S E M I N A R STEVEN HOLL ARCHITECTS Steven Holl was born in 1947 in Bremerton, Washington BY 8 TH SEM 0502106193 RAJIB LOCHAN NAIK
STEVEN HOLL BIOGRAPHY Steven Holl was born in 1947 in Bremerton, Washington. He graduated from the University of Washington and pursued architecture studies in Rome in 1970. In 1976 he joined the Architectural Association in London and established STEVEN HOLL ARCHITECTS in New York City. Considered one of America’s most important architects, Steven Holl is recognised for his ability to blend space and light with great contextual sensitivity and to utilize the unique qualities of each project to create a concept-driven design. He specializes in seamlessly integrating new projects into contexts with particular cultural and historic importance.
Photograph courtesy of Mark Heithoff Steven Holl has realized cultural, civic, academic and residential projects both in the United States and internationally. The Kiasma Museum of Contemporary Art in Helsinki, Finland (1998) is generally considered to be his masterpiece. Other notable work includes The Sarphatistraat Offices, Amsterdam (2000) and Chapel of St. Ignatius, Seattle, Washington (1997). Some of his firm’s current work includes the Higgins Hall Center Section at the Pratt Institue School of Architecture, Brooklyn, New York; the Loisium Hotel and Spa, Langenlois, Austria; School of Art and Art History, University of Iowa; Swiss Embassy Residence, Washington, D.C.; and the expansion and renovation of the Nelson Atkins Museum of Art,
Kansas City, Missouri. Recently Steven Holl Architects won two international design competitions and was selected to design the Cite du Surf et de l’Ocean, in Biarritz, France; and Sail Hybrid, a seaside resort project in the town of Knokke-Heist, Belgium. HUDSON YARDS Steven Holl has been recognized with architecture’s most prestigious awards and prizes. In 2003 he was named Honorary Fellow of the Royal Institute of British Architects (FRIBA). In 2002 the Cooper Hewitt National Design Museum, part of the Smithsonian Institute, awarded him their prestigious National Design Award in Architecture. In 2001 France bestowed the Grande Médaille d’Or upon him, for Best Architect of the Academy of Architecture; and in the same year Time Magazine declared him “America’s Best Architect” for his ‘buildings that satisfy the spirit as well as the eye’. In 1998 he was awarded the Chrysler Award for Innovation in Design and in the same year was the recipient of the prestigious Alvar Aalto Medal. The New York American Institute of Architects awarded him with their Medal of Honor in 1997. In 1990 the American Academy of Arts and Letters selected Steven Holl to receive the Arnold W. Brunner Prize for Achievement in Architecture as an Art.
Steven Holl is a tenured Professor at Columbia University’s Graduate School of Architecture and Planning. He has lectured and exhibited widely and has published numerous textsincluding Anchoring (1989) and Parallax (2000). He is a member of the American National Council of Architectural Registration Boards (NCARB), the American Institute of Architects, the American Association of Museums, the Honorary Whitney Circle, the Whitney Museum of American Art; and the International Honorary Committee, Vilpuri Library, of the Alvar Aalto Foundation. Selected Honors: 2007 AIA/COTE Top Ten Green Project / Whitney Water Purification Facility and Park 2007 AIA NY Architecture Honor Award / Higgins Hall Center Section at the Pratt Institute, Brooklyn 2007 AIA NY Architecture Honor Award / New Residence at the Swiss Embassy, Washington, D.C. 2007 AIA NY Architecture Merit Award / School of Art & Art History, University of Iowa, Iowa City 2007 AIA Institute Honor Award, School of Art & Art History, Iowa City 2006 Honorary Doctorate, Seattle University, Seattle 2006 Maholy-Nagy University of Art and Design, Budapest, Hungary
2006 AIA Iowa Honor Award of Excellence / School of Art & Art History, Iowa City 2006 Roger H. Corbetta Merit Award, Concrete Industry Board / Central Section Higgins Hall 2006 New York Chapter American Institute of Architects Merit Award / Planar House 2006 New York Chapter American Institute of Architects Citation / Sail Hybrid, Knokke Heist, Belgium 2005 New York Chapter American Institute of Architects Honor Award / Lake Whitney Water Purification Plant 2005 Benjamin Moore Hue Award 2004 International Parking Institute, Award of Excellence for best design of a parking facility, Nelson Atkins Museum of Art, Kansas City, MO 2003 NY AIA Project Award for Loisium Visitors' Center, Langenlois, Austria 2003 Honorary Fellow of the Royal Institute of British Architects
2003 AIA National Honor Award / Simmons Hall, MIT Undergraduate Residence 2002 Cooper Hewitt National Design Award for Architecture 2002 New York AIA Design Award / Simmons Hall, MIT Undergraduate Residence College of Architecture and Landscape Architecture, University of Minnesota 2001 L’AcademieD’Architecture’s Grande Medaille d’Or (Paris) 2001 Seattle AIA Design Award / Bellevue Art Museum, Bellevue, WA 2000 Progressive Architecture Awards / Nelson Atkins Museum of Art; MIT Undergraduate Residence 2001 1999 New York AIA Design Award / Cranbrook Institute of Science, Bloomfield Hills, MI 1999 New York AIA Project Award / Nelson-Atkins Museum of Art, Kansas City, MO 1999 National AIA Design Award / Kiasma, The Museum of Contemporary Art, Helsinki 1998 Chrysler Award for Innovation in Design 1998 Alvar Aalto Medal
1998 National AIA Design Award / Chapel of St. Ignatius, Seattle University 1997 Japanese Building Contractors Society Award / Makuhari Housing, Chiba, Japan 1997 National AIA Religious Architecture Award / Chapel of St. Ignatius, Seattle University 1997 New York AIA Medal of Honor Award 1996 Progressive Architecture Awards / Knut Hamsun, Bødo, Norway; Museum of the City, Cassino, Italy 1995 NYC AIA Design Awards / Cranbrook Institute of Science, MI; Chapel of St. Ignatius 1993 NYC AIA Architecture Project Award / Makuhari Housing, Makuhari, Japan 1993 AIA National Honor Award / Texas Stretto House, Dallas, Texas 1992 AIA National Honor Award / D.E. Shaw & Co. Offices, New York, NY 1991 NYC Art Commission Excellence in Design Award The Renovation of the Strand Theater,Brooklyn, NY 1991 AIA National Honor Award / Hybrid Building, Seaside, FLA
