Mid-career Professional

Career recruitment

Taku Sugimoto joined NOMURA in 2019 as an experienced employee. He is currently working on planning hotels, displays spaces, and facilities that collaborate with the local community. Sugimoto has a unique background, having previously worked at a foreign financial institution. He talks about the reason for his career change, the fulfillment he found in his new job, and his outlook for the future. Inviting the "greenery" of Odaiba into the building. Creating spaces that change over time▲ Sugimoto belongs to the Planning and Production Center of the ARTBAY TOKYO Creative Headquarters. He works in a variety of fields, including hospitality, mainly hotels, commercial facilities, libraries, and expositions. "Currently, I am mainly in charge of work for hotels, commercial facilities, and expositions, but I have expanded from there and am also involved in urban development and branding for new facilities." One of his representative achievements is "ARTBAY TOKYO" held in Odaiba (ended). This was an art-based urban development project based in the waterfront sub-center area, and he attempted to create a space that brings out the charm of the area. "What was interesting about this project was that the team led by me took a producing role and collaborated with a wide variety of creators, including external architects, artists, and designers. We were inspired by the process of creating the project together with a wide range of people, from world-famous artists to up-and-coming architects of the same generation."Research for the project began in 2018 and took around two years to complete, until completion in the second half of 2020. "Odaiba has many commercial facilities, but it doesn't have as strong a historical context as other cities. So we had extensive discussions with architect Bandai Motosuke, who was invited to build the ARTBAYHOUSE pavilion, which is the symbol of the project, about what kind of space and experience would be unique to Odaiba. In fact, Odaiba is named after an island that was created in the Edo period and still remains to this day. By transplanting and growing plants that grow there into the pavilion, the entire building is covered in greenery over time, creating a space that changes. There are spaces without a roof, and rooms where the light enters in different ways. Nature seeps in and changes. We have created an interesting space where you can experience a new relationship between people and greenery." Opening during the COVID-19 pandemic meant that traditional public relations activities were limited, but the response via social media was greater than expected. "The striking white walls of the building's architectural concept design have been used by young people as a photo spot for social media, and it has been featured in architectural magazines, becoming a hot topic. The café inside also created new connections with designers and creators. The gravel texture used for the flooring stimulates the senses, especially of children, and I think it was able to draw a variety of reactions from visitors. Word of mouth spread through social media, and eventually the pavilion became so popular that people lined up to get in."The happiest job in the world, an extension of what he loves Currently, Sugimoto is active as a space creation professional. The origin of this was a TV program he watched as a child. "When I was in elementary school, I loved watching TV programs introducing homes, and I was fascinated every time a building full of attention to detail was introduced. As the youngest child in a family of five, I didn't have my own room, so I came up with a plan to rebuild my parents' house and even presented it to my parents using a simple floor plan." Gradually, Sugimoto's desire to study architecture grew stronger, and he majored in architecture at university. He then studied abroad in Switzerland, where he gained a new perspective on architecture. "In Switzerland, I learned the essential way of thinking about architecture. For example, when designing a school or art museum, the approach is to start by thinking about the facility itself. Switzerland is a politically and economically stable country, so there was an environment where I could pursue the pure interest and beauty of space and architecture, such as 'what is good architecture' and 'what is a beautiful space.'" During his study abroad in Switzerland, there was an incident that greatly changed Sugimoto's values. "In Japan, it is common to get a job immediately after graduating from university, but in Switzerland it was completely different. Many people were building their lives at their own pace, such as studying sociology before studying architecture, or re-studying in their mid-30s. They thought carefully about what they wanted to value, and decided on the path they would take while experiencing various things. I was surprised and impressed by that attitude." Sugimoto's experience of visiting Sri Lanka while traveling around the world as a student also had a major impact on his career. "I was very impressed by the cultural facilities near the World Heritage Sites I saw in Sri Lanka. They had displays that showed the restoration work and participatory and experiential displays, and they were very well done. When I found out that it was a project funded by Japan's ODA (Official Development Assistance), I was really drawn to the idea that there was another way to contribute to the world." Sugimoto, who was attracted to international contributions, first began working as an intern at an international organization while he was a student. There, he was advised by the director of the internship company that "knowledge of finance and economics, as well as architecture, is important when considering a career at an international organization," and so he decided to apply for a foreign financial institution as his next step. "I joined an international comprehensive financial services company, but it was a very tough environment with a small number of people handling a lot of work. I learned about the importance of professionalism and producing results every day, but finance was far from my interests. It was a valuable experience, but I didn't feel like it was the job I wanted to do for the rest of my life." Then, by chance, he came across NOMURA "The first job I was involved in after joining the company was a research project to consider the future of commercial facilities. Although the field was different, research was something I had done in my previous job. I was absorbed in the project, learning about the historical changes in commercial spaces and