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Intertwining 
Steven Holl - Selected Projects 1989-1995 

Reviewed by Lester Paul Korzilius 
Approximately 400 words 

Published in Oculus, January 1997

Intertwining is the second in series of books by New York architect Steven Holl. This book features 22 projects, and like its predecessor Anchoring it combines examples of Holl’s work together with his narration of design intent. 

The widely publicized Stretto House in Dallas (now featured in a recent monograph by Monacelli Press) is a convincing demonstration of architecture as art. An orthogonal plan and curvilinear roofs skillfully frame a series of essential and non-essential spaces. Like Scarpa’s Querini Stampalia Foundaton, there are multiple floor levels, shifting planes, and an interaction with water that relates the building to its environs in a subconscious elemental manner.

An unbuilt competition project for the Venice Film Festival features four cinemas suspended in space above a lagoon. These cinemas overlap each other, while allowing slots of light to connect water and sky. An addition to Elliel Saarinen’s Cranbrook Institute of Science creates a garden courtyard by filling out an existing "U" shaped plan with long-term exhibition space. A Jesuit chapel planned for the University of Seattle manipulates light corresponding to the program of worship, in a manner recalling Corbusier’s chapel at La Tourette.

The most significant project is the Finish Museum of Contemporary Art ("Kiasma") now under construction in Helsinki, near Aalto’s Finlandia concert hall. When completed this project should establish Holl as an architect of the first tier. The building curves both in plan and section interlocking around a central circulation void. The procession through this space results in changing views and sources of light. Nearby Töölo Bay is extended through and integrated with the museum, forming a reflecting pool near the entry.

Other notable projects include a chapel and town square in Port Ludlow, WA, a housing project ("Void Space / Hinged Space") in Japan, and an addition to the architecture building at Andrews University.

Unfortunately, the book attempts to explain the work in terms of obtuse and unrelated theories. This detracts from the significance of the achievements. At its root, architecture as art is unexplainable. Ideally, there should have been a clear narration of the building, context, and design priorities, leaving the interpretation of the results to the reader. Hopefully in the future, the well deserved acclaim and recognition will allow the work to speak for itself. 

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