Project flow used at NOMURA
Our job is to solve all issues relating to spaces for our clients.
By creating an environment that attracts customers based on consumer ideas, we will create a prosperous business for our customers (clients) and the richness of the hearts of the customers (end users) who gather there, and bring joy and excitement to our customers. offer.
We will create a “moving experience” such as excitement and excitement that you feel for the first time by visiting the space, and create communication in the space where people and people, people and things, and people and things directly meet.
We are a “space production company” that maximizes the appeal of all “places” where people interact, such as commercial facilities, hotels, museums, showrooms, exhibitions, and events.
Projects and member involvement
Formulating various surveys, analysis, concepts and business / operation plans concerning customer requests and issues.
and technical design
Design, layout based on both concepts and plans.
(3) Production and construction
Producing displays based on designs, and constructing the exterior and interior areas of facilities
④ Operation and Management
Operating facilities and events based on business and operation plans, providing support to attract customers to these facilities and events, and conducting revitalization and maintenance.
Achievements built from friendly rivalry involving various project members
Renewal of Yamanashi Prefectural Mount Fuji World Heritage Center
The Fujisan World Heritage Center, which preserves the value of Mt. Fuji, which was registered as a World Cultural Heritage site as an object of worship and a source of artistic inspiration, will be renewed in the spring of 2022.
Hyatt Centric Ginza Tokyo HERALBONY ART ROOM
In collaboration with Hyatt Centric Ginza Tokyo, which is located on Namiki-dori in Ginza, we cooperated in the space design and construction of the guest rooms.
CultureGet to know the company culture
Do work that goes beyond your job duties and that you find truly interesting. Production management philosophy that supports space creation
Junpei Hino joined the company in 2007 as a director. While handling management duties as a section manager, I am also on-site and involved in production management as a player. ``By taking the first step, you can realize how interesting the job really is,'' says Hino. While looking back on a project that was a turning point, he talks about the real pleasure of production management. The best part of production management is being able to direct the entire project Hino works in the Product Direction Department 1 of the Third Business Division of the Sales Promotion Headquarters. This department is primarily responsible for managing the production of events, displays, etc. Hino: "We specialize in creating designs that add elements of production to events such as motor shows, showrooms, pop-up stores, and short-term displays. You could say that this department is in charge of work typical of NOMURA." Despite being in the position of managing team members as a section manager, Hino has been actively visiting the field. The reason behind this is that he is particular about his work in production management. Hino: ``In production management, there are many things that we cannot answer without working on many production sites.We want students to deepen their learning in each scene, so we say things such as ``You should be careful here'' and ``In times like this... I still try to be on-site as much as possible so that I can give on-the-spot advice like, ``If we proceed this way, things will go well.''People tend to think that the role of production management is to be on site and make sure the project progresses smoothly. , Hino disagrees with this way of thinking. I would like to talk about the best part of my job. Hino: ``Controlling the site is an important job, but as you gain experience, you will have more opportunities to be involved from the early stages of a project.It's a place where you can direct the entire project while collaborating with designers and salespeople. I think there is something really interesting about production management.''Meanwhile, Hino is also the editor-in-chief of ``PD NEWS,'' which disseminates information within the company about production management work. Hino: ``Because our company is large, we don't have many opportunities to learn about the kind of work that other departments do.Therefore, we interview members of each division and create articles that introduce their work. There are moments when we think of small jigs to make displays look beautiful, and there are times when we make extensive use of video equipment to create a lively space.Nomura NOMURA has human resources with the know-how, I hope that by letting not only young employees but also mid-career employees know that there is an opportunity to do this, they will be able to expand their range of work.''I completely changed my view of work after meeting a certain junior colleague. . Awakening to the fun of production management ▲ Hino majored in concept design at Umeda Tsutaya Shoten University. During the course of my studies, I became particularly interested in interiors concept design, and my supervisor recommended me to NOMURA. Hino originally wanted to work in concept design. I look back on the circumstances that led me to join the company as a director. Hino: ``During the interview, I told the interviewer, ``If a building is what gives vitality and value to a place, I believe that interiors is what makes that building attractive,'' and I was offered the director position. It was explained to me that designers are responsible for concept design spaces, and production management is responsible for creating spaces.I thought it would be interesting, so I decided to join the company.''At first, however, I couldn't shake off my desire to become a concept design. As a result, there are times when you may feel a gap in the content of your work before and after joining the company. At the end of his first year at the company, Hino's first turning point came. Hino: ``Looking back on it now, it's embarrassing, but since I had imagined from the beginning that I would be able to control the work myself, I couldn't get used to an environment where my superiors and senior colleagues were giving me various instructions. On the other day, I was assigned to work at an displays, I was able to take the lead on a project for the first time, working with sales staff and people from subcontractors.Although it was difficult, I felt like I was creating a space with my own hands, and it helped me realize the joy of production management work.''This was the second turning point for Hino, who had worked hard to hone his knowledge