the latest examples from Japan and abroad, through trial and error. In the end, I ended up with a dictionary-like volume of very rich material, which was well received by the client. The members assigned to the project were all unique individuals, and I was able to think about and concept design the future of spaces with such interesting people. I felt that this was the best job I could have ever had."Questioning the obvious and going beyond preconceived notions. Creating new places to connect with the community ▲The Royal Park Canvas Sapporo Odori Park Sugimoto's first full-scale project was the condominium gallery "Brillia Shinagawa Minamioi Communication Salon oooi." He reconsidered the concept of a condominium gallery and proposed a new form. "We thought that conventional condominium galleries were like a 'black box' that suddenly appeared before the sale and was removed after the sale. We questioned this way of thinking and started by asking, 'What kind of new condominium gallery would be appropriate for the coming era?'" The project aimed to create a space that was open not only to those considering purchasing a condominium, but also to local residents. "The important thing is whether you can imagine living in the area. So we divided the space into the first and second floors, and made the first floor a communication space that local residents can use. People who are thinking of buying a condominium can come down to the first floor after looking at the model room and hear local people talking and doing activities, get a feel for the atmosphere of the area, and get an idea of what it would be like to live there. Even before the condominium is built, relationships between new residents and local people are gradually formed. We aimed to create a place like that. We created a space that connects the inside and outside, like a 'veranda,' and made the facility visually and psychologically open, where the connections between people can be physically seen from the outside." This initiative won the Good concept design Award. It was highly praised for providing new value that connects people, companies, and the area, and for placing importance on solving social issues. Another representative example is The Royal Park Canvas Sapporo Odori Park. This hotel project took on two major challenges. "The first was to use Hokkaido wood in a variety of ways. The second was to position the hotel as a showcase for the region. We introduced a system where guests could purchase furniture, art, photography, plants, and other items made by artisans and artists with ties to Hokkaido. By connecting local creators with guests, we aimed to create a circulation of the local economy and make the hotel a base for a small economic zone, a place that would become a starting point for value creation." Among the many new attempts, they also made the deliberate choice not to place televisions in any of the guest rooms, targeting millennials and Generation Z under the age of 30. "Sapporo is a city of music, where jazz festivals are held. We installed record players instead of televisions, which drew mixed reviews. Some business users were negative, but the younger generation liked the fresh experience of actually dropping the needle and listening to music. A good hotel is a place where you can feel the personality of the creator. We aim to create a memorable hotel by providing cutting-edge experiences, not a safe space with the most common denominators." Creativity born from collective intelligence. Because it is a company with interesting people, Sugimoto, who has endless challenges and encounters, talks about his future goals and how he aims to realize the dream he has been nurturing. "I have always wanted to contribute internationally through culture, so I would like to leave Japan and work around the world, especially in Asia. The facility can be a hotel or a cultural facility, but I would like to create facilities and spaces that can be involved in nation building." Sugimoto was promoted to room chief in March 2025 and is now in a position of team management. He talks about his thoughts as a leader as follows. "What I feel after joining NOMURA is the wealth of collective intelligence as a team. The wonderful creativity that comes from coming together. Rather than being led by one outstanding talent, we are a group of individuals with rich personalities, and the combination of these individuals creates interesting ideas and new spaces. I want to value creating spaces that make the most of each individual's interesting personality and characteristics, both in projects and with the members of the room." Sugimoto says that the good thing about NOMURA is that it can make use of the long history of spaces built by its predecessors. "What we value is the perspective of learning from history. Within that, we are always thinking about how we can take the ideas and creativity that our predecessors have spun one step further through the spaces we create. Of course, we do our best to respond to the challenges our customers give us, but at the same time, as creators, we value what we can leave for the next generation while inheriting the history." Sugimoto sends his support to those who are interested in this field. "As someone who joined from outside the company, I can say that the people here are simply fascinating. I've had many irreplaceable encounters with people of all professions, not just designers, that I feel will remain in lifelong relationships. Because we organize our members by project, we get to meet new people all the time. This is a company where we can work on projects of all kinds, big and small, with really interesting people." Sugimoto adds that it's okay if you don't have specialized training in architecture or spatial concept design. "We have people with diverse backgrounds, including those with a literature degree, who are active here. It's a place where you can find work that is an extension of what you love. If you're interested, I encourage you to give it a go." *The information written is current as of May 2025.

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.

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How children spend their time after school is a major issue in society today. There are issues such as overcrowding in childcare facilities and being busy with extracurricular activities and cram schools, which means children are unable to find time to play freely. In December 2023, the government will announce "Guidelines for creating places for children," which includes specific efforts to create places for children, such as "increasing" and "striving"...