CAREER Holl graduated from the University of Washington and pursued architecture studies in Rome in 1970. In 1976, he joined the Architectural Association in London and established his offices New York City, and has taught at Columbia University since 1981. Holl's architecture has undergone a shift in emphasis, from his earlier concern with typology to his current concern with a phenomenological approach; that is, with a concern for man's existentialist, bodily engagement with his surroundings. The shift came about partly due to his interest in the writings of philosopher Maurice Merleau-Ponty and architect-theorist JuhaniPallasmaa. Steven Holl's design for Simmons Hall of MIT won the Harleston Parker Medal in 2004 Bloch Addition to the Nelson-Atkins Museum of Art
In 1998 Holl was awarded the prestigious Alvar Aalto Medal. In 2000, Holl was elected to The American Academy of Arts and Letters. In July 2001 Time magazine named Steven Holl as America’s Best Architect, for "buildings that satisfy the spirit as well as the eye". Awards include the 2008 BBVA Foundation Frontiers of Knowledge Award in the Arts category, Honorary Fellow of the Royal Institute of British Architects (2003), the Smithsonian Institution’s Cooper Hewitt National Design Award in Architecture (2002), the French Grande Médaille d’Or (2001), the prestigious Alvar Aalto Medal (1998), the Arnold W. Brunner Prize in Architecture from the American Academy of Arts and Letters, and the New York American Institute of Architects Medal of Honor (1997). Most recently Steven Holl Architects the School of Art & Art History (University of Iowa, Iowa City) received the AIA 2007 Institute Honor Award for and the AIA New York Chapter 2007 Merit Architecture Award. The Center Section at the Pratt Institute (Brooklyn, New York) and the New Residence at the Swiss Embassy both received the AIA New York Chapter 2007 Honor Architecture Award. Along with Pallasmaa and Alberto Perez-Gomez, Holl wrote essays for a 1994 special issue of the Japanese architectural journal A+U under the title "Questions of Perception: Phenomenology of Architecture." The publication was reissued as a book in 2006.
Notable works Expansion of the Nelson-Atkins Museum of Art in Kansas City, Missouri. School of Art and Art History, The University of Iowa, Iowa City, Iowa. Linked Hybrid, Beijing (2009). Kiasma, Museum of Contemporary Arts, Helsinki (1993–1998). Cranbrook Institute of Science, Bloomfield Hills, Michigan. Planar House (Cottle Residence), Paradise Valley, Arizona. Turbulence House, New Mexico. Stretto House, Dallas, Texas (1989–92). Chapel of St. Ignatius (at Seattle University), Seattle, Washington (1994–97). Sarphatistraat Offices, Amsterdam, The Netherlands. Bellevue Arts Museum, Bellevue, Washington. Pratt Institute Higgins Hall Center Section, Brooklyn, NY. Storefront for Art and Architecture, New York City. Hybrid Building, Seaside, Florida (1984–88). Berlin AGB Library, Berlin, Germany (entry for a competition in 1988). Void Space Housing, Nexus World, Fukuoka, Japan (1989–91). Residence of the Ambassador of Switzerland, Washington, DC (2006). College of Architecture and Landscape Architecture, University of Minnesota, Minneapolis, MN (2002). The Knut Hamsun Centre (Hamsunsenteret), Nordland, Norway (2009) Kiasma, Helsinki, 1993-1998
Check our Books & Magazines section Linked Hybrid Linked Hybrid Architect: Steven Holl ArchitectsLocation: Beijing, ChinaProgram: 750 apartments, public green space, commercial zones, hotel, cinemateque, kindergarten, Montessori school, underground parkingClient: Modern Green Development Co., Ltd. BeijingProject Area: 220,000Project year: 2003-2009Photographs: Iwan Baan, SHA, Shu He
The 220,000 square meter pedestrian-oriented Linked Hybrid complex, sited adjacent to the site of old city wall of Beijing, aims to counter the current urban developments in China by creating a new twenty-first century porous urban space, inviting and open to the public from every side. Filmic urban public space; around, over and through multifaceted spatial layers, as well as the many passages through the project, make the Linked Hybrid an “open city within a city”. The project promotes interactive relations and encourages encounters in the public spaces that vary from commercial, residential, and educational to recreational. The entire complex is a three-dimensional urban space in which buildings on the ground, under the ground and over the ground are fused together. programatic floor plan
The ground level offers a number of open passages for all people (residents and visitors) to walk through. These passages ensure a micro-urbanisms of small scale. Shops activate the urban space surrounding the large reflecting pond. On the intermediate level of the lower buildings, public roofs gardens offer tranquil green spaces, and at the top of the eight residential towers private roof gardens are connected to the penthouses. All public functions on the ground level, – including a restaurant, hotel, Montessori school, kindergarten, and cinema – have connections with the green spaces surrounding and penetrating the project. The elevator displaces like a “jump cut” to another series of passages on a higher levels. From the 12th to the 18th floor a multi-functional series of skybridges with a swimming pool, a fitness room, a café, a gallery, auditorium and a mini salon connects the eight residential towers and the hotel tower, and offers spectacular views over the unfolding city. Programmatically this loop aspires to be semi-lattice-like rather than simplistically linear. We hope the public sky-loop and the base-loop will constantly generate random relationships. They will function as social condensers resulting in a special experience of city life to both residents and visitors. geothermal diagram
HORIZONTAL SKYSCRAPER - VANKE CENTERShenzhen, China, 2006-2009 PROGRAM: mixed-use building including hotel, offices, condominiums, and public parkCLIENT: Shenzhen Vanke Real Estate Co.SIZE: 1,296,459 sfSTATUS: construction phaseHovering over a tropical garden, this 'horizontal skyscraper' -as long as the Empire State Building is tall- unites into one vision the headquarters for Vanke Co. ltd, office spaces, apartments, and a hotel. A conference center, spa and parking are located under the large green, public landscape. The building appears as if it were once floating on a higher sea that has now subsided; leaving the structure propped up high on eight legs. The decision to float one large structure right under the 35-meter height limit, instead of several smaller structures each catering to a specific program, was inspired by the hope to create views over the lower developments of surrounding sites to the South China Sea, and to generate the largest possible green space open to the public on the ground level.
