And I don’t know how you people think the train can move if someone is wedged half inside and half outside of it, how I’m supposed to lose my job, how I’m supposed to kill you because you wedged yourself in like that because you decided, even if you didn’t say it, to say ‘I’m number one, and everyone else on this train is a zero’ and ‘I get to hold people up because I can’t wait another five minutes,’ or ‘Everybody has to wait for me, everybody has to be late to their job, their doctor’s appointment, their date, their inspection, their life for me,’ just counting on us to say, OK we’ll wait, because I can’t kill you, with your body stuck halfway in the train, Mr. or Mrs. Important, stuck half in outside the door, one leg in, one leg out, one arm in, one arm out, half a woman, half a man, a half-woman half-man, cut in half.
Steven Myron Holl’s work is one of the rare examples of architecture that bears the thumbprint of its architect. More so than many forms of art, architecture is distanced from its author, distorted by an industrial, regulatory, and organizational framework. Steven Holl’s work breaks down that distance and preserves the aura of the initial design.
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