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STEVEN HOLL

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abinaya archana

on 10 October 2013

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Transcript of STEVEN HOLL

DAEYANG GALLERY AND HOUSE
Seoul, Korea, 2008-June 2012

THE NEW RESIDENCE AT THE SWISS EMBASSY
Washington D.C., United States, 2001-2006

PLANAR HOUSE
AZ, United States, 2002-2005

NAIL COLLECTOR'S HOUSE
Essex, NY, United States, 2001-2004
WRITING WITH LIGHT HOUSE
Long Island, NY, United States, 2001-2004

Y HOUSE
Catskills, NY, United States, 1997-1999

STRETTO HOUSE
TX, United States, 1989-1991

SUN SLICE HOUSE
Lake Garda, Italy, 2006

KNUT HAMSUN CENTER
Hamarøy, Norway, 1994-Aug 4, 2009

historical museum for writer Knut Hamsun including exhibition areas, library, reading room, cafe and 230 seat auditorium
Recognition and awards

In 1998, Holl was awarded the prestigious Alvar Aalto Medal.

in July 2001, Time named Holl America’s Best Architect, for "buildings that satisfy the spirit as well as the eye."

In 2007, Steven Holl Architects received the AIA Institute Honor Award

In 2010, Herning Museum of Contemporary Art (Herning, Denmark) was awarded the RIBA International Award.

The Horizontal Skyscraper-Vanke Center received the 2011 AIA Institute NationaL AWARD


Steven Holl was born on December 9, 1947, Bremerton, Washington
he graduated from the University of Washington in 1970
He has built buildings in North America, Europe, and West Asia
What makes him special?
the ability to blend space and light
utilize the unique qualities of each project like the surrounding
he focused on cultural and historic importance in his work
Quotes
RICHARD LACAYO writes, "Holl, who grew up in the cloudy Pacific Northwest, designs buildings that cherish and supervise every sunbeam"

Terry Riley says, "Holl took some very familiar elements from the existing historical landscape, broke them down into their constituent parts and represented them on an urban scale”

"It’s always about the clients ... Without good clients you can’t have good architecture." Steven Holl


Influence on Me
Take advatage of the shadow that shapes make
use more curves not just cells of boxes
have fun with my work
Some Famous Work of His
PRODUCT DESIGN
QUARTODILUNA
2008-2008

PROGRAM: mirror with laser cut texture; shelf in canaletto walnut with laser engravings
BackPrev ProjectNext Project


HINGELESS FRONT CABINET
2007-2007

PROGRAM: cabinet: lasercut Canaletto walnut and aluminum with vegetal oil finish
RIDDLED TABLE 2007
2007-2007

PROGRAM: table: lasercut Canaletto walnut and aluminum with vegetal oil finish and a glass top
RIDDLED CABINET
2006-2006

PROGRAM: cabinet: lasercut Canaletto walnut and aluminum with vegetal oil finish
RIDDLED TABLE
2006-2006

PROGRAM: table: lasercut Canaletto walnut with a vegetal oil finish
A-CHAIR
1980-1980, 2005

CITE DE L'OCEAN ET DU SURF
Biarritz, France, 2005-2011

exhibition area, auditorium, restaurant, cafeteria and offices

T SPACE
Dutchess County, NY, March 2010-Oct 3, 2010

gallery space
HERNING MUSEUM OF CONTEMPORARY ART
Herning, Denmark, 2005-Sep 9, 2009

temporary exhibition galleries, 150 seat auditorium, music rehearsal rooms, restaurant, media library and administrative offices

THE NELSON-ATKINS MUSEUM OF ART
Kansas City, MO, United States, 1999-June 9, 2007

museum addition and renovation
KIASMA MUSEUM OF CONTEMPORARY ART
Helsinki, Finland, 1992-1998

BEIRUT MARINA - ZAITUNAY BAY
Beirut, Lebanon, 2002-2013

apartments, restaurants, outdoor public spaces with site specific art installations, specialty stores, harbormaster, yacht club, and public facilities
LINKED HYBRID
Beijing, China, 2003-2009

