Steven Holl Interview: Spaces Like Music

Summary

In this insightful transcript, renowned architect Steven Holl discusses the transformative power of architecture, emphasizing its potential to change lives. He highlights his work on the Glasgow School of Art and the Kiasma Museum in Helsinki, detailing how light, structure, and space intertwine to create dynamic experiences. Holl advocates for an architecture deeply rooted in its context, rejecting the notion of a signature style, and instead champions a design philosophy that organically connects concept, structure, light, and material. He also touches on his approach to designing spaces with light as a material and the significance of the golden section ratio in his work, showcasing his commitment to creating spaces that resonate with both the individual and the collective.

Takeaways

• 🏛 The speaker believes that architecture has the potential to change people's lives and is grateful for the opportunity to create spaces that can make a difference.
• 🎨 The Glasgow School of Art is highlighted as a project that will change lives, with students showing great appreciation for the spaces created.
• 🤔 The speaker mentions criticism and resistance from critics who didn't understand the design and tried to prevent the building from being constructed.
• 🌟 The architecture of the Glasgow School of Art is described as being about the experience of moving through it, with a focus on structure, light, and circulation.
• 🌐 Steven Holl's architectural philosophy is rooted in Scandinavian origins and emphasizes the importance of place and meaning in design.
• 🏛 The Kiasma Museum in Helsinki was a pivotal project for Holl, marking a significant shift in his architectural career and reputation.
• 🏗️ Holl's approach to architecture involves starting with a concept and then developing the design from the inside out, focusing on the experience within the space.
• 💡 Light is considered a material in architecture, and the shaping of space is crucial, with a focus on how space works with light within a building.
• 🏞️ The Nelson-Atkins Museum of Art in Kansas City is an example of Holl's work, where he broke traditional rules to create a building that integrates with the landscape.
• 🏆 The Nelson-Atkins Museum was recognized by Time magazine as the best new museum of the year, showcasing the importance of interior spaces and light.
• 🎶 The speaker draws a parallel between architecture and music, suggesting that the conceptual underpinnings of a design should enhance the experience without needing to be understood explicitly.

Q & A

What does the speaker believe about the impact of architecture on people's lives?

The speaker believes that architecture has the potential to change people's lives and feels grateful for the opportunity to create spaces that can make a difference.

What is the significance of the Glasgow School of Art in the speaker's work?

The Glasgow School of Art is significant because the speaker believes it will change lives, as evidenced by the students' love for the spaces and the building's unique design that focuses on the experience of moving through it.

How does the speaker describe the design philosophy behind the Glasgow School of Art?

The design philosophy is based on the experience of going through the building, with a focus on how structure, light, and circulation intersect in a dynamic way to create a fantastic spatial energy that connects different art forms.

What is the speaker's background and how does it influence his architectural approach?

The speaker's origin is Scandinavian, with his grandfather being from Norway. This heritage, along with his manifesto 'Paradox' from 1988, influences his architectural approach, which emphasizes the importance of context and place in design.

What was the speaker's seminal project and why was it significant for him?

The Sverre Fehn's Kiasma Museum in Scandinavia was a seminal project for the speaker. It was significant because it was an international competition he won, which helped establish his career and reputation as an architect.

How does the speaker view the role of light in architecture?

The speaker views light as a material and believes that architecture is about shaping space with light. He emphasizes the importance of how light interacts with the structure, space, and materials in his designs.

What is the speaker's opinion on the trend of architects creating a 'signature style'?

The speaker is against the idea of creating a signature style that is applied across different cities and cultures. He believes architecture should be reinvented for every situation and be deeply connected to the place and its meaning.

What is the concept behind the design of the Kiasma Museum?

The concept behind the Kiasma Museum's design is the intertwining of culture and art, influenced by the low angle of the sun in the region. The building is designed to catch and bring in light, creating a unique experience.

How does the speaker approach the design of a new building in relation to an existing one?

The speaker believes in keeping the original building intact and creating a new building that integrates into the landscape, as demonstrated by his approach to the Nelson-Atkins Museum of Art in Kansas City.

What is the speaker's view on the importance of the golden section ratio in architecture?

The speaker believes in the perfection of the golden section ratio, which is found in nature and has been a consistent element in all his architectural designs, contributing to the harmony and proportion of his buildings.

How does the speaker describe the experience of visiting the Nelson-Atkins Museum of Art?

The speaker describes the experience as one that avoids museum fatigue due to the variety of experiences, the sequence of movement, and the integration of interior spaces with light, all of which contribute to a dynamic and engaging visit.