The underside of the floating structure becomes its main elevation from which sunken glass cubes, the so-called Shenzhen windows, offer 360-degree views over the lush tropical landscape below. Covering the entire length of the building a public path has been proposed to connect through the hotel, and the apartment zones up to the office wings. The floating horizontal building allows sea and land breezes to pass through the public gardens. The landscape, inspired by Roberto Burle Marx' gardens in Brazil contains restaurants and cafes in vegetated mounds bracketed with pools and walkways. At night a walk through this landscape of flowering tropical plants will mix the smell of jasmine with the colorful glow of the undersides of the structure floating above. As a tropical, sustainable 21st century vision the building and the landscape integrate several new sustainable aspects. The Vanke Headquarter wing of the floating horizontal skyscraper is aimed at LEED Platinum. The Vanke Center is a tsunami-proof 21st century hovering architecture that creates a porous micro-climate of freed landscape.
THE NEW, NEW CITY - LIFE IN AN INSTANT CITYThe New York Times - T Magazine, Nicolai Ouroussoff, June 8, 2008 Holl is continuing to explore these ideas in another megaproject, this time on the outskirts of Shenzhen: a zigzag-shaped complex propped up on big steel columns that make room for a dreamy public garden. Linked Hybrid,” is one of the most innovative housing complexes anywhere in the world: eight asymmetrical towers joined by a network of enclosed bridges that create a pedestrian zone in the sky. [..] Take Holl's Linked Hybrid in Beijing, for example, which has a surprisingly open, communal spirit. A series of massive portals lead from the street to an elaborate internal courtyard garden, a restaurant, a theater and a kindergarten, integrating the complex into the surrounding neighborhood. Bridges connect the towers above ground and are conceived as a continuous ring of public zones, with bars and nightclubs overlooking a glittering view of the city and a suspended swimming pool.
"The design for the Vanke Headquarters takes care to use renewable and recyclable materials. All the doors, floors and furniture are made from bamboo, which is easily available in the area and quickly renewable, and the carpets throughout the building are made from completely recycled material. Special windows are designed to keep the building cool by blocking solar heat while still allowing plenty of sunlight, lowering the cost of air conditioning. In addition, the Vanke Headquarters' roof is covered by solar panels, which will provide up to 15 percent of the office's electricity. And, in preparation for the future, the building provides electric car parking and charging stations. "I think we design for the future; we cannot design for the past," Li says. "A good building always provides opportunities for the future."“ Marcus Schulz, China Daily "The design for the Vanke Headquarters takes care to use renewable and recyclable materials. All the doors, floors and furniture are made from bamboo, which is easily available in the area and quickly renewable, and the carpets throughout the building are made from completely recycled material. Special windows are designed to keep the building cool by blocking solar heat while still allowing plenty of sunlight, lowering the cost of air conditioning. In addition, the Vanke Headquarters' roof is covered by solar panels, which will provide up to 15 percent of the office's electricity. And, in preparation for the future, the building provides electric car parking and charging stations. "I think we design for the future; we cannot design for the past," Li says. "A good building always provides opportunities for the future."" -Marcus Schulz, China Daily
HYBRIDS II: LOW-RISE MIXED-USE BUILDINGSa+t, February 2009 'Amidst the galloping land privatisation in the outskirts of Chinese cities, the programme is built above the ground level, and by doing so the private lot becomes a public park. The project reconsiders the traditional concept of the isolated corporate campus and breaks away from the usual distribution of uses in different volumes, typical in these types of mini-cities. Here, one single container promotes interaction of uses and users with its semi-public indoor walk that connects the different programmes.'
INCREDIBLE HOLLDomus 898, Rita Capezzuto, December 2006 'A horizontal megastructure, lifted to a variable height of nine to fourteen metres off the ground, will stretch over an invented landscape designed - as Holl himself states - "like a scribble'.