and skills in order to quickly become independent. This happened when I was in charge of Umeda Tsutaya Bookstore. I had an encounter that completely changed my outlook on work. Hino: “A junior colleague who has been assigned to work on a project with me makes suggestions to external designers from the perspective of the other person, such as, ``What if we do this?'' ``I think it would be better if we did this.'' I was shocked when I saw this.Up until then, I had had a kind of fixed idea about production management work, and I had always had a rigid approach, just completing the work according to the drawings drawn by the designer. After witnessing the sincere attitude of my junior colleagues, who listened closely to the designers' opinions and ideas and proposed things that were aimed at making things even better, the way I approached my work changed dramatically.''After that, I completely changed the way I worked. Hino. By working closely with designers and customers, we were able to make proposals that were one step further than before, and by the time the project was finished, we were seeing a completely different view than before. Hino: ``As a production manager, I worked with the designer to refine the drawings, giving advice from aspects such as safety and quality.The idea of working together to make something even better emerged, and I communicated with concept design team. I think I have had a lot more opportunities to communicate with others.Another big change is that I now imitate my juniors' communication methods of exposing themselves and loosening up the other person's heart, and I now create a more relaxed atmosphere by occasionally making small talk. It was worth it, and after the completion of the project, the relationship that had previously been one of ``Thank you for your hard work. We look forward to working with you again'' has now become a place where customers can rely on us, such as receiving consultations on other projects on the spot. This project gave me the feeling that I was able to do work that was unique to me, and at the same time, I felt that a different relationship was created than before.'' Stepping into space concept design gave me the opportunity to grow as a production manager▲ Fuji Speedway Hotel/Fuji Motorsports Museum For Hino, there was a project that boosted his confidence as a production manager. Hino: “From 2020 to the following year, I was involved in a project for a training facility for a major company, and I had the opportunity to work with an in-house designer who was highly trusted by the company. I wondered many times if I wanted to go this far.Looking back now, I realize that I was desperately trying to get the most out of it, but I also realized that attention to detail is what increases the value of a space. This is what I learned at that time.When it was difficult to finalize the details that were important to concept design, the designer would simply say, ``I'll leave it to you, Hino.'' concept design team members and I would take the lead in creating the actual space. This period was the most difficult as we were putting everything into concept design, but it was also the time when we learned more about the joy of work.''When concept design team was having trouble, Hino's suggestions helped solve the problems. It also led to Hino: ``In the training facility, we were supposed to process wood related to the founder and display it on the wall, but we couldn't come up with an answer on how to arrange it, and there was a deadlock. Let's put them side by side.'' When I showed the designer what I had assembled temporarily in the warehouse, he said, ``This is fine.'' He was praised for his efforts to make sure that the metal fittings were not visible. , my proposal was accepted straight away.I was told, ``I've heard rumors, but let me see how far I can go.'' I worked under pressure, but I was also proactive in making concept design suggestions. It was a project that allowed me to grow significantly as a production manager, as I was given the opportunity to work with him as a project manager.'' After that, Hino decided to team up with the designer again for the 2023 Fuji Motorsports Museum. Hino: ``I could see that they trusted me more than last time, both in terms of concept design and fit, as they asked for my opinion, ``What should I do?'' What was impressive was that they only gave me the CG perspective. I was told, ``Let's have the production management draw up the drawings.'' Even though there were no actual drawings, I worked with the concept design team members to create the space concept design, down to how the lighting should be installed. Originally, I wanted to be a designer. For me, this job can be said to be the culmination of my career as a production manager.'' I became a production manager nominated by a customer. Hino says that he is finding it rewarding to work on production management in pursuit of the infinite possibilities of space creation. Thinking back to the words he said during his job interview, he talks about the best part of his job. Hino: “Since I have come to understand the essence of production management, I have been able to proactively make proposals to designers, salespeople, and customers, and I feel that I am now in a position where I can direct the creation of spaces. I'm finally starting to understand what the interviewer meant when he told me, 'This is a management job.''' Hino's current goal is to work under his own name. We have a clear vision for the future as production management. Hino: “Currently, I am in charge of the work assigned to my department, but I would like to be able to get involved beyond my department when there is a project in an area that I am good at. Just as people sometimes ask me to do a job and say, ``I want that designer to do it,'' I want to be in a production management position where people say, ``I want Hino to be in charge.''To achieve that, I can't afford to fail. It requires a lot of determination, but I would like to be involved in a variety of jobs in a responsible position.'' Hino says that there are members of the production management team in the company who feel stuck in their jobs, just like I used to. . I would like to send this message to them. Hino: ``Production management is a job that gets more interesting the more you get into it.In addition to managing construction on-site, production management allows you to step into the realm concept design concept design be involved in space creation. There are quite a few people within the company who have the ability to do this.I want them to get rid of their stereotypes and take a step forward.''As a key player in space creation, Hino will continue to take on challenges. *The contents are as of December 2023.