Outlines

00:00

🏛️ The Impact of Architecture on Life

Steven Holl, a renowned architect, discusses the transformative power of architecture, emphasizing its potential to enhance lives. He cites the Glasgow School of Art as a prime example, expressing pride in creating spaces that foster a love for art among students. Despite facing criticism and opposition from critics who failed to understand the building's design, Holl remains steadfast in his belief in the importance of the building's experience, highlighting its dynamic interplay of structure, light, and circulation. He also touches on his Scandinavian roots and the significance of the Kiasma Museum in Helsinki, which marked a turning point in his career, illustrating his philosophy of architecture being deeply connected to its site and context rather than pursuing a signature style.

05:01

🌟 The Role of Light and Concept in Architectural Design

Holl delves into his design philosophy, which is driven by the idea that each project should have a unique concept. He uses the Kiasma Museum as an example, explaining how the design was influenced by the intertwining of culture and art, as well as the region's unique sunlight angles. Holl believes that light is a material in architecture and that shaping space is central to his work. He rejects mono-functional object buildings, preferring projects that create meaningful public spaces, such as the Linked Hybrid in Beijing and the horizontal skyscraper in Vanke. He also shares his approach to designing the Nelson-Atkins Museum of Art in Kansas City, which involved breaking traditional rules to create a harmonious addition to the existing neoclassical building, focusing on the experience and sequence of movement within the space.

10:01

🏗️ The Process and Philosophy Behind Holl's Architectural Projects

Steven Holl outlines his design process, which begins with an internal concept and only later manifests in the building's exterior. He emphasizes the importance of the golden section ratio in his work, a principle he believes is ubiquitous in nature and contributes to the perfection of his designs. Holl's approach is to work from the inside out, ensuring that the interior spaces and their relationship with light are well-considered before finalizing the exterior. This method was particularly evident in his project in Helsinki, where the interior perspectives were developed before the exterior form. Holl's dedication to creating spaces that resonate with users on an experiential level, regardless of their knowledge of the underlying concepts, is a cornerstone of his architectural philosophy.

Keywords

💡Architecture

Architecture, as discussed in the video, refers to both the practice of designing buildings and the resulting structures themselves. It is central to the theme of the video as the speaker, Steven Holl, believes that architecture has the power to change people's lives. He mentions his work on the Glasgow School of Art as an example of how architectural spaces can positively impact students and critics alike.

💡Light

In the context of this video, light is not only a physical aspect of a building but also a material that shapes the experience within the architectural space. Steven Holl describes how light is integral to the design of his buildings, using it to create dynamic spatial energy and to connect different art forms within the Glasgow School of Art.

💡Scandinavian Origin

The speaker's Scandinavian origin is highlighted as a significant part of his identity and possibly his design philosophy. His grandfather's Norwegian roots and the speaker's connection to Scandinavia are mentioned, suggesting a cultural influence on his architectural approach.

💡Golden Section Ratio

The golden section ratio, also known as the golden ratio, is a mathematical concept that appears in nature and art, often associated with aesthetically pleasing proportions. Steven Holl mentions using this ratio in his architectural designs, indicating a belief in the universal harmony and beauty that this ratio represents.

💡Critics

Critics in the video are portrayed as individuals who initially opposed the construction of the Glasgow School of Art, possibly due to a lack of understanding or resistance to change. Their role is contrasted with the positive reception from students and the transformative impact of the architecture.

💡Spatial Energy

Spatial energy refers to the dynamic and emotional impact that a well-designed space can have on its occupants. Steven Holl discusses how the structure, light, and circulation in his buildings intersect in a dynamic way to create a spatial energy that fosters a connection between different art forms.

💡Intertwining

The concept of intertwining is used by Steven Holl to describe the integration of different elements within his architectural designs. For example, he discusses the intertwining of culture and art, and how his design for the Kiasma Museum in Helsinki captures this concept by creating a building that brings in light and connects with its surroundings.

💡Manifesto

A manifesto in this context is a public declaration of intentions or beliefs. Steven Holl mentions his 1988 manifesto 'Anchoring', which outlines his architectural philosophy. It emphasizes the importance of starting with a sight, a circumstance, and a program, and reinventing architecture for every unique situation.

💡Signature Style

Signature style refers to a distinctive and recognizable approach to design that an architect or designer becomes known for. Holl expresses his disinterest in creating a signature style, arguing instead for an architecture that is responsive to its context, culture, and climate, rather than being about the architect's personal brand.

