Sequence of Space: The Perceptual Field

from Stretto House by Steven Holl - The Phenomenon of Spatial Sequence

Conclusion

Figure 24: Own editing and compilation of images with overlapping perspectives following the spatial procession from the South end of the building to the North (first set of images) and from the North end to the South

Steven Holl’s work here, with his focus on the experiential and tactile dimensions of architecture, takes a turn beyond questions of detail and materials to spatial perception and procession, a filmic sensibility. 51 The basic architectural experience of the building has a verb form rather than consisting of nouns. For instance, one approaches or confronts the building, rather than the formal apprehension of the façade and entering becomes an act and is not simply described by the visual design of the door. Architectural space here is intended to be lived space rather than physical space, and lived space always transcends geometry and measurability as Juhani Pallasmaa preaches in his book Eyes of the Skin. 52

The experience starts upon approaching the first “spatial dam” from the south with terraces leading to the entrance porch, which is covered by a downward-curving canopy that emerges from within the house. The act of looking through the main entry composition of glazing provides a diagonal view through the entire length of the house, revealing its overlapping spaces, with glimpses of the flanking gardens along the perspective of the major rooms. This teaser urges the hand to press the door handle, “an image of welcome and hospitality” , as if it is “the handshake of the building”. 53 Despite the suggestion otherwise of the outward projecting canopy overhead, it is now irresistible to penetrate the concrete-block walled volume. Stepping inside the door, the tall enclosure of the exterior overlaps the flowing gallery space through the first spatial dam

Figure 25: The entrance porch

Figure 26: A view through the main entry Figure 27: The bespoke door handle of the entrance

51 Steven Holl, Anchoring, 3rd ed. (Princeton Architectural Press), 4. 52 Juhani Pallasma, Eyes of the Skin (Wiley Academy), 63-64. 53 Juhani Pallasma, Eyes of the Skin (Wiley Academy), 56.

The "aqueous space" in-between the “dams” is developed by several means: floor planes pull the level of one space through to the next and roof planes pull space over walls.54 This is apparent after passing through the foyer, where the roof curves over interlocking rectangular walls and diagonally across it the corner is opened, allowing a view across the large living room, the first major room, to its glazed outer corner. At the same time, when looking down, the white terrazzo floor carries the entry foyer level until it steps down in two

Figure 28: The hearth of the house adjacent to the alcove directions, each with three steps, onto a black reflective terrazzo floor. Stepping in the east direction, one occupies now “the sphere of warmth”55, the hearth of the house. The living room, however, does not separate itself completely from the first “spatial dam”, since another set of steps circulate space back to the alcove, where another set of steps leads up to the foyer and study, overlooking the living room. Figure 29: Image showing the interlocking rectangular walls under the curving roof and the two sets of steps

54 Kenneth Frampton, Steven Holl, 1st ed. (Phaidon Press), 358. 55 Juhani Pallasma, Eyes of the Skin (Wiley Academy), 63-64.

Beyond the living room the volume of the house shears and shifts to the west and the second “spatial dam” makes its appearance. Before one passes through its wall, black wood stairs lead west up to the private spaces. Continuing and passing through the library it contains, the floor changes from black to white, with three white steps leading down to the black floor, either of the dining room to the east or straight to the tallest part of the gallery.

The space of the dining room opens to the landscape, and, as in the living room, its corners are opened, in this instance to the adjacent spaces of library, gallery, and breakfast room, respectively. 56 This last part of the “aqueous” interior spatial sequence also opens to the landscape to the east through a glass wall and to the gallery to the west through a corner doorway. Inside the third “spatial dam”, at the edge of which the floor changes again from black to white, is the rest of the kitchen behind the extending counter and separated from the end of the gallery by a stepping group of walls. A glass-walled recessed back porch leads from the end of the gallery, down a shifting series of white terrazzo steps that cascade in several directions, and out to the pool terrace.

The swimming pool frames the eastern side of the terrace and a concrete ramp ascending in one turn beneath two overlapping curved roofs frames its western side. With two elements, the curved roof that spill space of the walls and long pool that extends through the concrete masonry wall, Steven Holl succeeds the spatial overlap of the terrace with the last “spatial dam”. The fourth and last “spatial dam” is the culminating step in the cascading spatial sequence of the house. It contains a room flooded by the largest pond, with the long pool cantilevering over it, with the water of the pool hovering over the reflective surface of the pond, fusing architecture and nature.

Figure 30: A view to the library and the steps leading to the dining room Figure 31: The dining room with its glazed corners opening to the landscape