Connecting the world with excitement. Toward creating an entertainment space that transcends national borders
Ryuta Yamada heads the CIC Creative Direction Department. Centered on the desire to excite people through space, we have achieved outstanding results in the area of entertainment spaces. Yamada, who says, ``There are no borders when it comes to entertainment space concept design,'' talks about what he has always valued and what NOMURA can achieve. Experience more excitement than you can imagine. What an Entertainment Creative Director Aims Yamada belongs to the Creative Direction Department of the Content Integration Center (CIC) (*), which implements spatial implementation based on content. We oversee the entire creative field of space creation. Yamada: ``The Creative Direction Department handles all kinds of spaces, but the moment a customer mentions the keyword ``entertainment,'' it's our turn.In recent years, we've been doing a lot of work in which character content such as manga and anime is implemented in spaces. I position myself as an entertainment creative director, and while I leave concept design itself to the designers, my role is to direct the entire space from a bird's-eye view." Yamada's specialty is creating exciting spaces rather than stylish ones. A performance space that evokes such emotions. We have aimed to create an impression that goes beyond the imagination of visitors. Yamada: ``In this day and age, many people have prior information about the spaces they visit through social media and other means.Therefore, people who actually visit the space are not exceeding their expectations by saying, ``It was just as I imagined.''For example, , we make the characters that appear in the story actual size, and enhance the performance with lighting, sound, moving gimmicks, etc.We strive to create an experience full of surprises and emotions that can only come from visiting a space. Achievement and experience are the keys to bringing excitement and excitement to life. Yamada says that there are things that only NOMURA can do. Yamada: `` NOMURA has a huge track record accumulated over its long history, and we have people with a variety of experiences and sensibilities.''We thought, ``You'll be surprised if we put in this kind of device.'' ``If we can make this...'' Our strength is that when we have an idea or a question like, ``I'm impressed, but how can I make it?'', we always have people with experience and skills, such as designers and production managers who are experts in that area.We can never do it alone. I feel confident that I have so many friends who can help me achieve this goal together.'' Yamada always values ``experiencing'' various spaces himself. As a visitor, I spare no time and effort in providing input from the field. Yamada: ``While looking at the reactions of the people in the room, I try to imagine how they are feeling, and sometimes even talk to them, and think about mechanisms and devices that can create surprise and excitement.A shortcut to creating a space. is to experience space.In order to keep my senses sharp, I spare no time in visiting real places.The other day, I went to see an exhibition, and I was able to see it on my iPad. I was overwhelmed by the 90-meter-long work that was painted.Although the items to be displayed at an exhibition are decided in advance, the way it is displays can greatly change the way it looks and the emotion that is created.By actually experiencing the space, , I believe we can find clues to creating excitement and excitement.''* CIC (Content Integration Center: Fantasy Implementation Group) uses a deep understanding of content as a starting point to turn exciting "fantasy" into new experiential value. We are the creative team at NOMURA, which transforms and "implements" it into all kinds of spaces and society.Our starting point is childhood memories. A career at the forefront of entertainment space concept design ▲"Takehiko Inoue's Last Manga Exhibition" Yamada spent his childhood overseas. He says that a visit to Disney World in Florida when he was 3 years old was the origin of his creation of spaces. Yamada: ``I don't have a clear memory, but I do have vague memories of going to fun places.After returning to Japan, I invited friends to go to Tokyo Disneyland almost every week to relive those memories.'' I was fascinated by that extraordinary space, and I would record the background music that played in the park and enjoy the atmosphere of being there even after I got home.Looking back on it now, I realized that from that time onwards, I was interested in entertainment spaces. Maybe he was interested in creating things.'' Influenced by his father, Yamada aspired to become an engineer who would create robots for theme parks, and studied mechanical engineering at university. However, learning about ``spatial concept design'' in a general education class was a turning point. Wanting to pursue a career in creating theme parks themselves, he went to another university and majored in environmental design. The place I chose to work was NOMURA, which was recommended to me by my supervisor. After joining the company in 2002, the opportunity to realize the passion for entertainment spaces that I had cultivated up until then came along. At the end of his first year, Yamada was selected to be part of the production team for a haunted house attraction in Hokkaido. Yamada: ``I was involved in the entire process, not only concept design the space, props, and monster shapes, but also creating scripts for lighting, BGM, dialogue, etc., and turning them into concrete forms.'' I remember being at the opening and seeing the children coming out in fear and crying, and feeling a positive response.At that time, there were very few concept design projects for entertainment spaces, but we wanted to entertain people. I decided to get involved in space creation.'' Another turning point for Yamada