💡Experiential Architecture

Experiential architecture focuses on the sensory and emotional experiences of the people who interact with a building. Steven Holl talks about the importance of the experience of moving through his buildings, such as the Glasgow School of Art, and how the design aims to create a dynamic and meaningful interaction with the space.

💡Neoclassical

Neoclassical architecture is a style that draws inspiration from the classical architecture of ancient Greece and Rome. In the video, Steven Holl discusses his approach to extending a neoclassical building, the Nelson-Atkins Museum of Art, by creating a new structure that integrates with the landscape rather than simply adding on to the existing building.

Highlights

Architecture has the potential to change people's lives.

Glasgow School of Art is expected to change lives with its spaces.

Critics tried to stop the Glasgow School of Art from being built due to misunderstanding.

The building is designed with an emphasis on the experience of moving through it.

Architecture should be about the place and its meaning, not just branding.

Steven Holl's origin is Scandinavian, influencing his architectural approach.

Key projects like the Kiasma Museum in Helsinki were seminal for Holl's career.

Holl believes in the importance of the golden section ratio in architecture.

Architecture should be reinvented for every situation, avoiding a signature style.

Holl's work emphasizes the experience and the intertwining of art forms within spaces.

Light is considered a material in shaping space in Holl's architecture.

The Nelson-Atkins Museum of Kansas City was designed to integrate with the landscape.

Holl's architecture focuses on the interior spaces and the sequence of movement.

The design process begins with an idea that drives the design, not just the exterior.

Architecture should be experienced like music, without needing to understand the technicalities.

Holl's manifesto 'Parallax' emphasizes the importance of context and situation in architecture.

The urban scale of architecture should shape public space and be open to the public.

Holl's architecture avoids mono-functional buildings, focusing on creating dynamic spaces.

The Nelson-Atkins Museum won Time magazine's best new museum of the year.

