An Analysis of Steven Holl’s Phenomenological Design Approach in Nelson-Atkins Museum of Art
Chuloh Jung1*, Mohamed Arar1
1 Architecture Engineering Department, College of Architecture, Art and Design, Ajman University, U.A.E.
*Corresponding Author: [email protected] Accepted: 15 November 2021 | Published: 1 December 2021
DOI:https://doi.org/10.55057/ijarti.2021.3.4.2
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Abstract: This paper analyzes Steven Holl's phenomenological design methodology. The focus is on Nelson-Atkins Museum of Art since it shows that the phenomenological characteristics are diversified and materialized and became a turning point in Steven Holl's phenomenological architectural approach. The extension building of the Nelson-Atkins Museum not only integrates the inflow of light into the architectural structure and internal form elements, but also embodies the characteristics of luminosity as a collection of masses that reveal the light.
This is Steven Holl’s idea to make a formulation for people to experience the building with their senses. The distinctive contrast design was used between main building with heavy and opaque stone material and the extension building with the translucent glass material of Nelson- Atkins Museum of Art. It was his design intention to maximize the presence of the extension building via the contrasting architectural experience. The phenomenological architectural characteristics of the space overlapped with the multi-view of the extension of the Nelson- Atkins Museum have evolved from previous museum designs. The creating of narrow and long circulation to diversify the change in point of view, it provided more positive horizontal and vertical changes than previous projects.
Keywords: Steven Holl, Phenomenological Architecture, Nelson-Atkins Museum of Art, Placemaking, Luminosity, Porosity
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1. Introduction
It is undeniable that the metaphysical concepts of post-structuralist philosophy contributed to the formation of modern architecture (Belsey, 2002). In modern architecture, however, there is also a tendency to value the sense and experience of architecture. Unlike other architects, Steven Holl put phenomenological theory on the front and the research on Steven Holl’s architecture had focused on phenomenological theory as much as design approach (Holl, Pallasmaa, 2007). In particular, Maurice Merleau-Ponty's phenomenology had been regarded as a criterion to understand Steven Holl’s architecture (Holl, 2000). Even though Maurice Merleau-Ponty's phenomenology was a background for Steven Holl's unique architectural thinking, his design methodology should be regarded as a separate matter. This is because it is difficult to deal one-to-one with the comprehensive and conceptual contents of philosophy with concrete and practical problems in architecture. Compared to the early days of theoretical and planning-oriented work, moreover, Maurice Merleau-Ponty's phenomenology had been transformed into Holl’s architecture through several stages of interpretation and experimentation in his career (Holl, 2019). To understand the current architecture of Steven Holl, it is more appropriate to look at the specific contents of the phenomenological architecture
he had been developed rather than taking Maurice Merleau-Ponty's phenomenology as a standard. Therefore, the focus will be on the practical phenomenological architectural contents in his recent architecture. The purpose of this paper is to examine his new phenomenological architectural approaches via Nelson-Atkins Museum of Art such as the experience through luminosity and new light inflow methods, various multi-view configurations in consideration of body movement, and maximization of experiences through contrasts of materials and colors.
2. Literature: The Development of Steven Holl’s Phenomenological Architecture
There are several books related to phenomenological approach to architecture by Steven Holl.
In his book Anchoring, Steven Holl insists on organizing a space of phenomenal experience through materials and light within a limited concept formed from time, culture, program, and site (Holl, 1986). This book, which contains works from 1975 to 1989, is significant since he described his thoughts on phenomenological architecture for the first time. In Questions of Perception, co-authored with Pallasmaa, he presented specific methods and details of a phenomenological approach to architecture (Holl, Pallasmaa, 2007). For example, a place is regarded as a fusion of objects and places as an experience intertwined like a net rather than a physical characteristic. The experience of architecture includes all of light, shadow and transparency, color, texture, material properties, and details, which are the passages of time.