was in 2008, his seventh year in the business, when he was in charge of ``Takehiko Inoue's Last Manga Exhibition.'' Despite facing the difficulties of creating a space based on manga, a lot of dedication was put into creating a space that exceeded fans' expectations. Yamada: ``In order to convert a two-dimensional manga world into a three-dimensional space, it is necessary to carefully extract the elements from the story and incorporate them into the space one by one.At the ``Last Manga displays,'' By mirroring the back wall, you can add depth to the space and create a dynamic sense that the story continues for a long time, and by displaying works on a folding screen wall, you can express the rhythm of turning the pages. We devised a way to synchronize the movement of reading the manga with the movements in displays space.Also, in the scene where the main character in the manga looks back on his childhood, we painted the curved walls black and dimmed the lights. I tried to reflect the state of mind when we look at ourselves.In the room that is the highlight of the exhibition, Mr. Inoue's idea was to display the actual wooden sword that the main character in the manga dropped from his hand. I placed it in displays space of ``Attack on Titan,'' but I still remember the time when I raised one side of it and focused on the moment it hit the floor.'' The success of the ``Attack on Titan'' exhibition and its aftermath. Becoming a bridge between Japan and overseas through space creation ▲ "Jeddah Events Calendar 2023 -Anime Village at City Walk" After that, he was commissioned to create a haunted house at a Korean theme park in a global competition, and was in charge of the overall direction, gaining popularity. Yamada continued to play an active role, including holding a variety of events. In 2014, I was involved in the "Attack on Titan Exhibition." Yamada: ``In displays of original drawings, we illuminated the cruel scenes of humans being attacked by giants in red, and set the frames diagonally to express the dynamic feeling of battle.We generously incorporated the entertainment concept design that we have cultivated since joining the company.'' .I also wanted people who don't know the manga to feel the fear of being attacked by a giant in real life, so I created an interactive opening theater.In addition to sound and light, I also installed wind and movable mechanisms to make the monster attack. The production is such that you can feel the presence of the coming Titan.''At that time, the manga ``Attack on Titan'' was at its peak of popularity. Although the project was fought under great pressure, the exhibition ended on a high note. The great response it received led to later overseas projects. Yamada: “As a result of working on the Attack on Titan Exhibition, I also became involved in the Attack on Titan Exhibition FINAL, which expressed the world view of the story afterward.Not only in Japan, but also in Saudi Arabia, Singapore, We are touring to Taiwan, Indonesia, and South Korea.The fact that it was well received by people all over the world who love Attack on Titan made it a very memorable and important project for me.''And in 2022. In 2023, he provided creative direction for the entertainment event "Anime Village at City Walk" held in the Saudi Arabian city of Jeddah. Yamada says that his success in the Middle East, which was previously an unknown world, gave him great confidence. Yamada: ``No matter where we come from, we all have the same desire to feel excited and excited.If we stick to the entertainment concept design that we believe in, then people from different cultural backgrounds will be able to enjoy it, just as I was fascinated by American theme parks when I was young.'' I was deeply moved because I could feel how happy they were.I feel that the spatial implementation of Japanese manga and other content has a lot of potential in regions other than Asia. However, making people smile across borders is exactly what I want to do.When people smile, there are no conflicts.It's about seeing how far the entertainment concept design skills I've cultivated so far can be applied. But I feel it's very rewarding.'' Through the power of the team, we create spaces that are moving and surprising. Yamada says he wants to continue to create spaces that are exciting and exciting, carrying NOMURA 's DNA into the future. Let me draw a picture of the future like this. Yamada: “Entertainment concept design knows no borders in the sense that it can be communicated even if words are not spoken.We will continue to deliver spaces where people can feel excitement and excitement without having to explain it to as many people as possible, both domestically and internationally. I'd like to become the kind of person that people say, ``There's apparently a person named Yamada in Japan who does entertainment concept design.'' Yamada will be in his 22nd year at the company in 2023. From the perspective of a veteran employee, I would like to talk about NOMURA 's appeal and possibilities as follows. Yamada: “I heard that the founder of NOMURA, who was once in charge of stage props, surprised and moved the audience when he made a fake horse with a ``mechanism'' that made it cry. The desire to entertain and surprise people has always been passed down to our company.I believe that I have inherited that DNA as well.Also, again, I would like to reiterate that we have people with a wide range of knowledge. I believe that the charm and potential of NOMURA lies in the fact that we are able to combine all of our strengths and create spaces that we would never be able to create on our own.This is the reason why I continue to work at this company. ” In order to pass on the DNA of NOMURA to the next generation, Yamada will continue to do his best to create exciting spaces based on his unwavering desire to “entertain and surprise people.” continue. *The contents are as of December 2023.