644 apartments, public green space, commercial zones, hotel, cinemateque, kindergarten, Montessori school, underground parking.
HORIZONTAL SKYSCRAPER - VANKE CENTER
Shenzhen, China, 2006-2009

mixed-use building including hotel, offices, serviced apartments, and public park
LOISIUM HOTEL
Langenlois, Austria, 2001-2005

Hotel with 82 hotel rooms, lobby, bar, cigar lounge, restaurant, conference rooms and Aveda Spa
D.E. SHAW & CO. OFFICES
New York, NY, United States, 1991-1992

reception area, offices, conference rooms, and trading area for digital trading company
WATERCOLOURS
CHAPEL OF ST. IGNATIUAS Seattle, WA, United States 1994-1997
INTRODUCTION
PROGRAM: Jesuit chapel for Seattle University
CLIENT: Seattle University
SIZE: 6,100 sf
STATUS: completed"
"Steven Holl's Chapel of St. Ignatius transformed the pleasant and respectable, but otherwise unremarkable Seattle University campus into one whose center of gravity is now

a work of international architectural significance.
Architect Steven Holl chose "A Gathering of Different Lights" as the guiding concept for the design of the Chapel of St. Ignatius.

This metaphor describes Seattle University's mission and it also refers to St. Ignatius vision of the spiritual life as comprising many interior lights and darknesses, which he called consolations and desolations.

Holl conceived of the chapel as "seven bottles of light in a stone box."

With each bottle or vessel of light corresponding to a focal aspect of Catholic worship.

Light passes through each bottle in a specific area of the building to define physical and spiritual spaces with pools of clear and colored light.


CONCEPT
Holl designs buildings to be read much like poetry, on many levels - form, metaphor, symbol, structure'
North Elevation
East Elevation
West Elevation
South Elevation
The 600 sq m Jesuit Chapel of St. Ignatius starts from a well-mannered premise as to site and perimeter condition, then springs into architectural life

as interior volumes rise up to catch the natural light and emit, on winter evenings, a carefully calibrated glow.

Holl’s roofscape of zinc-clad vessels should prove to be an unusually articulate symbol of spiritual purpose'.
'Steven Holl’s work has always been marked by a dynamic modesty, an apparent simplicity around which an agenda of space, proportion and language is intensively explored.


Steven Holl made his church a journey through different passages of light - colored, clear, subdued, direct'.

The completed chapel has an engaging spirituality rarely found in contemporary buildings.

It offers a traditional sense of religious space with its Spartan, vaulted interiors, yet ignores most of the conventional rules of formality, symmetry, and order in favor of eccentric composition.

The combination of direct and reflected colors, and the various locations and intensities of sunlight creates a constantly changing, ethereal effect on the interior walls.


PLANAR HOUSE
AZ, United States, 2002-2005
PROGRAM: private residence

SIZE: 3,320 sf
STATUS: complete
This house is to be a part of, and vessel for, a large contemporary art collection.

Constructed of tilt-up concrete walls, the flat and rotated nature of the walls merges with the simple orthogonal requirements of the interiors for art.

Shape extensions and light and air chimneys connected to cooling pools articulate the planar geometry.

From a courtyard experienced at the entry of sequence, a ramp leads to a rooftop sculpture garden - a place of silence and reflection.
Even where Holl used glass, he played hide-and-seek games, placing perforated sheets of Cor-Ten steel in front of the main entrance.

As the lady of the house explains, 'The house is a vessel for the collection, and it's also become part of the collection''
The street façade blends into the desert greys, with the ageing steel fitting in perfectly.

Flourishes on the exterior are limited to the courtyard from where a ramp leads to a rooftop sculpture garden

The rear, with overhands for shading, is the largest expanse of light giving glass.

These sliding openings taking in views to the nearby Camelback Mountain.
Layout

The house is broken up into three functional areas.

The garage and master bedroom, together with the library form the quiet zone at front of the house.

To the rear are the dining and kitchen areas, located to soak up the views down to the mountain.