He argues that only architecture is a complex of all perceptions and can awaken all senses at the same time (Holl, Pallasmaa, 2007). In addition, for the first time, he suggested that the near view, the middle view, and the distant view are necessary for complete perception. According to Steven Holl, the expression of an idea is a mixture of subjectivity and objectivity, and the design derivation logic is to answer its own questions through an internal and subjective process (Holl, Pallasmaa, 2007). With this book as the starting point, the phenomenological philosophy for him were no longer philosophical, but can serve as a criterion for architecture (Holl, Woods, 2007).
On the other hand, in his book Intertwining, he proposes a more concrete method than before, arguing that architecture must transcend physical and functional conditions by consolidating the meaning of the site and the situation (Holl, 1996). In particular, based on Maurice Merleau- Ponty's book, The Phenomenology of Perception, the concept of body was introduced as the subject of architectural perception, and sensational and perceptual experiences were emphasized (Garofalo, 2003). He argues that our purpose is to bring architecture to the level of thinking and to realize a space with a powerful phenomenological character. At one stage,
‘idea-power’ leads architecture, and at another stage, it suggests an architectural development method in which structure, material space, colors, and shadows are intertwined for the organization of architecture (Holl, 1996). During the period from the mid-1980s to the mid- 1990s, Steven Holl was very interested in the philosophy of Maurice Merleau-Ponty and Henri Bergson. In particular, Maurice Merleau-Ponty’s phenomenology served as an opportunity to transform his early typology-oriented architecture. However, it was true that this concept of phenomenology had a great influence on Steven Holl, but he did not follow the details of the phenomenology that Maurice Merleau-Ponty argued. For example, if Maurice Merleau-Ponty explores the relationship between perception and existence through the extreme situation of night, for Steven Holl, night is newly created by artificial light and transformed into architectural content. During this period, he continued to redefine each concept and term of phenomenology (Merleau-Ponty, 2013).
Parallax, a representative book of the 2000s, implies that a new scientific concept, ‘parallax' was introduced after typology and phenomenology. This shows that his architectural thinking
goes beyond the concept of phenomenology to the stage of architectural design (Holl, 2000).
The book, ‘Luminosity and Porosity’, explains more advanced concept of architecture, showing that it is shifting from philosophical contents to more architectural contents. He defines porosity as experiencing the phenomena of continuous spaces, abandoning the obsession with solid and independent object shapes (Holl, 2006). He uses this concept as the basis for dealing with the effects of form, color, and light in the creation of architecture, cities, and landscapes. On the other hand, he argues that the experience of space is integrated by luminescence. This includes the contents of 'spatiality of the night' and 'psychological space’
and discusses the handling and effects of light in relation to luminescence. In particular, as the popularity increased after 2000, Steven Holl was able to design various types of buildings according to his concept in various regions. At this time, the architectural contents are applied differently according to the various types and characteristics of the construction, and the items organized through this are used again in future projects.
Table 1: Steven Holl’s Books and the Contents of Phenomenological Architecture
Year Book Contents
1989 Anchoring Creating meaning through anchorage to an architectural site, applying phenomenology
1994 Questions of
Perception Presenting specific contents and methods of phenomenological architecture
1996 Intertwining Emphasis on sensory and perceptual experiences based on Maurice Merleau-Ponty's phenomenology
2000 Parallax Introduction of scientific concepts other than typology and phenomenology
2006 Luminosity/Porosity Introduction of his own architectural concepts related to phenomenological architecture, expanding to urban issues
Steven Holl's phenomenological thinking is organized step by step through several books he has written. Based on these books, a framework for analyzing his phenomenological architectural approach in a specific building would be suggested and the following matters are premised (Table 1). First of all, the phenomenological approach can be developed differently depending on the type of building and the program, considering this point, the building type is limited to art gallery and museum. This is because museum architecture is basically related to the perception of architecture such as movement and light, and the characteristics of phenomenological architecture are larger and more specific than other programs. His phenomenological approach was attempted at the Kaisma Museum, then passed through the Nelson-Atkins Museum to the present. His museum architecture occupies a relatively large number, so it seems appropriate to track changes in its contents compared to his series of works (Table 2).