Facility management in which “people” play a central role in enhancing regional power. The thoughts of a planner who embodies the mission of the PPP Division
Miki Mori has been involved in the management of public facilities since 2005. He is good at design, layout space NOMURAHe has led the operation of public-private partnership facilities. Mori has realized a management style in which "people play a leading role". We will take a closer look at the efforts of the PPP business over the past 18 years. Leading a public-private partnership project: Participating in a competition for the operation of cultural facilities and new projectsMori is the planning director of the PPP Section of the Public-Private Partnership Project Development Department, Business Produce Headquarters. PPP is a scheme in which the public and private sectors work together to provide public services. It is a system that aims to improve efficiency and quality by utilizing private capital and know-how, and is also called a public-private partnership. Mori has been involved in PPP projects since 2005 and has been responsible for the management of public cultural facilities. Mori: "The main task of the PPP Division is the operation of public cultural facilities. Currently, it operates 17 facilities nationwide, with more than 200 staff members in total. The head office has a team of 12 people who manage and support operations. The mission of this section is to provide services that are appreciated by visitors and local residents through the operation of the facility. At the same time, we aim to partner with the local government, which is the installer of the facility, to contribute to solving the problems of the facility and the community." In 2022, the PPP Section, to which Mori belongs, joined the Business Production Division and is taking on the challenge of expanding into new areas. Mori "Recently, not only local governments but also private companies have become our customers, and we have also started to provide solutions that support not only the operation but also the pre-construction of facilities, such as financing and proposing new services. The types of facilities are also expanding. Currently, we are mainly operating museums, but in the future, we would like to expand to various areas such as libraries." Mori "We have been focusing on social good activities since 2021, and we are also proposing inclusive participation experience programs in collaboration with our in-house social good team. Recently, there has been an increase in the number of Private Finance Initiative (PFI) projects in which private companies produce everything from design to operation of facilities, and collaboration with displays design teams is becoming more and more important NOMURAThat's why some cases have been successful. Mori "The Hamamatsu Science Museum, which was entrusted with everything from design to operation of the facility renovation using the DBO method*, was a very difficult project that took only one and a half years from schematic design to completion, but the displays were on displaySince the design and operation plan proceeded in parallel, the opinions of the planned operator were displayed. It was also reflected in the design. I am still involved in the operation as a person in charge of the head office, but I am attached to the facilities that I have been involved in since the planning stage. The Hamamatsu Science Museum aims to create a place where children can think independently while trying various things. Therefore, there was a period when we had to make various adjustments after the opening of the museum, but the staff made good use of the displays and are working every day to make it even better on their own." Mori "Our company is a professional in displays, but I think it is very important to have the perspective of visitors and staff who are working on their daily efforts to make the facility better. The Hamamatsu Science Museum is preparing to update the displays in order to update the displays next year, but the staff will take the lead in renewing the movements of customers and the activities so far in the four years since the opening of the museum. We are planning to improve the displays and create new displays to better realize the original concept. We will listen to the voices of customers and staff and reflect them in the next displays. I BELIEVE THAT THE ABILITY TO GROW THE FACILITY WHILE PASSING THE BATON FROM DESIGNERS TO STAFF IS A STRENGTH UNIQUE TO NOMURA KOGEISHA, WHICH HAS PURSUED SPATIAL REVITALIZATION." Mori incorporated a marketing perspective into cultural facilities, studied at the Department of Aesthetics and Art as a student as a foundation for PPP, and toured museums in Japan and abroad. AFTER GRADUATING, I PLANNED TO WORK FOR A HOUSE MANUFACTURER, BUT I SUDDENLY LEARNED ABOUT THE EXISTENCE OF NOMURA KOGEISHA. MORI "THE REASON I JOINED NOMURA WAS A COMPANY INFORMATION SESSION THAT I WENT TO WITH A FRIEND, AND I WAS INTERESTED IN THE WORK CONTENT WHEN I SAW THE COMPANY BROCHURE, BUT I WAS EVEN MORE IMPRESSED BY THE HIGH LEVEL OF ENTHUSIASM AND LIVELY ATMOSPHERE OF THE EMPLOYEES. Moreover, there was a job opening for a woman in a sales position, which was rare at the time. I remember thinking that it was a company where women could play an active role," says Mori, who joined the company in 1989 as the company's first female salesperson. AS A SALESPERSON, HE HAS BEEN IN CHARGE OF DISPLAYS OF MAJOR MANUFACTURERS FOR ABOUT 5 YEARS, AND HAS WORKED FOR NOMURA WORKS. At the same time as I was transferred to the Institute for Culture and Environment, a think tank, I changed to a planner position. Mori "I became involved in cultural facilities after I became a planner. I feel that my experience as a planner has led me to my current work. At that time, I was mainly in charge of planning the displays of cultural facilities, but I also helped with the basic concept and business plan when establishing a museum. In addition to examining the functions and social roles of museums, I also experienced research work. In my research work, I conducted joint research with museums and