AWARDS AIA NY ARCHITECTURE HONOR AWARD, USA, 2010GOOD DESIGN IS GOOD BUSINESS AWARD, China, 2010 CREDITSarchitect– Steven Holl ArchitectsSteven Holl, Li Hu (design architect)Li Hu (partner in charge)Yimei Chan, Gong Dong (project manager)Garrick Ambrose (project architect - SD/DD)Maren Koehler, Jay Siebenmorgen (project architect - DD)Christopher Brokaw, Rodolfo Dias (project architect - CD)Eric Li (assistant project architect)Jason Anderson, Guanlan Cao, Lesley Chang, ClemenceEliard, Forrest Fulton, Nick Gelpi, M. EmranHossain, Seung Hyun Kang, JongSeo Lee, Wan-Jen Lin, Richard Liu, Jackie Luk, Enrique Moya-Angeler, Roberto Requejo, JiangtaoShen, Michael Rusch, Filipe Taboada (project team)Steven Holl, Li Hu, Gong Dong, Justin Allen, Garrick Ambrose, Johnna Brazier, KefeiCai, Yenling Chen, Hideki Hirahara, Eric Li, Filipe Taboada (project team, competition phase)associate architectsstructural engineer (SD/DD)– CABR
structural engineer (CD/CA)– CCDImechanical engineer– CCDIlandscape architect– Steven Holl Architects– CCDIcurtain wall consultant– Yuanda Curtain-walllighting consultant– L'Observatoire International – CCDIclimate engineers– Transsolar
SHENZHEN 4 TOWER IN 1Shenzhen, China, 2008 PROGRAM: master plan for office headquarters with four office towers, restaurants, cafe, fitness facilities, galleries, auditorium, and retail.CLIENT: Shenzhen Planning Bureau / Shenzhen Media Group / China Construction Bank / China Insurance Group / Southern and Bosera FundsSTATUS: competition The "Shenzhen 4 Tower in 1" competition design for the master plan is based on the concept of tropical skyscrapers as Shade Machines with a Social Bracket connecting the towers and the street level with a horizontal structure containing public programs and a rooftop water garden.
The Social Bracket gathers the public programs from all four towers, combining them as one continuous element that links the four sites with the city streets and pedestrian traffic. Supporting programs for the towers, such as cafeterias and gyms, are combined in the Social Bracket and enhanced with cultural programs such as art galleries, auditoriums, and a cinema. The Social Bracket's sculpted form allows it to negotiate between environmental restrictions and the requirements of the public programs. It features a continuous roof garden park that collects storm water and recycles all the greywater from the four skyscrapers. Roof garden ponds and plantings utilize the combined storm water and greywater after passage through a central ultraviolet filter system. A public route connects the subway into the Social Bracket, linking directly to all four towers. Connecting across the Stock Exchange Plaza, the new elevated bracket acts as an urban interface between the business-centric district to the south and the residential area to the north.
The design for the four towers as Shade Machines utilizes circular building footprints to maximize the interior space and open views while minimizing the exterior envelope. The optimized office floors are connected via double-height and triple-height social spaces on alternating sides of the towers. Automatic solar tracking screens made of perforated PV cells make one full rotation per day around the circumference of each building, collecting enough PV energy to cool the towers completely. Always oriented towards the sun, the moving shades harvest solar energy and block solar heat gain, their louvered sections tilting to horizontal orientation at noon to gather maximum sunlight. The one-meter deep louvers block high-angle solar gain and bounce diffused natural light onto the ceilings deep into the floor plate. The screens' full rotation per day allows the towers to act as an urban clock with synchronized rotation in time even on cloudy days.
CREDITSarchitect– Steven Holl ArchitectsSteven Holl, Chris McVoy, Li Hu (design architect)Human Tieliu Wu (project architect)Marcus Carter, Joseph Kan, Gabriela Pinto, DominikSigg, Asami Takahashi (project team)structural engineer– Guy Nordenson and Associatessite sustainability consultant– Transsolar
LOISIUM VISITOR CENTERLangenlois, Austria, 2001-2003 PROGRAM: Visitor Center and Exhibition Space for WineryCLIENT: LoisiumHotelbetriebs GmbH & Co. KGSIZE: 13,200 sfSTATUS: completed On the edge of the town of Langenlois, 60 minutes west of Vienna, on a gently south-sloping vineyard, a new wine center and visitors' facility is built celebrating the rich local heritage of a magnificent wine vault system. This historic subterranean network, which includes stone passages that are 900 years old, underlies the urban plan of the town. The project is composed of three parts: the existing vaults, which will be accessible to visitors, the wine center and a hotel with a fine restaurant, conference and meeting facilities, an Aveda spa and 82 guest rooms. The Wine Center's design concept is derived from the geometry of the wine vaults. The simple 24m x 24m x 17m volume is cut and liced to create a rich geometry. Some of the deep cuts are glazed in recycled bottle glass with rich green hues that cast their lustrous light on the interior.
parcially set into the earth of the vineyard, the slight forward tilt of the structure indicates its subterranean connection by ramp to the antique vault system. Upon entering, the visitor perceives a wonderful volume of space and steps out to the vineyard and past a café. A foot path leads down to the entrance of the vault system. The return journey is made through a ramped passage dappled with light refracted through a reflecting pool. The visitor then arrives on the lowest level of the building which houses a wine bar, a multi-purpose area and a shop with local products and books. Stairs and ramps connect to ground level with a generous wine shop and an upper floor with seminar rooms and offices. The roof terrace with spectacular views over the surrounding landscape and town can be made accessible on special occasions.