Table 2: Steven Holl’s Major Museum Projects (Source: Arar, 2014)
Year Project Name Characteristics Exterior Interior
1992- 1998
Kaisma Museum of Contemporary
Art
Early masterpiece, including many phenomenological characteristics additive linear, multi-view motion, pond
1993- 1998
Cranbrook Institute of Science
Existing building extension,
continuous linear composition, intertwined space, material, multi-view, pond
1994- 2009
Knut Hamsun Center Hamarøy,
Norway
Surface texture, tectonics, internal texture, inflow and effect of light
1999- 2007
The Nelson- Atkins Museum
of Art
Transitional properties,
extension, multi- view, emphasis on physical experience, surface tectonics, night light-emitting body
2001- 2003
Losium Visitor Center
Various skin surface configuration, irregular openings, wine cellar concept transformation
2003- 2013
Nanjing Sifang Art Museum
One-way circulation, linear composition, concrete and translucent glass, sculptural form
2005- 2009
Herning Museum of Contemporary
Art
Sculptural form, surface texture, formal exhibition, irregular support space, continuous flow, changeable ceiling, night light- emitting body
2005- 2011
Cite de L'Ocean et du Surf,
France
Sculptural
composition, floor texture, surface material, white monotone,
translucent glass luminous body
2008- 2012
Daeyang Gallery and
House
Water as a phenomenological lens, analogy of music scores, securing multi- views, superposition of independent masses
As Steven Holl put it, the body is the center of the architectural experience. This analysis focuses on this point and attempts to see the occurrence of architectural experiences from the body sensation and body movement. The body sensation is divided into two parts: light and the other sense of touch. The movement of the body is roughly divided into various experiences through multi-views and movements that trigger the direction and experience of space. If the above is limited to architecture of the museum, the inflow of light from the exhibition space, its effect, and meaning are analyzed, and from the other senses, the physical properties of the interior and exterior materials, such as the various use of water, and the effect of water, will be analyzed. The above is summarized in the following Table 3. Phenomenological experience is a content that is integrated and perceived through all sensory organs, but this classification and explanation of related matters are set for the analysis of specific objects and comparisons with related buildings.
3. Methodology
This paper is to analyzes Steven Holl's writings and drawings of architectural design process of museum architecture which has an advantage for tracking changes in design, especially with the focus on the Nelson-Atkins Museum of Art. This is because the museum is most closely related to the phenomenological aspects of architecture such as light and movement. Since majority of Steven Holl’s projects is museum, comparative analysis will be more accurate such as:
• First, Steven Holl’s thoughts on architectural phenomenology will be summarized for review and comparison.
• Second, based on the summary, the process about how he realizes his thoughts with phenomenological architecture will be examined.
• Third, literature research will be conducted to explore how his theory and logic have been transformed into architecture from 1980s.
• Forth, concrete case studies will be conducted to examine the role of theory and the significance of the phenomenological approach to his work.
4. Analysis
4.1. The Nelson-Atkins Museum of Art
The main building of the Nelson-Atkins Museum of Art was designed by Wight and Wight, who designed the Kansas Governor's residence Cedar Crest on the Liberty Memorial Access
Road in Kansas City. The Nelson-Atkins Museum of Art was designed with reference to the Cleveland Museum of Art as a classic Beaux-Arts architecture and construction began in July 1930 and opened in December 1933 (Figure 1). In 1999, the Bloch Building, which was the extension of the existing building, international design competition was held to solve the lack of facilities and space.
Steven Holl's winning design was to erect five glass towers, called lenses, at the top, with the main space in the basement east of the existing building. This is intended for a dramatic transformation of the entire facility, such as extensive renovation of the existing building, restoration of the sculpture park, re-installation of the permanent exhibition hall, and screening of 33,500 items from the existing collection. The extension building has programs such as contemporary art, African art, photography, cafes, and special exhibition rooms and reference libraries. The garden with sculptures of Isamu Noguchi, the main collection of the museum, the entrance plaza, and reflection pond, harmonize to create a unique external space. Through the extension building, the exhibition area of the museum has increased by more than 70%, and a large, light-filled gallery is now available (Kennedy, 2020).