evaluated how visitors use the displays, and tried to understand the gap between the sender's thoughts and the needs of visitors. I think it was a valuable experience to learn how a small change in the displays can dramatically change the reaction of visitors." In 2002, he took on the challenge of conducting a full-scale marketing survey. At the time, it was an unusual initiative for a cultural institution. Mori "We conducted an awareness survey not only of visitors but also of people who had never visited the museum, and realized that the value sought by the sender and the visitor is often different. For example, people with small children and those without small children have different purposes and perspectives on museums. Until then, I didn't have a clear idea of what kind of people would come to the museum and what they wanted. By listening to first-hand voices and conducting large-scale surveys, the image of visitors has completely changed. I think that experience has had a great influence on my current work." The following year, the designated manager system for public facilities was enacted, and the company was involved in the designated management of the Nagasaki Museum of History and Culture, which opened in the fall of 2005, as well as the Saga Prefectural Space Science Museum and the Aomori Prefectural Misawa Aeronautical Science Museum. In the summer of 2005, Mori was transferred to the PPP Development Center. Mori "Up until then, my work had been up to the opening of the facility, but at the PPP Development Center, I was preparing for the opening and operating the facility, and all of it was new to me. The main role is "people" ── In collaboration with local volunteers, the number of annual visitors increased by 100,000 in five years.▲ Observation of pollen at the Tama Rokuto Science Museum "Shizen Lab". Among the PPP projects that are supported by staff and volunteers, there is one job that left a particularly strong impression on Mori. That was when I was involved in the management of the Tama Rokuto Science Museum, which was renovated in 2013. Mori "It was a project to renew the displays of the Tama Rokuto Science Museum, which has been open for about 20 years. The mission is to consider what kind of facility we want to make and create a space to realize it. Our emphasis was on creating a place where people could interact with each other. The main role is not the displays, but the people. We wanted to create a facility where staff and volunteers play a leading role and become a stage where local people can play an active role." The facility was renovated with the concept of "trying, participating, and talking." As a result, five years later, the number of annual visitors increased by about 100,000 compared to before the renovation. Mori: "The success factor is people. First of all, the efforts of the staff. The staff has built a laboratory where you can conduct experiments and observe while interacting with visitors. Various displays in collaboration with local research institutes, universities, companies, etc. and hands-on events. Also, the power of local volunteers should not be overlooked. When the operation started, the organization was about 60 people, but the momentum to enliven the science museum together in the community spread, and the number of people from children to adults increased to a maximum of 150. A new management style of collaboration between staff and volunteers has been created. Thanks to this, I think that every time I visit, I can make new discoveries and take on new challenges. Through dialogue with visitors and local residents, we have been able to realize a science museum that can grow." MORI "IN MANY CASES, AN ALUMNUS OF NOMURA KOGEISHA IS IN CHARGE OF OUR FACILITIES. Some of them are former sales representatives, production managers, and others who are new to cultural facilities, but they are taking the initiative in figuring out how to make visitors enjoy themselves and how to improve the facilities. When I see such a situation, I strongly believe that our employees have a deep-rooted mindset that they want to provide better services to customers and create new value, not just manufacturing. At the same time, I feel that the facility is able to grow because the staff and local people who operate the facility together sympathize with this mindset." We want to be a company that creates new value that is not bound by conventional frameworks▲ Head office members involved in the facility management business (partial). Mori, who backs up the operation of 17 theaters nationwide with a small number of elite people, has been involved in the PPP business in 2023 for 18 years. Looking back on the past, he emphasizes that we are now in an era where new values are required. Mori: "In recent years, PFI work has been increasing in PPP projects, and I feel that there is a need for facilities that can create new value. We need to take advantage of our achievements in design, constructions, and operation, while also incorporating a wide range of perspectives that have never been seen before. From now on, I would like to not only strengthen the cooperative system across departments within the company, but also develop new value while reaching out to partner companies that share the same value." Continue as follows: Mori "It is expected that cultural facilities in the future will take a form that is not bound by conventional frameworks, but I want it to be us, not anyone else, who will create new value there. NOMURA KOGEISHA HAS PURSUED THE POSSIBILITIES OF SPACE WITH THE MANAGEMENT PHILOSOPHY OF "WE WILL CONTRIBUTE TO THE CREATION OF A RICH HUMAN ENVIRONMENT BY CREATING NEW VALUE BASED ON RESPECT FOR HUMAN BEINGS" AND "WE WILL CONTRIBUTE TO THE CREATION OF A RICH HUMAN ENVIRONMENT BY CREATING NEW VALUE BASED ON RESPECT FOR HUMAN BEINGS。 For the past 18 years, we have been working to connect people, communities, culture, and the environment through PPP projects, which also lead to social good. How will the relationship between people and space change in the future? The key to this is the forests. * The information is current as of December 2023.
