Hiroshi Nakamura’s Hiroshima Masterpiece Built with 6,000 Glass Blocks and a Serene Courtyard

Optical Glass House in Hiroshima featuring a tranquil courtyard garden enclosed by a 6,000-glass-block façade

 

 

Serenity in Hiroshima: A 3-storey masterpiece by Hiroshi Nakamura & NAP. 6,000 optical glass blocks filter light, reduce noise, and unveil a hidden courtyard oasis.

 

Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

▏A Serene Oasis in Hiroshima

Nestled among towering apartment buildings in downtown Hiroshima, Japan, this seemingly modest three-storey family house by Tokyo-based architectural practice Hiroshi Nakamura & NAP is a remarkable achievement: it offers its occupants a serene, secluded oasis amid the city’s hustle and bustle, despite being situated on a busy thoroughfare. To make this happen, the architects designed an “optical glass façade”, behind which they created a lush verdant courtyard, complete with trees, shrubbery, and a reflecting pool. Made from 6,000 pure-glass blocks, the optical wall is as much a captivating design statement as it is an engineering feat, filtering natural light in, keeping sounds out, and transforming the passing cars and trams into a hypnotic play of shadows. Visible from all main spaces, the glass-encased courtyard allows the occupants to peacefully enjoy the changing light as the day progresses, without ever being disturbed by the chaos outside.

 

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Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

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Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

▏Dazzling Light & Hidden Reinforcements!

2)  Suspended three metres above street level, the 8.6 by 8.6 metre glass-block façade is undoubtedly the project’s centrepiece—shimmering like a translucent veil, it gently refracts light, shifting perspectives as you approach it. A stunning blend of design and engineering, it is made from borosilicate glass blocks, crafted through a meticulous casting process to ensure the highest possible transparency. Despite challenges like slow cooling and surface imperfections, these subtle irregularities were embraced to create mesmerizing optical effects. To ensure stability, the glass blocks were pierced and strung on stainless steel bolts, reinforced with flat bars for lateral support. Ingeniously concealed within the blocks, the bars maintain a sleek, uninterrupted look, while 6mm joints seals the structure, balancing aesthetics and function.

 

Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

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Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

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Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

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Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

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Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

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Hiroshi Nakamura's Hiroshima masterpiece: 6,000 glass blocks soften light, silence noise, and reveal a serene courtyard

 

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brick house light well interior with vertical light and shadow

廣東磚造房屋以材料構造與光影秩序重塑鄉土記憶與居住關係

    廣東磚造房屋以紅磚與混凝土構築清晰量體,透過材料構造與光影滲透,重塑鄉村建築與當代居住之間的秩序與關係,展現 材料敘事   光井將自然光引入室內,使磚構空間在垂直尺度中建立清晰層次。   廣東磚造房屋以在地建材與構造邏輯回應鄉村建築的生成方式,重新界定居住、記憶與環境之間的關係。透過磚作為空間與結構的共同語言,建築在內外之間建立厚度與層次,展現 Material as Narrative 的敘事力量;同時藉由開口、進深與光井控制光線路徑,形塑具有時間性的 Light and Space 空間經驗。   鄉村建築並非被一次性設計完成,而是在長時間的使用、修補與增建之中逐步形成,呈現出一種帶有模糊邊界的秩序。這種秩序不依賴形式,而來自於與環境、氣候與生活方式的長期協調。 在此脈絡下,設計並未透過強烈的形式語彙介入,而是選擇降低建築的可見性,使其重新嵌入既有場域之中。業主希望這棟房子能讓下一代重新理解家鄉的存在,這使建築不只是空間的更新,而是一種記憶與歸屬的重新建立。同時,非日常居住的使用條件,也使設計在情感之外,必須精準回應成本與維護的現實限制。使建築不只是空間更新,更回到作為日常居住(domestic space)與家庭聚合的場所。       磚的尺度與人的身體直接對應,使其在搬運與砌築過程中形成一種自然的節奏,這種節奏進一步被轉化為空間生成的基本單位。 從單一磚塊到牆體,再到整體構造,建築呈現出一種由模組堆疊而成的秩序。鋼筋混凝土框架提供主要結構,內層牆體與其精準對齊,使承重與填充之間的關係被清楚揭示;外層則以連續磚面包覆,使結構退居於背景之中。這種內外之間的落差,讓建築同時具備可閱讀的構造邏輯與被隱藏的空間表情。

城市表面之下仍在運作的地層空間

石油基礎設施如何改寫地景

有些地景看起來像自然,其實不是。 它們只是長期被管線、道路與能源流動「壓」過之後,暫時穩定下來的結果。     當石油滲透進城市之中,它並不是抽象的能源,而是透過管線、港口、道路與運輸系統等基礎設施,實際改寫了地景本身的構成方式。這些結構不僅連結資源的開採與輸送,也在更大的尺度上重新組織了城市與土地之間的關係,使地景不再是自然生成的結果,而是被能源系統持續重塑的產物。 你很難在第一眼辨認出來,但一旦知道油從哪裡來、往哪裡去,那些線就會浮現。 管線與道路並非單純作為運輸與連結的工具,而是在地表之上與之下形成一種持續延展的結構網絡,這些線性系統沿著資源的流動方向被鋪設,逐步滲入城市邊界與自然地貌之中,使原本被視為穩定的地景開始出現偏移與重組,基礎設施不再只是附屬於建築或城市的存在,而是在更深層的運作之中,同時影響著建築材料的生成與使用方式。而是反過來主導了空間的展開方式,使土地的使用、分割與連結都圍繞著能源輸送的需求被重新安排,並在無形之中建立起一套優先於設計意圖的運作邏輯     在這樣的鋪設之下,城市不再依循原有的地理條件自然生長,而是被基礎設施的節點與通道所牽引,產生出新的聚集與擴張模式,工業區、物流節點與能源轉運設施逐漸成為空間組織的核心,建築與都市發展開始回應這些系統的位置與尺度,形成一種由流動驅動的空間分布,地景因此不再是被觀看或被規劃的對象,而是在能源與資源持續流動之中被動生成的結果,其形態的變化往往先於設計被確立,並在長時間的運作中逐漸固化為新的空間現實 當這些看似分散的鋪設與改寫彼此連接之後,地景便不再能以單一元素或局部關係來理解,而是必須被視為一整套持續運作的系統,其中每一段管線、每一條道路與每一個節點都參與在資源流動的過程之中,並共同維持著整體結構的穩定與擴展,在這樣的條件下,建築與城市不再是獨立的設計成果,而是被嵌入這套系統之中的一部分,其存在與形式皆受到能源邏輯的約束與塑造,而這種由基礎設施所主導的地景轉變,也使我們不得不重新理解空間本身的生成方式     管線不是線 管線從來不只是運輸。它們決定什麼地方可以被穿越、什麼地方必須被避開。農地會被切開,山體會被鑿穿,城市邊緣會因此長出奇怪的空白帶。 Pipelines are not connectors but territorial decisions. 這些決定通常不在地面上討論,但它們留下的痕跡卻長期存在。    

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