A contemplative study joins these rooms at the rear, cool in summer no doubt as the doors to both the pool behind and rear yard would form a breeze-way of cooled air.

Between the two spaces lies the gallery and living area, a perfect space for the owner to enjoy the collection.




Similar natural cooling techniques are employed inside, with the overhead light shafts linking to cooling pools on the floor below, a technique which combined with minimal unshaded glass, would keep air con bills to a minimum.
Holl sought a way to build the house that would emphasize vertical surfaces.

He found it in the “tilt-up method,” long a staple of warehouse construction: first the slab is poured, then the thinner wall slabs are poured right onto the floor (with a layer of grease to keep the new and old concrete from merging).

When the wall panels are dry, a crane raises them to 90 degrees, where roof beams lock them into place.

But while warehouse slabs typically are designed to create bland, windowless surfaces.

Holl designed his slabs to merge at some points and diverge at others.
For the interior of the 3,320-square-foot house, Holl followed standard gallery construction protocols.

He laid the floor (in this case, a continuous sea of gray terrazzo) before a single inside wall was built.

That means the walls can be moved if the owners decide to rearrange the spaces.

In the current configuration, there’s a long, gallery like living room, a den where the husband watches television and an office for the wife, with walls of deep-blue plaster.

The only place to sleep is in the master bedroom suite, with its spa like bathroom of Port Orford cedar
The kitchen, dining area and den share a south-facing glass façade shaded by a deep overhang

. Elsewhere, small skylights send sunbeams dancing across the plaster walls and shiny, dark gray floor. Beneath three of the skylights are shallow pools of water.

In his early plans Holl described the pools as a low-tech air-conditioning system: warm air would pass over the pools, causing cooling evaporation before ascending through the skylights.

In reality, the owners rarely open a house containing fragile artworks to the elements.
Holl himself admits that the pools and skylights “are not a blockbuster HVAC feature.”

In fact, what he created was a conceptual air-conditioning system, a fitting accompaniment to the couple’s conceptual art.

Indeed, the owners, who found Holl through art-world contacts in Chicago, are comfortable with him in part because his work is so much about ideas.
STEVEN HOLL


The Knut Hamsun Centre is a museum and educational centre

Dedicated to the life and work of the writer Knut Hamsun.

Knut Hamsun, Norway's most inventive twentieth-century writer.
. The architect Steven Holl was first contacted about designing a centre for Knut Hamsun in 1994.

. He traveled to Hamarøy and made a watercolour of the centre's design that looks quite similar to the building today.

. Holl was inspired by the Hamarøy nature and scenery, by Norwegian building tradition with stave churches and sod roofs, and by Hamsun's literature

The Knut Hamsun Centre
location:Hamarøy in Northern Norway
YEAR:
STATUS:COMPLETED
Steven Holl has described the Knut Hamsun Centre as "concretizing a Hamsun character in architectonic terms", and he continues:

"The concept for the museum, 'Building as a Body:Battleground of invisible Forces,' is realized from inside and out."

This concept is a quote from the 1974 translation of Hunger by Robert Bly.

The buildings' design has generated considerable attention and debate, and the Knut Hamsun Centre has received several national and international architecture awards.

Holl originally wanted the centre to be built close to Hamsun's childhood home in Hamsund, but local authorities moved it 5 km east, to Presteid, where Knut Hamsun spent a significant part of his childhood

The Knut Hamsun Centre was finished on August 4, 2009, the 150th anniversary of Knut Hamsun's birth, and the exhibition about Hamsun's life and work opened for the public in June 2010.

AWARDS
The design won the 1996 Progressive Architecture Award

Model of the building was purchased by Museum of Modern Art.


ABOUT BUILDING

Many other aspects of the building use the vernacular style as inspiration for reinterpretation.

The stained black wood exterior skin is characteristic of the great wooden stave Norse churches.

The rough white-painted concrete interiors are characterized by diagonal rays of light changing throughout the year.


THANK YOU
by
abinaya & syama
STEVEN HOLL
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