Bringing everyone's thoughts to life - Production management work techniques that lead in space creation
Shuhei Tatsuta joined the company in 2013. As a director (production management), I am currently involved in the production management of large-scale commercial facilities such as station buildings-type fashion buildings. Tatsuta was given discretion from a young age, and in the 10 years since joining the company, he has experienced many projects in a wide range of categories. HE TALKS ABOUT THE REAL THRILL OF BEING A DIRECTOR AND THE APPEAL OF WORKING AT NOMURA. Don't say, "I can't." The real thrill of production management is to lead to the optimal solution that everyone can agree onTatsuta, who belongs to the Product Direction 2nd Department of the 1st Division of the Sales Promotion Division. As of November 2023, I am mainly in charge of large-scale commercial facilities as a supervisor. Of the four main processes of "research, planning, consulting", "design and layout", "production and constructions", and "operation and management", Tatsuta is responsible forPRODUCTION AND CONSTRUCTIONS SHOULD BE SAID TO BE THE MAIN PILLAR OF NOMURA WORKS. I am involved in a wide range of tasks, from the early stages of a project to the actual creation of the space. Tatsuta: "Since I am in charge of production, my job is to actually embody the concept design drawn by the designer as a 'space.' Make estimates and constructions to meet deadlinesMy main job is to guide the project to realization, such as planning and directing the site. There are things that cannot be understood from the drawings alone, and unexpected things happen in the field. It is also the role of production management to propose changes to materials according to the current situation, rearrange schedules, and make adjustments and adjustments each time. On the other hand, in order to win a project, we may work together with sales, such as accompanying them to business negotiations and explaining them from a technical perspective. We look at the project from the beginning to the end." In order to respect the designer's wishes and be close to the customer, Tatsuta has something that we have valued. Tatsuta: "What I try to do is not to simply say, 'I can't do it,' and I hope that I can overcome the high hurdles one by one while knowing that it will be difficult and give shape to the thoughts of all the people involved," says Tatsuta, who says that the real pleasure of production management is to propose alternatives and changes, make adjustments, and find the optimal solution. Here's what he enjoys about his job. Tatsuta: "Designers have their own ideas and commitments, and in terms of production management, we have to ensure safety and quality. The customer has a cost and a deadline, and if it becomes a large facility, other construction companies will also participate in the project. Not all stakeholders are always looking in the same direction, so it is not uncommon for the gears to not mesh and it is difficult to move forward. At such times, when we get in between and make adjustments, we are on the same page and the project starts to move forward immediately. WHEN I AM ABLE TO WITNESS SUCH A MOMENT, I FEEL A DEFINITE SENSE OF ACCOMPLISHMENT." HE JOINED NOMURA IN SEARCH OF GROWTH OPPORTUNITIES. In his second year, he was in charge of renovating a nationwide apparel store and felt his growth ▲ Tatsuta majored in design administration when he was a NEWoMan Yokohama student. During his job hunting, he began to feel reluctant to draw drawings without knowing the site, so he decided to become a producer. IN THE END, I CHOSE NOMURA BECAUSE I WAS ATTRACTED TO THE OPPORTUNITY FOR GROWTH. TATSUTA: "NOMURA KOGEISHA IS HESITANT TO RECEIVE A JOB OFFER FROM A COMPANY THAT HANDLES BOTH THE CONSTRUCTION INDUSTRY AND THE DISPLAY INDUSTRY. When I confided in him at the interview, the current president, who was an executive at the time, advised me that the interesting thing about the display industry is that you can do big work from a young age. In the construction industry, it can take as long as 10 years to build a single facility, and there are cases where more than 100 people are involved. On the other hand, in the display industry, the construction period may be short, such as one month or one day. I decided to join the company because I had the opportunity to be involved in a big job from an early age and was attracted to the fact that I would be entrusted with a position of responsibility." After being involved in the renovation of a private apartment and the renovation of a guest room at a famous hotel, he was entrusted with a major project in the second year. Tatsuta: "As apparel stores nationwide renewed their logo signs, we wanted to update the image of the stores, so we were in charge of renovating about 40 stores from Hokkaido to Kyushu. Moreover, the day after Kagoshima, we were in Hiroshima, so there was no turning back and failure was not an option." Despite being overwhelmed with responses, Tatsuta successfully accomplishes the big job. Tatsuta: "We had to do a site survey in advance and make a plan. It turned out that the position of the torso would overlap, and the place where the logo sign was put had to be changed, or a large panel had to be prepared because there was no base. I struggled with anxiety every day, but with the support of my boss and seniors, I managed to finish it safely. It was a project where I was able to feel my growth, as