'Along with the bold geometry and glimmering skin, a striking playfulness distinguishes the structure from its architectural neighbors. The building tilts at a 5-degree angle, as if it were tipsy, allowing Holl to sink approximately one third of the cube into the ground and link it via tunnel, in an apparently effortless way, to a 900-year old network of wine vaults, about 65 feet downhill from the cube. - Linking old and new, Holl managed to insert a Modern and idiosyncratic structure into the periphery of a historic region. And perhaps because of his refusal to yield to the pressure of ersatz surroundings, his leaning, aluminum-clad cube seems right at home on the hillside...'-LianeLefaivre, Architectural Record, July, 2004 CREDITSarchitect– Steven Holl ArchitectsSteven Holl (design architect)Christian Wassmann (project architect)Garrick Ambrose, Dominink Bachmann, Rodolfo Dias, Peter Englaender, Johan van Lierop, Chris McVoy, Ernest Ng, Olaf Schmidt, Brett Snyder, Irene Vogt (project team)
local architect– ARGE ArchitektenIrene Ott-Reinisch, Franz Sam (DI)Simone Ammersdorfer, Andreas Laimer, Bernd Leopold, Karin Sam (local project team) structural engineer– Retter & Partner GmbH, A-Kremsmechanical engineer– Altherm Engineering, A-Badendoor handle designer– SolangeFabiãoSolangeFabiãodoor handle manufacturer– Olivari
SLICED POROSITY BLOCKChengdu, China, 2007-2012 PROGRAM: five towers with offices, serviced apartments, retail, a hotel, cafes, and restaurantsCLIENT: CapitaLand DevelopmentBUILDING AREA (SQUARE): 3,336,812STATUS: construction phase The 'Sliced Porosity Block' will be located just south of the intersection of the First Ring Road and Ren Min Nan Road. Its sun sliced geometry results from minimum daylight exposures to the surrounding urban fabric prescribed by code. Porous and inviting from every side, five vertical entrances cut through a layer of micro-urban shopping before leading to the elevated public 'Three Valley' plaza. A great urban terrace on the scale of Rockefeller Center, this multi-level plaza in the center of the complex is sculpted by stone steps, ramps, trees, and ponds and caters to special events or to a casual afternoon in the sun. Here the public space parallax of overlapping geometries in strict black and white is supercharged by color that glows from the shops positioned underneath the plaza.
The three generous ponds on the plaza are inspired by a poem by Du Fu (713-770), in which he describes how 'Time has left stranded in Three Valleys'. (Du Fu was one of ancient China's most important poets, who spent a part of his life in Chengdu). These three ponds function as skylights to the six-story shopping precinct below. Residing on voids in the facades of the sculpted blocks three pavilions are designed by Steven Holl (history pavilion), Lebbeus Woods (high tech pavilion), and Ai Wei Wei (Du Fu pavilion). The 'Sliced Porosity Block' is heated and cooled geo-thermally and the large plaza ponds harvest recycled rainwater while the natural grasses and lily pads create a natural cooling effect. High-performance glazing, energy-efficient equipment and the use of regional materials are just a few of the other methods employed to reach the LEED gold rating.
CREDITSarchitect– Steven Holl ArchitectsSteven Holl, Li Hu (design architect)Roberto Bannura (associate in charge)Lan Wu (project architect, Beijing)HaikoCornelissen, Peter Englaender, JongSeo Lee (project architect, New York)ChristianeDeptolla, IngeGoudsmit, Maki Matsubayashi, Sarah Nichols, Martin Zimmerli (project designer)Justin Allen, Jason Anderson, Francesco Bartolozzi, Guanlan Cao, Yimei Chan, Sofie Holm Christensen, EsinErez, AyatFadaifard, Mingcheng Fu, Forrest Fulton, RunarHalldorsson, M. EmranHossain, Joseph Kan, Suping Li, Tz-Li Lin, Yan Liu, Jackie Luk, Daijiro Nakayama, PietroPeyron, Roberto Requejo, Elena Rojas-Danielsen, Michael Rusch, Ida Sze, Filipe Taboada, Manta Weihermann, EbbieWisecarver, Human Tieliu Wu, Jin-Ling Yu (project team)
associate architects– China Academy of Building ResearchHong Jin, Wang Zhenming, Lu Yan (project team)MEP and fire engineer– Ove Arup & PartnersLEED consultant– Ove Arup & Partnersstructural engineer– China Academy of Building ResearchLiu Junjin, Zhu Huosheng (senior engineer) quantity surveyor– Davis Langdon & Seah (DLS)Hu Ping, Sun Ying (deputy manager)traffic consultant– MVAMichael Chiu (director)Kent Liang (project manager)– MVA Hong Kong ltd View News25 February 2008: Steven Holl Architects To Build Sliced Porosity Block in Chengdu, China
THE NELSON-ATKINS MUSEUM OF ARTKansas City, MO, United States, 1999-June 9, 2007 PROGRAM: museum addition and renovationCLIENT: Nelson-Atkins Museum of ArtSIZE: 165,000 sfCONSTRUCTION COST: $85,900,000STATUS: completed This competition winning addition is composed of five interconnected structures as opposed to a single massive expansion. Traversing from the existing building across its sculpture park, the five built "lenses" form new spaces and angles of vision. From the movement through the landscape and threaded between the light openings, exhilarating new experiences of the existing Museum will be formed. Circulation and exhibition merge as one can look from one level to another, from inside to outside. The "meandering" path in the sculpture garden above has its sinuous compliment in open flow through the continuous level of new galleries. Glass lenses bring different qualities of light to the galleries while the sculpture garden's pathways wind through them
'Steven Holl's expansion of The Nelson-Atkins Museum of Art infuses Modernism into the grassy landscape of the site, contrasting the 1933 Classical structure with five glass-lens boxes that gather, diffuse, and refract light into new gallery spaces. (...) The museum extension features multiple entry points, an attempt to open the world of art inside to the larger community.'-Architectural Record What Steven Holl and his design partner Chris McVoy have achieved here is a dramatic transformation that manages to reconcile what in lesser hands might have been irreconcilable. They created an utterly 21st century addition taht is different in every way to the original structure yet in no way detracts from it. (...) The museum authorities are understandably thrilled with this amazing transformation. They feel Holl and his team arrived at a brilliant solution that completely fulfilled the requirements of the museum's strategic plan and its architectural programme while responding creatively to the injunctions of the community.'-Des O'Sullivan, Irish Examiner A fantastic new addition to the museum is the much-acclaimed Bloch Building, which opened last summer. Designed by the architect Steven Holl, it comprises five translucent glass structures. By day, they provide an ethereal ambience in which to view the contemporary art on show and, by night, glow like Japanese lanterns adjacent to the main museum.'-Elizabeth Fullerton, Financial Times