Figure 1: Main Building of Nelson-Atkins Museum of Art
The extension building was opened on June 9, 2007. The extension cost approximately $95 million, which was used as part of the $200 million total cost of the museum's renovation, which opened in the fall of 2005, including the Port Learning Center, a center for classes, workshops and resources for students and educators. Steven Holl proposed a unique design concept that considered the existing museum building in 1993 as stone and the extension building as feather. According to him, the stone directs the pedestrian, but the feather opens the way. The stones are tied, but the feathers are free.
The stone looks at the inside of the landscape, but the feather looks at the outside of the landscape. Enclosed and open, foreign and indigenous, all of these are the differentiation of the new that complements the old, and it allows us to experience in the new what cannot be obtained from the old (Holl, Woods, 2007). Once the concept was set, he proceeded from the inner space to the outer form. First, he envisioned the space, and planned a perfect continuity that implied light, perspective, and direction of movement. As a result, the prize-winning design proposal consists of five interconnected structures. Most of the spaces of the narrow and long extension buildings are located underground along the eastern site of the existing museum.
Five independent glass structures rising from the basement, ‘lens’, create a new space and viewing angle by creating various interactions between the architecture and the surrounding environment. The winding passages in the upper sculpture garden create an open flow through the successive levels of new galleries.
Figure 2: New Extension of Nelson-Atkins Museum of Art
A new architectural experience is formed from the movement through the landscape and the entanglement between the light openings (Figure 2). Glass lenses formed on the ground bring various light properties to the lower gallery. Externally, these lenses emerge from the ground like sculptures to create a landscape, allowing visitors to participate in the architectural experience, both inside and outside. As a result, the entire museum site, including the existing sculpture garden, is transformed into an area of experience for visitors.
4.2. Phenomenological Architectural Characteristics regarding Senses
The effective use of natural light in museums is absolute. The main problem was the psychological demand for natural light and how to give the 260m-long gallery that stretches horizontally with natural light. He systematized the light inflow device in the extension building to increase the efficiency and achieve spatial effects.
Figure 3: Section of Nelson-Atkins Museum of Art and Y-shaped Structure (Source: Archdaily)
The Y-shaped inlet device always accepts the north light and adjusts the shape of the south light to block summer light and reflect winter light to enter the gallery. Not only did he make objects like sculptures inside, but also made another sculpture by creating a glass box (lens) that encloses them on the outside (Figure 3).
Lenses that create a dynamic interaction between architecture and landscape, interior and exterior, transparency and opacity, tranquility and energy collect, diffuse, and refract light through multiple layers of glass to materialize light like ice blocks (Garofalo, 2003). During the day, the lenses introduce various kinds of light into the gallery, but at night, the sculpture park shines brightly with the light emitted from the inside of the lens (Figure 4).
Figure 4: The Emission of Light in Nelson-Atkins Museum of Art
Steven Holl provides an experience based on intentional contrast by using contradictory materials in the extension of the Nelson-Atkins Museum of Art. Lenses that protrude to the ground, or glass boxes, have Okalux translucent insulation that scatters light, which is advantageous for absorption and maintenance of solar heat (Etherington, 2011). The lens, which is a structural glass structure that does not require vertical mullions because it can stand
alone, not only saves system construction costs, but also shows pure texture. This provides a light, soft and transparent sense in contrast to the heavy, hard, and opaque stone materials of existing art museums (Kim, 2017). In addition, the contrast between artificial and natural is expressed through the glass mass that contrasts with the hills of the grass. This contrast can also be found inside, and the structure for attracting light is concrete, showing another texture in contrast to the glass surrounding it (Figure 5).
Steven Holl has been paying attention to the phenomenological effects of water in many ways, and the Nelson-Atkins Museum of Art uses water in the form of a pond. On the north side of the museum, a reflection pond is located in front of the north side of J.C. It is part of the Nichols Plaza. It has 34 oculi-shaped skylights to provide natural light to the parking lot located at the bottom of the pond. This pond, built above the underground parking lot, provides phenomenological effects such as reflection by water and movement of water. It should also be noted that this pond is performing the linkage between the existing building and the extension building. The opposite material of stone and glass is mediated by a material called water, which is achieved by projecting each other's materials and shapes onto a pond (An, Son, Koh, 2001).