I was able to take on new challenges through trial and error as the construction period progressed, and I was able to do things in the second term that I could not do in the first term." In the same year, he was in charge of NEWoMan Yokohama, a newly built station-type fashion building. He says that he learned something that led him to where he is today. Tatsuta: "This was my first large-scale project, and there was a lot of work to be done, and I had to work with a team of about 10 people to do the work that I had been in charge of alone. This is a project where I was able to experience the difficulty and fun of working as a team. I learned a lot in terms of building a cooperative system and building a team while various people were in charge of various areas." As the current location manager, he is in charge of the Tokyu Kabukicho Tower. The goal was to create a workplace where you can enjoy working ▲ From 2021 to 2023, the ninth year of joining the company at Tokyu Kabukicho Tower 2nd floor "Shinjuku Kabuki Hall ~ Kabuki Yokocho", Tatsuta was in charge of the construction of the new Tokyu Kabukicho Tower. This is the first time I have been appointed as the current location manager. Tatsuta: "In any project, it is the same to solve each problem that arises in the field. BECOMING A DIRECTOR DOES NOT CAUSE A MAJOR CHANGE IN THE CONTENT OF YOUR WORK, BUT IF YOU MAKE A MISTAKE IN JUDGMENT, NOMURA KOGEISHAis a mistake in judgment. I always tried to make the right decisions," says Tatsuta, who was particularly conscious of building relationships with members as the person in charge of the site. We aimed to create an open workplace. Tatsuta: "Some of the more than 20 members were meeting each other for the first time, so we decided to hold a social gathering under the pretext of celebrating the members' birthdays. If there are 20 of us, there is someone's birthday every month, so we can create opportunities for members to see each other regularly. What I always try to do is create an environment where everyone can enjoy their work. If the members get along well with each other, the atmosphere in the field office will naturally improve, and it will be easier to send out thoughts and SOS. We hoped that the members would be willing to help each other by getting to know each other, which would lead to early resolution of problems." It was a triumph of teamwork. Tatsuta: "There were many cases where members contracted the new coronavirus infection and suddenly left for about a week, but we were a team that could make up for each other's holes, and we never fell into a serious situation. To attract a lot of attention in the industry. On the other hand, there were also such side effects. Tatsuta: "After this project, I joined another site as a supporter, and when I told them that I was the current location manager at Tokyu Kabukicho Tower, they immediately agreed with me. You can learn quickly and deeply. BECAUSE IT IS BECAUSE NOMURA KOGEISHA IS THE ACCELERATION AND DEPTH OF GROWTHTATSUTA HAS BEEN INVOLVED IN PRODUCTION MANAGEMENT FOR 10 YEARS. He talks about the satisfaction of his current job. Tatsuta: "Many of the things that the display industry handles are one-of-a-kind, and there is no right answer for production management work. I find it interesting to think about how to give shape to the project through trial and error while overcoming various problems such as construction period, safety, quality, cost, and customer requests. It's deeply emotional when I see that what I have created in this way fits perfectly into the space, that customers are satisfied, and that it is crowded with many people after opening. Another feature of production management is that you have the opportunity to interact with many people. Not only do you come into contact with many people, such as material manufacturers, engineers, media creators, and other professionals, but you also have many opportunities to get to know new people. I think one of the best parts of this job is that as the network expands, the knowledge deepens, and at the same time, the number of people who can help each other increases." On the other hand, as a core player, we are also eager to train young people. Tatsuta: "It would be great if we could take on new challenges by utilizing the knowledge and know-how we have cultivated in our past large-scale projects. THIS IS BECAUSE WE BELIEVE THAT IF YOU KNOW THE FUN OF YOUR WORK, YOU WILL NATURALLY HAVE INDEPENDENCE AND BE ABLE TO WORK POSITIVELY." SINCE JOINING THE COMPANY, TATSUTA HAS BEEN INVOLVED IN A WIDE RANGE OF PROJECTS AT NOMURA KOGEISHA, A TOP RUNNER IN THE INDUSTRYWhy. He says that this is the biggest attraction of working at the company. Tatsuta: "The display industry is characterized by the fact that the project turnover rate is faster than that of architecture, such as being able to experience more than 10 projects in one year. In addition, since we are often involved in small groups, we are given a lot of discretion, and I think that the speed of growth is faster. WHETHER IT'S NEWoMan Yokohama or Tokyu Kabukicho Tower, NOMURA IS UNIQUE IN BEING INVOLVED IN LARGE-SCALE PROJECTS THAT ARE WORTH WORKING ON, AND USING OUR ACHIEVEMENTS AS BUSINESS CARDS. The presence of our signboard makes it very easy to proceed with the work, and I feel that I am gaining the ideal experience in production management." * The information is current as of November 2023
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