'The most highly touted and maybe the best US building of the year was the astonishing Bloch Building, a wing of the Nelson-Atkins Museum of Art in Kansas City. Architect Steven Holl (...) added a series of glassy galleries that spill down a green hillside, each gallery looking like an iceberg heaving itself up out of the ground. Because the museum is free of charge, visitors can move in and out at will, going between the indoor galleries and the outdoor sculpture gardens.'-Robert Campbell, Boston Globe 'Adding a new wing to a neoclassical museum, Holl devised a spectacular update on classicism: an irregular series of volumes that cascade down the museum's lawn and glow from within. The effect against the nighttime sky is nothing short of magical.'-Richard Lacayo, Time 'Steven Holl Architects demonstrated outstanding dedication and commitment to the campus transformation project at the Nelson-Atkins Museum of Art. With your hard work and concentration on excellence, our partnership to create a visitor experience that visually delights and provides connection to the art is a success. The single-mindedness and enthusiasm demonstrated by Steven Holl Architects are praised and commended by every Trustee, staff member and volunteer. The tributes to your results have resonated around the world'. -Board of Trustees for Nelson Gallery Foundation, Nelson Atkins Museum, June 18, 2007
'With the exception of Steven Holl's extension to the Nelson-Atkins Museum in Kansas City, Mo., which opened to raves in the spring, no building by a prominent architect to debut this year escaped critical complaint or public ambivalence altogether.'-Christopher Hawthorne, Los Angeles Times 'Steven Holl Architects merges architecture, art and landscape into a unified experience for the Bloch Building at the Nelson-Atkins Museum of Art in Kansas City. Indeed, the integration of art, landscape, and architecture creates a dynamic whole where visitors - including this observer - are bowled over by the experience of meandering through and around the exterior and interior spaces. As the museumgoer walks through the Bloch Building, he or she is aware of the changing spaces, elongated and flowing into one another'.-Suzanne Stephens, Architectural Record, July, 2007 'By subtly interweaving his building with the museum's historic fabric and the surrounding landscape, he has produced a work of haunting power. For the art world, the addition, known as the Bloch Building, should reaffirm that art and architecture can happily coexist. (...) He has created a building that sensitizes visitors to the world around them. It's an approach that should be studied by anyone who sets out to design a museum from this point forward. '-Nicolai Ouroussoff, New York Times, June 6, 2007
'But it is on the inside that Holl shows his chops, using the most elusive and difficult materials: space and light. He has designed shape-shifting spaces that flow, like an unfolding narrative, down ramps and graceful steps, with a canted wall here, a curve in the high ceiling there, as a visitor moves through the galleries for contemporary art, African art and photography. Light spills in at unexpected moments, from above or from big panes of glass overlooking the garden.'-Cathleen McGuigan, Newsweek DerArchitekt Steven Holl hat den Erweiterungsbau des Nelson-Atkins-Museums in Kansas City zumskulpturalenEreigniswerdenlassen'.-JorgHantzschel, SuddeutcheZeitung, June 16, 2007 'Nighttime is the best time to see the new addition to the Nelson-Atkins Museum of Art; that's when it runs down the side of the Kansas City Sculpture Park like a string of paper lanterns following the contours of a suburban lawn. That's when it shows why, according to Time magazine, it's the "Most Anticipated Building" of 2007.'-Judith H. Dobrzynski, Wall Street Journal '(…) The museum expects annual attendance to grow from 350,000 to 450,000 (…) Mr. Wilson feels the shakeup is enough to induce repeat attendance, which he says is the standard by which the success of the museum's transformation will be measured.'-Jason Edward Kaufman, The Art Newspaper
'Lying along the eastern boundary of the site, the Bloch Building's luminescent vanes shift the entry court off axis in concert with Walter De Maria's reflecting pool, and then whisper by the stone to flicker and taper into the southern lawn'. -Michael Caldwell, Domus 904, June, 2007 'A study in soft light and sharp contrasts, Steven Holl's Bloch Building transforms the Nelson-Atkins Museum of Art in Kansas City, Missouri, from a respected regional institution into a focal point of worldwide attention. The dialogue between radically different yet interdependent buildings creates a contrast that heightens the features of each. Holl's design answers stone with glass, solidity with ethereality, ordered sequentiality with improvisational fluidity'. -Bill Millard, Icon, May, 2007 'The building is not just Holl's finest by far, but also one of the best of the last generation. Holl has produced as striking and inventive a piece of architectural form (...) and yet it is a serene and exhilarating place in which to view art'.-Paul Goldberger, The New Yorker, April 30, 2007 What Holl's buildings have in common is that all experiment with materials, with spatial arrangements and with ways of using light to delineate forms; the results are unexpected and compelling'. -Fred Bernstein, Art + Auction, April, 2007
'The white plenums punctuating the lawn are crucial to this ordered design, something that both the architect and client believe is a significant departure for a museum. Visitors to the spaces below will be able to see the changing patterns and luminosity of the sky.' -Beatrice Galilee, Icon 'Steven Holl sheds light on his new subterranean marvel (...). The evocative shapes, which the London Telegraph referred to as "the building blocks of America's best architect," could pass for luminous icebergs. (Like some kind of light D.J., Holl is a master of natural illumination.) The attention he is getting for the museum, set to open in June, is stirring up rumors of even bigger awards - and of new projects that could, with any luck, light up the Manhattan skyline.' -Owen Phillips, Men's Vogue 'Now that architecture is practically as glamorously daredevil as bullfighting, every year has its Most Anticipated Building. (...) This year there's just one: the Bloch Building, Steven Holl's addition to the Nelson-Atkins Museum of Art in Kansas City, Mo., which opens in June. It's going to be the year's most visible building on the strength of being the building that's not there. Holl gave the Nelson-Atkins 165,000 sq. ft. of new space by burying the space underground. (...) What appears aboveground are five irregular glass pavilions, transparent in some parts and translucent in others, which serve as vaulted glass ceilings for the galleries below while carrying out a kind of photon hydraulics. During the day they'll pour (diffused) light into the galleries. After dark, lit from within, they'll pump it back against the night sky. Call them lenses - Holl's term - or lanterns. They're illuminating'.-Richard Lacayo, Time, March 19, 2007
