The phrase 'an interweaving of' is correct and usable in written English.
You can use it to refer to a combination of elements that produces a complex or intricate result. For example, you could say: “My research paper is an interweaving of personal reflections, scientific facts, and historical observations."
The "Wright space," as Grant Hildebrand has pointed out, is an interweaving of prospect and refuge.
The original book is an interweaving of oral histories, and Mr. Cipullo has retained this structure.
There is an interweaving of internal and external, of piazza, atrium and galleries.
Sweden's cultural heritage is an interweaving of a uniquely Swedish sensibility with ideas and impulses taken from other, larger cultures.
Luther's new monastic life conformed to the commitment that countless men and women had made through the centuries an existence devoted to an interweaving of daily work and worship.
In any case, it seems that one key to finding a true American voice has been the galvanising effect of an indisputably national art, itself an interweaving of sources foreign and native: the African-American tradition.
The Girl on the Train is a tight thriller with some refreshingly realistic nasty characterisation and an intricate interweaving of narrative voices, but its narrow vision lacks some of the expansive social commentary of its American contemporaries, and there are times in the final act when the nuts and bolts of the plotting show a little too clearly.
We are, in effect, not a democracy but a multarchy (note to classicists: sorry to mix Latin and Greek roots, but political scientists use polyarchy in a different sense): a complex interweaving of many forms of government — indeed, of all Plato's five types.
Quattlebaum noted, "The story's structure – an expert interweaving of past, present and future – brilliantly contradicts Miranda's commonsensical belief that the end can't happen before the middle".
Atmospherically lighted by David Grill, sumptuously accompanied by a Dvorak string-quartet adagio and moodily danced by Lindsay Purrington, John-Mark Owen and Addul Manzano, it avoided flashy lifts and individual display in favor of a subtle interweaving of characters, always expressed in a classical idiom.
Mr. Levine, in his time as the orchestra's music director, has dispensed with a further trademark: Mr. Oliver's favored seating plan, a complex interweaving of high and low, male and female, voice types.
