting multiple projects. Suzuta: "Our section is in charge of a wide range of areas, including apparel shops and merchandise stores in commercial facilities, banquets at bridal facilities, restaurants at resort facilities, vocational schools, and history museums. NOMURA Each project is called a "job," and one of the characteristics of our section is that the number of jobs is extremely large even within the company. As a section manager, it is an important role not only to manage the sales and attendance of the team, but also to grasp the progress of each JOB that the section staff is in charge of and support the promotion of the project, including advice." Suzuta: Basically, we ask them to record the progress of each project in the weekly report and share it with the subcommittee meetings held every week, but what is more important is daily communication. I believe that by increasing such daily conversations, we can create an atmosphere and relationships where we can consult at any time." On the other hand, as a player, he is currently in charge of 3~4 major projects. The division of roles with members is explained as follows. Kamoda: When NOMURA comes to us for consultation, there are many cases where the content of the request is not clearly decided from the beginning, such as "I would like to ask you to do the work from here to here" or "I would like to ask you to do this kind of construction at this price." For this reason, our sales team first organizes the customer's request in detail, clarifies the roles, responsibilities, and business contents of both parties, and presents an estimate. Recently, the number of projects has become larger, so the initial arrangement has become even more important. In many cases, I lead this arrangement, and when the JOB begins to take shape, the members take the lead." Even in a big pinch, I dare to smile. It has been about 11 years since I was in charge of sales at a large-scale project NOMURA that I survived with such colleagues. He has been involved in a number of projects, but he says that the large-scale renovation of a certain facility left a particularly strong impression on him. Suzuta: "The reason why I feel that this work was rewarding is not so much because of the scale of the project or the results itself, but because of how much time I was able to spend with the JOB members before it was completed. Of course, the impact on the company and society is important, but I am more impressed by the work that overcomes difficulties and creates something of value together with the members. In that sense, I will never forget this project, which I was involved in as a JOB leader for about one year and six months. In fact, we had to make significant adjustments to our budget after we presented the perspective, and it was an unprecedentedly difficult situation." How to keep the necessary functions and concept design in place and within the budget was a process of trial and error. Kamoda: "We changed the structure under the floor, changed the finishing materials, and shared our wisdom to see if there were any parts that could be removed, taking care not to affect the quality and appearance. As a result of three months of VE adjustments, such as repurposing furniture from the customer's existing store, we managed to make it within our budget. Even though it was such a difficult situation, when the members got together, they talked about each other and laughed (laughs). I think that's why I was able to overcome it, and it was a particularly memorable job for me." The project had separate phases of design and construction, and Kamita joined from the construction phase and led the team. While many of the members were working together for the first time, there was one thing they kept in mind. "First of all, I focused on getting to know me and building a relationship of trust, clarifying what I want to achieve and what I want to achieve in this team, and unifying the common language and tools used by the team to say, 'Let's all perform well!' It was also important to create a mood. In addition, I think that I gained the trust and cooperation of the members by facing each issue with a strong will to 'I will follow up no matter what failures I make' and 'I will work for everyone and for the team.'" Taking on the challenge of a new career in an environment where she can balance child-rearing With her father being a craftsman who makes Japanese-style lighting fixtures, she grew up in an environment where "manufacturing" was familiar from an early age. "Since I was a child, I have seen large pieces of lumber brought into my father's workshop, and after a while, they are shipped as products. There, he became interested in store displays and moved to interiors company. After working there for about 6 years, I chose to retire when I got married. Kamoda: "My previous job was at a small company, so I was involved not only in sales but also in production work, from ordering to on-site support. Although I felt that it was worthwhile, I wanted to work a little more slowly after marriage, so I found a job offer for an office job at NOMURA and got a job as a temporary employee. However, it seems that office work was not suitable for my personality (laughs). I finished working as a temporary employee when I gave birth to my first child, and after giving birth, I joined the company again as a salesperson." Although she felt the difficulty of raising children, she was supported by understanding friends around her. Kamoda: "When I suddenly had to take a break due to my child's illness, everyone would say, 'I'll pick you up because it's okay,' or 'I'll be able to manage because I'm working as a team,' which was really helpful. In addition, there are many seniors in the company who have returned to work after maternity and childcare leave, so it was easy for me to have an image of what it would be like to return to work. I think it is because of this environment of mutual support and an atmosphere that accepts diverse work styles that I have been able to continue working." I look back on my thoughts up to that point as follows. Kamoda: "A few years ago, I gained confidence that I could manage to clear even the most difficult projects in my sales job at NOMURA, but I ...... having a hard time finding my next goal. I wanted to try something new and find something that would serve as a foundation for my career, and my boss recommended me to a managerial position. To be honest, I was hesitant, but I decided that if I was given the chance, I would give it a try. I'm still in my early days as a section manager, but I would be happy if I could build a career that will serve as an indicator for the members in the future, including the way they work." The real thrill of meeting the expectations of a full order. When asked about the appeal of working in sales at NOMURA to Kamita, who wants to continue to grow with his colleagues who love manufacturing, he says with a twinkle in his eye: Kamoda: "It's about getting a request from a customer for a complete full order every time. The real pleasure of this job is to draw out the customer's request and explore what we can do to meet it. I feel that the process of planning and concept design invisible issues in the NOMURA and creating the space I am aiming for is the most enjoyable. In addition, I can meet customers from various industries through my work, so it seems that I am learning about society every day, which is very stimulating. Every time I meet with a customer, I learn something like, 'I don't know this kind of business,' or 'I didn't know this kind of information,' and I'm happy that my knowledge expands by doing my own research." "There are many people who have a passion for manufacturing, even if they have different occupations and positions, such as sales and designers, and because they are all people who care about those around them, good teamwork is born, and that is why we can overcome any difficulties together. Finally, he has a powerful message for students who are interested in sales jobs and those who want to change jobs. Kamita: When you hear the word "sales," you may have an image of being mentally and physically demanding, such as standing at the front desk as a coordinator with customers. But NOMURA salespeople don't have to deal with it alone. If you have a problem, the members of the team will support you, your boss and seniors will consult with you, and sometimes they will accompany you to the customer to support you in negotiations. Just because you're a salesperson, you don't have to think and make decisions alone, and you can work with peace of mind because you have a system in place to support the entire organization. What is required of sales is not the vitality to do everything alone, but the attention to detail. Both customers and colleagues in the company are happy to be able to notice and consider small things, and I would be happy to work with such people." Her words brighten up the entire team and give us the courage to look forward even in difficult situations, and I believe that her brilliance will continue to illuminate the future of NOMURA. * The information is current as of July 2024.

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.

In this series of interviews [nomlog MEETS→], NOMURA Group employees meet with experts from various fields to explore the possibilities of "space" and "experience" in the future. The theme of this interview is "What content and space can do for the future of children." Designers and planners in charge of experiential facilities for children at NOMURA Group...

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...