Figure 5: The Material Contrast of Nelson-Atkins Museum of Art
4.3. Phenomenological Architectural Characteristics regarding Movement
Steven Holl maximized the experience of light and space through the movement of the body, and these methods appear more advanced in the Nelson-Atkins Museum of Art. As you moves through a series of continuous spaces, the position of the body changes and the perspective changes, and the body moving in the space is the core of the architecture he intends. The underground interior space of the Nelson-Atkins Museum of Art gradually descends downward, and its length is 260m, which is more powerful than any other art museum in the past and can create movement according to various lines of movement. He reflected all the movements and changes accordingly, and the view from the descending point in the design.
Figure 6: The Internal Circulation of Nelson-Atkins Museum of Art
The bright and transparent glass lobby of the extension building is a space that actively invites spectators, and the escalator activates the gallery's circulation consisting of successive levels.
In addition, the axes are separated from the lobby into the existing building, the external space, and the internal gallery corridor, and the intersecting axes create a diverse sense of space. The successive gallery spaces revitalize the dramatic space experience through the diversification of space by level difference, gallery shape, and exhibition wall, as well as changes in space and inflow of light created by the four glass boxes. In this way, the motion of the space and the action of light are connected to each other and act as a core element of the feeling and concept of this building (Figure 6).
The formation of various viewpoints is a very important element in the architecture of Steven Holl, especially in the architecture of an art gallery, as it creates a dramatic spatial experience (Jung, 2019). In the extension of the Nelson-Atkins Museum, the formation of a multi-view is considered in two aspects, horizontal and vertical. The angle of the wall is constantly changing so that parallel walls are not created, and walls that are placed at right angles to the viewpoint are arranged to hinder the formation of a single viewpoint. The viewpoint faces downward through the level that continuously changes vertically, and as the movement line progresses, it changes from a single layer to a multiple layer, creating several vertical focal points. As a result, various viewpoints and perspectives overlap to create various visual experiences. When looking from one level to another, the movement lines and exhibitions provide various perspective changes as an integrated connection. These various viewpoints occur not only inside but also outside, and all the galleries of the extension building are composed of a continuous fluid level with an accidental view through the landscape of a sculpture park. Glass boxes of various sizes and locations and the grassy hills on which they are placed are combined with the prowling passages before and after the upper part of the sculpture park, creating an open flow and various visual experiences (Figure 7).
Figure 7: Various Viewpoints from Different Levels of Nelson-Atkins Museum of Art
4.4. The Phenomenological Significance of Nelson-Atkins Museum of Art
Steven Holl argues that the perceptual and metaphysical properties of architecture are driven by light and shadow created by solids and voids, opacity, transparency, and translucency. He places importance on the use of natural light that still causes various changes because the senses that the eyes see, and feel are formed by the conditions of light and shadow. In his architecture, light entering through various openings has the effect of changing the physical properties of the wall, controlling the viewer's gaze, adding depth to the space, and creating a myriad of different scenes through free movement. This is because space is a fluid thing with the property of change, and immaterial properties such as time and light give it an essential life (Chang, Park, 2013).
While his work in the early 90s was to establish design principles and standards for phenomenological architecture, his works after the 2000s show their own characteristics through application and use of phenomenological architecture such as luminosity and porosity.
Starting from the extension of the Nelson-Atkins Museum, the emphasis on luminosity expands. He says that space is forgotten without light, and that the building speaks through the silence of perception, led by light. After Steven Holl emphasized the phenomenological characteristics of water, such as reflection, spatial reversal, refraction, and change of rays, with the lens design of the Nelson-Atkins Museum, water became inextricably linked with his architecture in various ways. In the Nelson Atkins Museum of Art, water is a rectangular reflection pond in the L-shaped space formed between the entrance buildings of the new building, which is orthogonal to the old building, and at the same time connects the existing building and the extension building and serves as a connecting point in the overall layout (Figure 8).
