scholarly journals Edificios híbridos. Potenciadores de urbanidad en la ciudad contemporánea, una visión desde la experiencia de Steven Holl

2017 ◽  
Vol 5 ◽  
pp. 75-91
Author(s):  
Sebastián Amorelli ◽  
Lucía Bacigalupi
Keyword(s):  
Steven Holl

Uno de los principales desafíos del urbanismo contemporáneo es el constante aumento demográfico, y la fragmentación y dispersión territorial que resultan en una pérdida de vida urbana. La densificación funcional ha sido reconocida como una de las herramientas capaces de contrarrestar estos fenómenos mediante la acumulación de actividades dentro de un mismo contenedor, creando así un edificio híbrido con el potencial de influenciar el desarrollo de urbanidad en su entorno. Estos edificios son híbridos porque los usos contenidos se potencian y complementan, escapan de la escala arquitectónica ejerciendo una importante influencia a nivel urbano, e incorporan el espacio público de la ciudad a su propia estructura. Gracias a la capacidad que estos edificios tienen de hacer frente a un gran número de las problemáticas contemporáneas, los edificios híbridos han adquirido una mayor popularidad en las últimas décadas. El arquitecto Steven Holl es una de las personalidades que más han indagado en el estudio y diseño de estos edificios, reconociendo su potencial como condensadores de actividad y urbanidad. En su obra, Holl utiliza la porosidad como herramienta de integración de la arquitectura y el urbanismo, de forma de generar estructuras capaces de reproducir la intensidad y complejidad de la ciudad.  

Edge of a City. Steven Holl

1991 ◽  
pp. 41
Author(s):  
Steven Holl
Keyword(s):  
Steven Holl

Steven Holl: Architecture et Phénoménologie

2007 ◽  
Vol 9 ◽  
pp. 17-18
Author(s):  
Davide Scarso ◽  
Keyword(s):  
Steven Holl

scholarly journals Putting Holl and Mackintosh in multi-perspective: the new building at the Glasgow School of Art

2013 ◽  
Vol 17 (1) ◽  
pp. 24-36
Author(s):  
Johnny Rodger
Keyword(s):  
Urban Space ◽  
Early Stage ◽  
Design Strategy ◽  
Open Letter ◽  
The Public ◽  
Human Figure ◽  
Steven Holl ◽  
The Relationship

The announcement that American architect Steven Holl had won the competition to design a new building for the Glasgow School of Art opposite Charles Rennie Mackintosh's original (built 1897–1909), and the revelation of his plans to the public, provoked plenty of criticism about the possible relationship between the two buildings. Professor William Curtis first wrote on the topic in the Architects' Journal almost a year from the announcement, and his opinions on the relationship were forthright: ‘Rather than dialogue’, he argued, ‘there is a dumb lack of articulation in construction and material.’ A response came in the following issue of the AJ from David Porter, then Professor at the Mackintosh School of Architecture. He disagreed with Curtis, claiming that the new building will have ‘an extraordinary spatial richness’ and that ‘the original sketch Curtis saw in Glasgow last December has progressed very rapidly’, for it was but an early stage in ‘a design strategy driven forward with a mixture of poetics and ruthless pragmatics: qualities that are singularly appropriate in this context, and developed with artistry and skill’.Curtis subsequently wrote a further open letter to ‘the Governors, the Director, the Faculty, Students, Staff, Alumnae and Alumni’ of Glasgow School of Art, which was published in facsimile in the Architects' Journal on 3 March 2011:What a disappointment then to contemplate Steven Holl's proposed addition. It is horrendously out of scale, it dominates Mackintosh, it does not create a decent urban space, it fails to deal with the context near and far, it is clumsy in form and proportion, it lacks finesse in detail, has no relationship to the human figure, and is a stillborn diagram dressed up in Holl clichés such as ‘iceberg’ glass.

scholarly journals Sartre in Space: Rethinking Architecture & Rebuilding Philosophy

2021 ◽  
Author(s):  
◽  
Jane Mustard
Keyword(s):  
Architectural Design ◽  
Conscious Experience ◽  
Domestic Space ◽  
Philosophical Perspective ◽  
Architectural Space ◽  
Philosophical Text ◽  
Jean Paul ◽  
Architectural Language ◽  
Steven Holl ◽  
Josephine Baker

