El Croquis 191 Go Hasegawa
A Conversation with Go Hasegawa：EDUCATION
是的。我在冢本工作室工作了三年。在那里，我参与了一些研究项目，比如“东京制造”(Made in Tokyo)，这些项目深刻地塑造了我对这个城市的看法。
是的。1998年，在东京的大成画廊(Taisei Gallery)举办了一场小型的展览，主题是七位年轻的法国建筑师，我在那里发现了拉克顿·瓦萨尔(Lacaton Vassal)的拉托屋(Latapie House)。我对他们的工作很感兴趣。我给法国建筑学院打电话，他们给了我办公室的电话。尽管我的英语说得不是很好，他们还是欢迎了一位日本实习生。因此，在2001年我为巴黎的Bow-Wow工作室所做的展览开幕后，我留在了Lacaton Vassal工作。当时他们的办公室在东京宫的阁楼层，他们正在翻新。穿过空荡荡的宫殿，跟随空间在时间里的变化，这是一种非凡的体验。我真的很喜欢那次经历。他们都是思想开放的人，我现在还和他们保持联系。
Tsukamoto was your main teacher at Tokyo Tech, wasn’t he?
Yes, indeed. I was part of Tsukamoto Laboratory for three years. There I collaborated on research projects like Made in Tokyo, which deeply shaped my view on the city.
Whereas the common understanding of architecture is focused on authorial architecture, Tsukamoto is capable of disclosing the quality and specificity of daily architecture and its particular background. For Pet Architecture, the following research, we studied the tiniest houses in Tokyo. Although one does not notice those houses at all, they are often very specific and enjoyable. Tsukamoto teaching was never dogmatic but always oriented to architectural practice.
Unlike with Bernard Rudofsky, the anonymous buildings were never understood as counter-projects to designed architecture. On the contrary, they were studied as a means to better understand the conditions and tools of architecture.
Why did you study at Tokyo Tech?
Maybe it had to do with my father being a mechanical engineer. I remember very well how on weekends in our living room he used to draw the turbines of ships—turbines often much bigger than the houses I currently build. His drawing, just the size of our table, allowed him to control huge objects. This transposition of scale, from a ship to a drawing, fascinated me as a child. Maybe I learned unconsciously a certain sense for scale from that. Anyway, before entering Tokyo Tech, I had quite a naïve understanding of architecture, limited to what I knew: the house in which I grew up, in wood, designed and built by local carpenters.
Japanese education, as you say, is very specific because the students often collaborate on their teachers’ commissions. You worked for Atelier Bow-Wow as a student. How do these collaborations work?
I only know about the procedure in the laboratory at Tokyo Tech. It goes back to Shinohara. From what I heard, when he had a new commission, the students would elaborate different proposals, on which he would regularly comment. One day he finally did a sketch, but he continued to debate with the students about it. Sakamoto worked similarly, but never even sketching, only discussing every day with students and commenting on their schemes till the design was clarified. I believe it is a very fruitful method for students. Tsukamoto has a similar way of working.
But Made in Tokyo is research, not a design project.
Yes, but Bow-Wow’s research is, as you know, not just research. Their reading of the city and its common buildings is highly creative. It is already a project, meaning that we used to approach the research in a similar way as we would have done for the design of a house. The beginnings were more intuitive, but incrementally, through Tsukamoto’s ability to disclose the important points, the research would gain in consciousness and clarity. This process was very exciting. Through it I learned much on how to design a project.
You learned therefore, only after finishing university, how to build a house?
I learned to build only later, in Taira Nishizawa’s office, where I worked for three years. We built two apartments and one gymnasium, and we also designed many other unrealized projects. I was fascinated with the houses he designed and also his article— he always has a strong statement to make. The time with Taira Nishizawa was very enriching as he introduced me to architectural practice. But even more importantly, because Nishizawa had little work to do, we had a lot of time to talk. It was fantastic to discuss with him on the city, architecture, architects, etc.
You also spent some time with Lacaton Vassal in Paris.
Yes. There was, I think, in 1998 a small exhibition on seven young French architects at Taisei Gallery in Tokyo, where I discovered Lacaton Vassal’s Latapie House. I got interested in their work. I called the French Institute of Architecture, and they gave me the office’s number. Although I couldn’t speak English very well, they welcomed a Japanese intern. Therefore, after the opening of an exhibition I had worked on for Atelier Bow-Wow in Paris in 2001, I stayed there to work at Lacaton Vassal. At that time they had their office on the attic floor of the Palais de Tokyo, which they were renovating. It was extraordinary to walk through the empty palace and to follow the transformation of a space through time. I really enjoyed that experience. They are such open-mind people, and I still keep in contact with them, even now.