描述
Why put Go Hasegawa as the lead-off batter?
First, the lead-off is one of the most important spots in the order as it sets the pace of the game. Since the founding of his office in 2005, Hasegawa’s career has been characterized by a slow and steady pace of growth. Beginning with the single-family houses in Japan and steadily expanding to other typologies and geographies, the evolution of his work is rooted in a reverence for history without being bounded by the baggage of that very history. From the tradition of roof types, columns, balconies, to spatial partis, a deep understanding of architecture’s language establishes a pace for the surrounding context synonymous with the growth of cities. Even when facing a tabula rasa, the typological foundations embedded in his projects bring a larger historical lineage to the creation of that new context.
Mark Lee
ESSAYS BY
Ana Leal
José Manuel Pedreirinho
Mark Lee
PROJECTS
House in a Forest
images © Go Hasegawa and Associates
House in Gotanda
image at pages 028, 032 and 039 © Shinkenchiku-Sha
034 and 036 © Takumi Ota
Apartment in Nerima
image at pages 040 and 044 © Iwan Baan
046, 048 and 051 © Shinkenchiku-Sha
Pilotis in a Forest
image at pages 052, 058 and 060 © Shinkenchiku-Sha
pages 056 and 065 © Hisao Suzuki
House in Komazawa
image at pages 066 © Hisao Suzuki
070, 073 and 076 © Iwan Baan
House in Kyodo
images © Iwan Baan
Row House in Ageo
images © Shinkenchiku-Sha
Apartment in Okachimachi
image at pages 102, 106, 108, 110 and 112 © Shinkenchiku-Sha
115 © Takaya Sakano
Yoshino Cedar House
images © Hisao Suzuki
House in Kawasaki
image at pages 126 and 133 © Shinkenchiku-Sha
pages 130 and 135 © Hisao Suzuki
Chapel in Guastalla
image at pages 136 © Go Hasegawa and Associates
pages 140 and 142 © Davide Galli
Villa beside a Lake
images © Go Hasegawa and Associates
ICOR NISEKO
image at pages 156, 164 and 166 © Shinkenchiku-Sha
pages 160 © parsley
Setonoki
images © Go Hasegawa and Associates
Flying carpet (installation)
image at pages 180 and 186 © Jaime Navarro
pages 183 and 184 © Cesar Bejar
