El Croquis 78 STEVEN HOLL 1986-1996
也许我们可以试着用一种更具体的方式来重新定义道德问题。你的建筑对物质有强烈的兴趣，而物质一直是建筑道德的传统战场之一。你是如何在你的工作中处理这个主题的?
物质性对我来说很重要。当我设计Stretto住宅的时候，我有一个有钱的客户建了一个大房子。我从一开始就想挑战他们，看看这个项目是否值得做，他们是否真的对建筑感兴趣，或者他们只是想要一个豪华的住宅。我建议用最普通的混凝土砌块建造房子。他们接受了这一点，这清楚地告诉我，他们准备挑战传统。这就是我认为抗拒在我的实践中非常重要的地方。这并不是说你会对客户无理挑衅，而是你让他们走向极端。如果他们和你合作，这个项目就值得，如果他们不合作，你就会被解雇。
我们现在正在做的最有趣的项目之一，西雅图大学的新教堂，也成为了一个非常有趣的问题作为一个经济问题的物质性问题。基地是一条穿过西雅图大学校园的街道。我们提出了教堂结构的延伸，并为西、北、南的学生们形成一个新的绿色四合院，因此一个新的校园空间将作为建造教堂的结果。西雅图大学是太平洋西北地区唯一的耶稣会大学。他们从来没有礼拜堂，他们总是要使用各种各样的礼拜场所，他们想为大学建造一个特殊的礼拜场所。我的概念图是一个石头盒子，里面有七个“光之瓶”。每一个都对应耶稣会天主教仪式的一部分:游行，纳瑟克斯，和解，主集会，唱诗班，和圣礼教堂。在完成概念草图之后，我们通过透视图和模型测试了不同的可能性。在规划教堂的布局时，其中一个困难是在空间的列队和公共方面进行协商。最后，我们在祭坛周围放置了座位区，但保持了天主教礼拜仪式的列队方面的特点。不同空间上的每一瓶光都有不同的颜色。我们负担不起巨大的彩色玻璃窗，但我们可以做一小块彩色玻璃，放在一片反射光线的彩色区域内。彩色场和彩色玻璃透镜是互补色，例如，蓝色场的透镜是黄色的。到了晚上，这种效果就会逆转，瓶子就会变成照亮整个校园的灯塔。我们建立了一个一半大小的光瓶模型-唱诗班-来测试效果。外墙的混凝土板是预制的，就像辛德勒在洛杉矶国王路的房子，但规模是巨大的。为了降低成本，板坯将朝上浇筑，然后用起重机在一天内吊起。
其中一块板重达77吨;为了用起重机吊起，我们需要在残留在墙壁上的板上插入吊钩点，作为施工方法的痕迹。挂钩盖将用黄铜铸造，一旦墙壁立起来，就安装在孔上，在墙上投射阴影。如你所见，构造和材料的实现对我们的过程至关重要。
有时这个过程会反过来；从概念到构造。在我们为柏林的美国纪念图书馆设计的项目中，我们的概念是关于整个建筑的运动。这个环路被反映在幕墙上，作为这个想法的痕迹。在西雅图教堂的案例中，石头盒子的想法是非常重要的，即使建筑不是用石头建造的。墙壁仍然是巨大的装配式的石头…浇筑的混凝土。
Maybe we could try to reframe the moral question in a more specific way. Your architecture has strong interest in materiality, and materiality has been traditionally one of the battlefields of architectural moral.How do you approach this subject in your work?
Materiality is very important for me. When l did the Stretto House,l had a wealthy client building a large house. I wanted to challenge them right from the beginning to see if it was worth doing this project,if they were seriously interested in architecture，or if they just wanted a lavish residence. l proposed to build the house in the most generic concrete block. They accepted this and that made it clear to me that they were prepared to challenge conventions.This is where l think that resistance is very important in my practice. It is not that you would be unreasonably provocative to a client, but you open them to their extremes. If they work with you, the project is worth it, if they don’t,you’re fired.
One of the most interesting projects that we are doing now, the new Chapel for Seattle University, has also become a very interesting problem in terms of materiality as a problem of economy.The site is a street that runs right through the Seattle University campus. We proposed an elongation of the chapel structure and a formation of a new green quadrangle for the students on the West, on the North, and on the South, so a new campus space will be created as a consequence of building the chapel. Seattle University is the only Jesuit University in the Pacific Northwest. They never had a chapel —they have always had to use various worship spaces and they wanted to build a special worship space for the university. My concept drawing is a stone box，inside of which there are seven ‘bottles of light.’ Each one corresponds to a part of the Jesuit Catholic ceremony: Procession,Narthex， Reconciliation，Main Gathering, Choir, and Blessed Sacrament Chapel.After making the concept sketch we tested different possibilities through perspective drawings and models. In planning the layout of the chapel,one of the difficulties was the negotiation between the processional and the communal aspects of the space. In the end we placed the seating area around the altar, but kept the processional aspect characteristic of the Catholic liturgy. Each one of the bottles of light over the different spaces has a different color. We couldn’t afford to have huge stained glass windows but we could make a small piece of stained glass which would sit with-in a field of color that reflects the light.The colored field and the stained glass lens are complimentary colors, so for example,with the blue field,the lens is yellow. At night,the effect reverses and the bottles become beacons that shine over the campus. We built a half-scale mock up of one of the bottles of light -The Choir- to test the effects.The concrete slabs of the outside walls will be tilt up construction,like in Schindler’s Kings Road House in Los Angeles, but on an enormous scale. In order to decrease costs, the slabs will be cast face up, and then erected with a crane in one day.
One of these slabs weighs seventy-seven tons; to be picked up by crane we needed to insert pick up hook points in the slabs that will remain in the walls as a trace of the construction method. The hook covers will be cast in brass and applied over the holes once the wall has been tilted-up, casting shadows on the walls. As you can see, the tectonic， material realization is crucial to our process.
Sometimes the process reverses; it goes from the conceptual into the tectonic. In our project for the American Memorial Library in Berlin，the concept was about the movement through the building. This circuit was scratched on the curtain walls, as a trace of the idea. In the case of the Seattle Chapel the idea of the stone box is very important，even if the building is not to be built in stone. The walls still remain huge tilted up stones… of cast concrete.