<p>This thesis considers spatial and architectural language used in philosophical text to determine the value of a cross-disciplinary relationship between architecture and philosophy. It approaches architectural figure as more than just metaphor for philosophy, and proposes that philosophy relies on the spatial nature of architectural language to constitute itself. The case studies provided elucidate a realm where architecture and philosophy have been explored simultaneously; where architecture is used as a tool to develop philosophical propositions and where philosophical text generates architectural design. Ludwig Wittgenstein and Adolf Loos worked in this way, rethinking how architecture is done while rebuilding philosophical propositions. Wittgenstein’s work as an architect was not a break from philosophy but an exploration in architectural space that developed his philosophical perspective. The house he designed is considered here as an extension of the ‘visual room’, an aphorism about image forming in The Philosophical Investigations. Loos’s writing on an ethics of style is philosophy bound to a body of architectural work. His architecture, in particular the House for Josephine Baker, and its conflicts of modernity and the relationship between interior and exterior, is inextricably linked to his normative theories of how we should live. Maurice Merleau-Ponty defined phenomenology in spatial terms that depend heavily on the experience of architectural space. His description of the ‘phenomenal body’ and its ability to understand the ‘spatiality of a situation’ is evidence for an epistemological link between phenomenology and architecture. The architecture of Steven Holl is analysed for its reconstruction of Merleau-Pontian spatiality in the Residence for the Swiss Ambassador, a commission that offered Holl a generous affordance of space with which to explore this influence. The main philosophical text used in the thesis is the philosophy of Jean-Paul Sartre due to the largely ignored latent spatial nature of it. It is significant that the text relies on spatial relationships to convey its meaning. Sartre’s concepts have been defined, developed and implemented by architecture in the resulting design, ‘A House for Sartre’. The design builds on Sartrean concepts of the self, other people, objects in the world and consciousness. It does this by rethinking and rebuilding on this philosophy, while at the same time rethinking and rebuilding the architecture of the house, a domestic space. The programme of a ‘house’ offers concepts of domesticity as context for the design project, and this adds another dimension to the philosophy. The project pushes the limits of Sartre’s descriptions and tests his examples in the tangible realm of architecture. Through inhabitation of such an architecture, one can better gain an understanding of this philosophy. As Sartre so often appeals to his readers to inspect the state of their own consciousness, then perhaps most significantly, the architecture provides not only a conscious experience of the house, but an experience where inhabitants are conscious of their own consciousness in ‘A House for Sartre’.</p>

Insecurity in architecture

2014 ◽  
Vol 18 (2) ◽  
pp. 106-109
Author(s):  
Neena Verma
Keyword(s):  
Early Modern ◽  
Common Knowledge ◽  
Architectural History ◽  
Computer Scientist ◽  
Art Deco ◽  
International Style ◽  
Current State ◽  
Open Debate ◽  
State Of Affairs ◽  
Steven Holl

‘I myself do not believe in explaining anything’, wrote Shel Silverstein. It seems that architecture is always looking to explain itself. Definitions of architecture seem almost common knowledge; ask a bartender, biologist, computer scientist, economist, legislator, birdwatcher, quilter or scientist, each of whom analogises their field with respect to architecture. And several within the profession can themselves define architecture's limits quite elegantly. Most recently Steven Holl defined architecture as consisting simply of abstract, use, space and idea. However, seeking a rationale or explanation for architecture – its role in society, its impact, its value – remains an open debate. This debate has consumed the field, in academia and practice, for centuries. It suggests a dire insecurity.Shifts in architecture's self-perception and self-explanation often relate to formal styles. Any text on architectural history covers these styles, from Neolithic to contemporary, including accompanying sub-movements such as, for the early modern category, Expressionist architecture, Art Deco, and the so-called ‘International Style’. Each style is often imagined a product of, or reaction to, a preceding style, and much the same can be said of accompanying trends in the explanation of architecture. This essay, and its underlying argument, is itself a reaction to the current state of affairs.

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