Transcripts

I believe architectures in art it

changes people's lives and I think

that's what architecture has the

potential to do and I'm feel enormous ly

grateful to have the chance to make a

few spaces that I think will change

people's lives I'm sure that the Glasgow

School of Art which we just opened on

April 9th will change lives you should

see the students in there I mean they

love the spaces the critics tried to

screw me tried to kill me before the

they tried to stop the building from

being built you know because they don't

understand it and they won't take the

time to look inside of it that's this

building was really is a building made

up of driven voids of light and it's a

building that is totally about the

experience of going through it and how

the structure and the light and the

circulation intersect and a really

dynamic way to give a fantastic spatial

energy that connects all these different

art forms textiles dude you're making

paintings sculpture this whole school of

art you know is in now this new dynamic

relationship because of the spaces

I'm Steven Holl here in New York in my

office I have an office in Beijing and

in Manhattan but my origin is really

Scandinavian my grandfather was born in

tonsberg norway and immigrated to

Seattle where my dad was born in

Mukilteo Washington and he's

full-blooded Norwegian ninety three and

a half years old and his first trip to

Europe was when I opened the key Osmond

Museum in May of 1998 which was a

seminal project for me and I was very

happy that it was in Scandinavia it was

a international competition for the

Museum of Contemporary Art which we

renamed kee Ozma intersection the Kia's

Matic intersection from the

Philosopher's merleau-ponty it came from

a book that I was reading when we were

doing the competition and I had an

office since 1974-75 but I was always

sleeping on a plywood shelf above the

entranceway and nobody knew it

so the key Ozma the Kelson key was a

kind of threshold building for us

because when we won it in 1993 we went

from almost nobody to six people and it

opened in 98 and put us I mean it

totally changed my office because it was

a competition international competition

and anonymously judged and we won first

place in 516 entries and there were you

know people like Alvaro Siza there were

very important people in it so that was

a big it my beginning life as an

architect in a way in terms of that kind

of work of culture where you're making

space for art it really be good became

the cosmic museum so I was very excited

about that

but my my position which I drew up in a

manifesto in 1988 is the book called

anchoring and I I said that architecture

really begins with a sight and a

circumstance a situation and a program

and should be re you know in a way

reinvented for every situation and I'm

not interested in making a signature

style that you move from one city or one

culture or one kind of climate to

another trying to establish yourself in

this coastal you know how this goes it

goes very easily in the 21st century

because the internet doesn't give you

any context so that people are making

architecture like in a way like Louis

Vuitton bags like kind of branding a

kind of operation which when you

actually visit the buildings in their in

their context to have meaning only based

on the the reputation the star architect

making this kind of implantation in it

and curiously enough there's a big

desire for it because each city wants

one Jeff Koons right each city wants one

we won't mention any names so I'm kind

of the opposite of that my position is

that architecture should be really about

the place and its meaning the idea that

drives the design should be also related

to the way that the structure and the

light and the space and the material are

in some kind of organic relation

something is tying all these things

together so each project has a kind of

idea that drives the design in the case

of of key ozma it's this intertwining

this notion of the inter 20 intertwining

of total Dante Bay the intertwining of

culture and art the intertwining of this

low angle of Sun that only reaches I

think 51 degrees even in the summer so

that building is like a catcher's mitt

to bring that light in and that that

concept sketch was actually made in

Helsinki the night I visited the site so

so so the

the the development of each project then

begins with some impulse and a concept

that's driving the design and and and I

I once had an exhibition called idea and

phenomena so I believe in the a priori

idea driving the design but I don't

think you need to know that to get the

meaning of the building so the phenomena

the experience you know a five year old

child walking into a space that I made

can understand it just like you can

understand a piece of music you don't

need to know that Beyla Bartok's

percussion celeste is divided into four

movements and they're made out of wood

win a lightweight instruments and heavy

you know drum percussion instruments and

even divider on the stage you don't need

to know all those conceptual strategies

that Bartok had to understate the music

to experience the music

and I would say also I believe that

light is a material I mean to me space

architecture is about shaping space I'm

you know we turned down projects where

we're just asked to do an object

building you know especially if it's

mono-functional turn down a lot of those

in in Abu Dhabi and in China we've made

like space with buildings like from

linked hybrid and Beijing where there's

822 story towers that form public space

to the horizontal skyscraper in van key

which is really about turning the entire

ground plane into a tropical garden open

to the public

elevating the building a kind of 30

meters above the ground so you can see

the sea so it's the shaping of space I

think on the urban scale but when you

come down to the interiors in the

building scale its how also how that

space works with light

in the nelson-atkins Museum of Kansas

City which was a building that we won in

another international competition in

1999 against tato Ando a lot of people

we broke the rules nearest but there's a

neoclassical building 1937 250,000 very

large building and you were supposed to

add on to the north and so ando added on

a glass box

Polson Park added on some pieces each

architect followed the rules and I said

this this is not the right thing to do

because you should keep that original

building intact and make a new building

that would integrate into the landscape

and I remember that the jury was a very

key jury because Jake Carter Brown the

head of the National Gallery was on the

jury ADA Louise Huxtable the greatest

architecture writer from the New York

Times was on the jury but was a very you

know was a large jury including the

director and I said I apologize I really

feel that I had to break the rules and I

really think now we have an exceptional

scheme an exceptional way to add 140,000

square feet onto your Neagle

neoclassical a stone building and it was

the idea of the stone and the feather

but I said boy I got the nerve to do

this I I read in your facade in the

limestone facade you know how they have

these sayings all around the building

and one of them was the soul has more

need for the ideal than of the real and

I said so this is an ideal scheme and

you know maybe we're going to be

eliminated because I know we're outside

the boundary of the site actually one of

them said but it's so long and I said

have you ever been to the Louisiana

Museum that's the one of the greatest

museums of art because of the experience

because of the variety of the experience

coming in and coming out in the

landscape coming into the sequence you

never get museum fatigue at the

Louisiana Museum and if you look at what

we're doing here it's shorter than the

Louisiana Museum and actually all the

head people on the jury had been to the

Louisiana so I actually used that bill

to win this competition in Kansas City

Time magazine named it the best new

museum of the year and all that kind of

things and it still stands for anybody

who goes and sees it realizes it's it's

all about the interior spaces and the

light and the sequence of movement

because there's nothing on the outside

and it's buried in the ground it comes

up in five lenses in the landscape so

but it works as a public space - at

night it's open it's a sculpture garden

people you know walk their dogs they jog

through it's a very porous and open kind

of place all of my architecture from the

very beginning has golden section ratio

you know something I really believe

that's perfect you know what's wrong

with it's in nature it's in the nautilus

shell it's in the solar wind it's

everywhere so like I I worked with that

since my father's house that's probably

the only thing that connects every

single building we've ever done so but

what happens is you have a concept but

then you go inside of it you try to

understand what the proportions are how

do you make these great proportions you

start using the relationship of the

golden section and you start thinking

about sequence of movement through so

there's no plans and that's just that's

the way I work I'm working from the

inside and then come to the outside

afterwards and that's the same thing we

did in Helsinki the interior

perspectives of the competition were

done before the outside forum was

settled and to larkey oh the director in

Helsinki she said well as soon as I saw

those watercolors of those interior

spaces I knew that was that's what we

needed

you