'A breathtakingly simple new museum extension puts Steven Holl in a class of his own. (...) The new projects have a vigorous, intelligent concept, but also a simplicity of form which recalls much of Holl's best work from the past (…) Holl's rising reputation has now brought a string of commissions for new projects outside America, including a marine building in Beirut, an arts centre in Denmark and an oceanic museum in Biarritz.'-Dominic Bradbury, Telegraph UK The expansion of the Nelson-Atkins Museum of Art fuses architecture with landscape to create an experiential architecture that unfolds for visitors as it is perceived through each individual's movement through space and time. (…) The threaded movement between light-gathering lenses of the new addition weaves the new building with the landscape in a fluid dynamism based on a sensitive relationship to its context.'-GA Document 96 [Japan]
AWARDSProgressive Architecture Award, USA, 2000AIA NEW YORK CHAPTER PROJECT AWARD, USA, 1999The International Parking Institute, Award of Excellence for Best Design of a Parking Facility with Fewer than 800 Spaces, USA, 20042008 AIA HONOR AWARD, USA, 2008AIA CENTRAL STATES ARCHITECTURE AWARD, USA, 2007LEAF NEW BUILT AWARD, United Kingdom, 2007AIA NEW YORK CHAPTER ARCHITECTURE HONOR AWARD, USA, 2008CAPSTONE ARCHITECTURAL DESIGN AWARD, USA, 2008AMERICAN INSTITUTE OF ARCHITECTS NATIONAL HONOR AWARD, USA, 2008BBVA FOUNDATION FRONTIERS OF KNOWLEDGE AWARD, Spain, 2009
CREDITSarchitect– Steven Holl ArchitectsSteven Holl, Chris McVoy (design architect)Chris McVoy (partner in charge)Martin Cox, Richard Tobias (project architect)Masao Akiyoshi, Gabriela Barman-Kraemer, Matthias Blass, Molly Blieden, ElissavetChryssochoides, Robert Edmonds, Simone Giostra, Annette Goderbauer, Mimi Hoang, Makram El-Kadi, Edward Lalonde, Li Hu, Justin Korhammer, Linda Lee, Fabian Llonch, Stephen O'Dell, Irene Vogt, Urs Vogt, Christian Wassmann (project team) local architect– BNIM Architectsstructural engineer– Guy Nordenson and Associatesassociate structural engineer– Structural Engineering Associatesmechanical engineer– Ove Arup & Partners– W.L. Cassell & Associates glass consultant– R.A. Heintges & Associateslighting consultant– Renfro Design Grouplandscape architect– Gould Evans Goodman Associatesartist– Walter De MariaWalter De Maria
View News04 January 2008: Steven Holl Architects' Nelson-Atkins Museum of Art Wins 2008 AIA Institute Honor Award01 June 2007: Steven Holl Architects' light-filled Nelson-Atkins Museum of Art to open on June 9
GLASGOW SCHOOL OF ARTGlasgow, United Kingdom, 2009 PROGRAM: art, design, and architecture school including studios, project spaces, lecture theater, seminar rooms, café, exhibition, and academic administrative spacesCLIENT: Glasgow School of ArtSIZE: 121094 sfSTATUS: competition first prize Steven Holl Architects, in collaboration with Glasgow-based JM Architects, has won the international design competition for the new building of the Glasgow School of Art on the site opposite Charles Rennie Mackintosh's Masterwork. The new building will significantly enhance the teaching, learning and research facilities available to GSA students and staff and the access which the public will have to their work. The competition, which was to find an architect-led team and not to select a design, was organized by the Glasgow School of Art. The Selection Committee, chaired by Barcelona-based architect David MacKay, selected Steven Holl Architects with JM Architects by unanimous vote.
According to a statement from the Glasgow School of Art: "The Selection Committee considered that Steven Holl Architects' work showed a poetic use of light and their submission demonstrated a singular creative vision, scale of ambition, profound clarity and a respectful rivalry for the Mackintosh Building. The Committee believed that Holl's approach to the craft of building, his understanding of the opportunities of new technology and an enjoyment of the challenges of sustainable design, promised a great step forward in the development of architecture in an urban setting." Steven Holl Architects strategy was inspired by Mackintosh's inventive manipulation of the building section for a tremendous variety of light. The plan for the new Glasgow School of Art draws upon the push-pull typology of light of the Mackintosh building but moves forward using a new language of different light. The building is composed studio volumes shaped by light and connected by a "circuit of connection" which encourages the creative contact central to the workings of the school. The street level will open up connecting school and city. The envisioned building skin is 100% recycled glass with an intelligent solar cavity harvesting heat in winter and cooling in summer.
CREDITSarchitect– Steven Holl ArchitectsSteven Holl (design architect)Chris McVoy (partner in charge)Noah Yaffe (associate)DominikSigg (competition project architect)Peter Adams, Rychiee Espinoza (competition team)associate architects– JM Architectsengineer– Aruplandscape architect– Michael Van Valkenburgh and Associatesplanning– Turley Associates
SHAN-SHUI HANGZHOUHangzhou, China, November 2009 PROGRAM: mixed use: cultural/expo, residential, offices, hotel, retails, restaurants, cafesCLIENT: Hangzhou Urban Planning Documentation CenterBUILDING AREA (SQUARE): 275,000 smSTATUS: competition first prize A vertical gathering of the overall "bow tie" plan into a Water and Mountain tower alludes to the spirit of Hangzhou. From this central position in the large site, one tower branches towards tributary forms approaching the Oxygen sector while the other branches toward landscape forms at the Boiler sector.There are six large-scale elements which hover between landform and architecture. The new elements intersect and transform the existing factory buildings; invigorating them with new programs.