Figure 8: Front Pond of Nelson-Atkins Museum of Art
The extension of the Nelson-Atkins Museum of Art is slightly different from the shape and size of the rooms due to the indefinite linear composition, which allows natural light to come in from several different directions. As a result, the audience moves asymmetrically through consecutive spaces. Compared to the one-way movement in previous art museums such as Kaisma Museum of Contemporary Art and Bellevue Art Museum, the Nelson-Atkins Art Museum offers a variety of levels of change and spatial change. There are aspects due to differences in scale and program, but various movements and choices are possible than his previous projects. In summary, it can be seen that in his phenomenological approach to architecture, the Nelson-Atkins Museum inherits the phenomenological architectural characteristics of the Kaisma Museum of Contemporary Art but shows many different aspects (Table 3).
Table 3: Phenomenological Characteristics of Nelson-Atkins Museum of Art (Source: Arar, 2014) Contents Previous Museums Nelson-Atkins Art Museum Example
Site Analysis
-Consideration of urban context - Chiasm Concept
-Maintaining the presence of existing buildings with underground space - Connection through a pond
Program
- General Museum Program Focusing on experience through light and movement
-Phenomenological interpretation of the nature of museum
Body/
Senses
- Experiment with the inflow and effect of various natural light
- Lobby and ramp with full of light
- Use of natural light for display - Use of light in lobby and etc.
- Light effects and meaning
- Use of various textured materials - Using a pond as an element to intersect with the mass
-Internal and external building tectonics, texture, use of water
Body/
Movement s
- Deconstruction of perspectival space - Multi-view formation through curved ramp
-Maximization of visual experience through multi-view dispersion
- Exhibition circulation via
curved lamps - Experience by progressive and
sequential Movement
-Acceleration of movement through linear exhibition movement and floor level changes
5. Discussion
Steven Holl is a contemporary architect who shows a profound understanding of phenomenology. He had initiated phenomenological movement in Architecture with his friends, Alberto Perez-Gomez and Juhani Pallasmaa. His idea is to make a formulation for people to experience the building with their senses. He mentioned that his phenomenology approach helped him to develop a different design methodology to new projects, adding values to the fundamental definition of the context in architecture. Steven Holl always takes into consideration of not only physical context like the air, the light, or the scent, but also historical and cultural context of the site. He mentioned that the space, the sunlight, the color of a wall, and the materials of architecture can communicate via resonance and generate the sensible qualities of a place. (Holl, 2019)
In our contemporary urban context, our buildings had been faced the identity crisis. Many buildings were designed without the consideration of historical and cultural context of the site.
Steven Holl’s phenomenological approaches to design could be the answer to our identity crisis since the phenomenological can definitely take human experience into consideration and be site-specific design.
6. Conclusion
This study attempted to examine the characteristics of Steven Holl’s phenomenological design approaches by analyzing his writings and drawings of architectural design process especially with the focus on the Nelson-Atkins Museum of Art. First, the extension building of the Nelson-Atkins Museum not only integrates the inflow of light into the architectural structure and internal form elements, but also embodies the characteristics of luminosity as a collection
of masses that reveal the light. Second, the contrast method was used between main building and the extension building of Nelson-Atkins Museum of Art. It was distinctive contrast between the massive main building on the ground and the extension building by the masses protruding from the ground, and there was material contrast between the lightness and transparency of the translucent glass material and the heavy and opaque stone material. This was his design intention to maximize the presence of the extension building via the contrasting architectural experience. Third, the phenomenological architectural characteristics of the space overlapped with the multi-view of the extension of the Nelson-Atkins Museum have evolved from previous museum designs. By creating a narrow and long circulation to diversify the change in point of view, it provided more positive horizontal and vertical changes than before.
Fourth, the Nelson-Atkins Museum of Art shows that the phenomenological characteristics are diversified and materialized, which is a turning point in Steven Holl's phenomenological architectural approach.
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