CREDITSarchitect– Steven Holl ArchitectsSteven Holl, Li Hu (design architect)Li Hu (partner in charge)Garrick Ambrose, Human Tieliu Wu, Lan Wu (project architect)Francesco Bartolozzi, Rychiee Espinosa, Nathalie Frankowski, Kelvin Jia, FiorenzaMatteoni, LautaroPereyra, Filipe Taboada, Asami Takahashi, DimitraTsachrelia (project team)young architect pavilions– Francois RocheMichael Bell, Peter Lynch, MOS, Francois Rochegraphic consultant– Lisa MaioneLisa Maione
Steven Holl - T-Husene Development in Ørestad, Copenhagen The T-Husene is a mixed-use development, for Ørestad, Copenhagen (Denmark) presented by Steven Holl Architects for a direct commission from City Development in Copenhagen, Denmark. Besides a constructed landscape of 8000 sq. m. T-Husene contains 18,000 sq.m. residential space in 5 towers above 12,500 sq.m. commercial space.
A green folded space with multiple elevations on top of the commercial space is sliced open by the insertion of the five rotated dancing towers. With this project Steven Holl Architects sets a new example for residential typologies based on the concept of urban porosity. Leaving behind the standard typology of residential perimeter blocks, the dancing T’s with colored and reflective undersides carve the sky within the green folded space.
Inspired by twilight and the Scandinavian sky, the T-shaped buildings maximize high quality residential floor space with views to the horizon and sunset. Building downwards from the maximum height level, taking into consideration maximum view, each tower will contain 50 apartments in 22 different configurations ranging from 73 sq.m. to 135 sq.m. At the same time, the working environment of the commercial area is improved by the green folded landscape, allowing the nature reserve to flow from the AmagerFælled through Ørestad onto the green square in the east.
Steven Holl says about the design, “We wanted to create a sense of autonomy, individuation, and particularity for each apartment and tower. One of the failures of modern housing comes from the lack of individualization. Concepts should not be based on the mass, but on individuals. We aim for an architecture that is in connection to each human being. Therefore, new typologies need to be created of which the dancing T’s are an example.” T-Husene is part of Ørestad, a new-town located less than ten minutes away from historic Copenhagen by metro, close to Scandinavia’s main airport and connected directly to Malmø in Sweden. To Steven Holl the beauty of Ørestad is formed by the combination between density, the preservation of nature and the fast metro connection with the existing city. He says, “It is a sharp contrast to the American urban sprawl which is characterised by highways and endless seas of houses.”
Project description and creditsProgram: 5 towers of mixed-use (residential and commercial), and landscapeTotal Area: 38,500 sq.m. including:commercial: 12,500 sq.mresidential: 18,000 sq.m.Landscape 8,000 sq.mApartments:Each tower contains 50 apartments in 22 different configurations ranging from 73 sq.m. to 135 sq.m. Apartments:Each tower contains 50 apartments in 22 different configurations ranging from 73 sq.m. to 135 sq.m.Client: City Development, CopenhagenDesign architect: Steven HollProject architect: HaikoCornelissenProject advisor: Chris McVoyProject team: Garrick Ambrose, Francesco Bartolozzi, ChristianeDeptolla, Julia Radcliffe, Rashid Satti, Elena Rojas
Books & writing HYBRID INSTRUMENT, Steven Holl, 2006EXPERIMENTS IN POROSITY, Steven Holl, 2005EL CROQUIS: STEVEN HOLL 1986-2003, 2003STEVEN HOLL, Francesco Garofalo, 2003STEVEN HOLL ARCHITETTO, Kenneth Frampton, 2002IDEA AND PHENOMENA, Steven Holl, 2002WRITTEN IN WATER, Steven Holl, 2002STEVEN HOLL, Antonella Mari, 2001PARALLAX, Steven Holl, 2000THE CHAPEL OF ST. IGNATIUS, Steven Holl, 1999Previous 10 entries GA DOCUMENT 110: SPECIAL ISSUE STEVEN HOLL, January 2010URBANISMS: WORKING WITH DOUBT, Steven Holl, 2009EL CROQUIS: STEVEN HOLL ARCHITECTS 2004-2008, 2008ARCHITECTURE SPOKEN, Steven Holl, 2007HOUSE: BLACK SWAN THEORY, Steven Holl, 2007BOLD EXPANSION: THE NELSON-ATKINS MUSEUM OF ART BLOCH BUILDING, Allison Arieff, 2007IMAGINING MIT: DESIGNING A CAMPUS FOR THE TWENTY-FIRST CENTURY, William Mitchell, 2007LOISIUM: WORLD OF WINE, 2007QUESTIONS OF PERCEPTION: PHENOMENOLOGY OF ARCHITECTURE, Steven Holl, 2007STONE AND FEATHER: STEVEN HOLL ARCHITECTS/ NELSON ATKINS MUSEUM EXPANSION, Jeffrey Kipnis, 2007Next 10 entries KIASMA, Steven Holl, 1998INTERTWINING, Steven Holl, 1996PAMPHLET ARCHITECTURE 13: EDGE OF A CITY, Steven Holl, 1991ANCHORING, Steven Holl, 1989PAMPHLET ARCHITECTURE 9: RURAL AND URBAN HOUSE TYPES, Steven Holl, 1982PAMPHLET ARCHITECTURE 7: BRIDGE OF HOUSES, Steven Holl, 1981Previous 10 entries