LOUIS I KAHN

“THE SUN NEVER KNEW HOW GREAT IT WAS UNTIL IT HIT THE SIDE OF A BUILDING “

Louis Kahn is known as one of the greatest architect in the world. Influenced by ancient ruins, Kahn's style tends to the monumental and monolithic building that does not hide their weight or the materials they are made from and the way the materials are assembled. Louis Kahn's architectural works has a taste of International style with a hint of his own personal taste and a sense of light.

LOUIS ISADORE KAHN

INTRODUCTION Louis Kahn was born in Pärnu, Estonia, on February 20, 1901 His family emigrated to the United States when Kahn was a child He later studied architecture at the University of Pennsylvania and opened his own firm in 1935. His major works include the Yale University Art Gallery, the Kimbell Art Museum and the capitol complex in Dhaka, Bangladesh. Kahn died in New York City on March 17, 1974.

CAREER BEGINNING After working as a chief of design for Philadelphia’s in 1926 , Kahn traveled throughout Europe in 1928-29. Returning home, he married Esther Israeli in 1930, and found work at various Philadelphia-based architectural firms. Kahn opened his own architectural practice in 1935. From the start, he was interested in architecture’s role in social change. He created housing for factory workers during World War II, and later in the 1940s worked on buildings for labor unions.

After the war, Kahn also designed several private homes in the Pennsylvania suburbs, working in a modernist style. Kahn began teaching architecture at Yale University in New Haven, Connecticut, in 1947

In 1950-51, Kahn was the architect in residence at the American Academy in Rome.

He also was able to visit Greece and Egypt. Inspired by the ancient ruins and Renaissance buildings he had seen,

Kahn would use classical architecture’s solid forms and durable materials in his own work, combining these timeless forms with modern techniques.

WORKSYale University Art gallery, at New Haven, Connecticut, 1951 to 1954.

Trenton Bath house, at Trenton, New Jersey, 1954 to 1959.

Richards medical Center, at Philadelphia, Pennsylvania, 1957 to 1961.

Salk Institute, at La Jolla, California, 1959 to 1966.

First Unitarian Church, at Rochester, New York, 1959 to 1967.

Erman Hall Dormitories, at Bryn Mawr, Pennsylvania, 1960 to 1965.

National Assembly in Dacca, at Dacca, Bangladesh, 1962 to 1974.

Institute of Public Administration, at Ahmadabad, India, 1963.

Kim bell Art museum, at Fort Worth, Texas, 1967 to 1972.

Architectural Principles Worked with simple materials, notably brick and concrete. He strove through a masterful sense of space and light Kahn devoted his career to the uncompromising pursuit of formal

perfection and emotional expression. Building included constructional elements such as the mediums used

as well as the color, line, shape, light, and the symmetry of the site. In his buildings, we see the realization of his vision: luminous surfaces

that evoke a fundamental awe. Silent courtyards speak of the expansiveness and the sanctity of the

spirit Monumental columns and graceful arches that embody dignity and

strength.

PHILOSHPY

SPACE AND FUNCTION According to him space played an essential architectural role that is space and place are inseparable. Space is not merely assembly of functions but it has got some character too. The space should be designed such that it speaks out its function.

He was resolute in his philosophy that architecture is the thoughtful making of spaces whose design can and should simultaneously reveal the story of their construction and meet the aesthetic and functional needs of the people who inhabit them.He believed strongly that architecture should appeal not only to practical and aesthetic needs but also to the humanistic needs of the people and communities it serves. He was continually striving to create spaces that evoked a sense of spirituality, a sense he felt was lacking in the built environment of that time.

BINDING ELEMENTS According to him “two buildings which are functionally related in site should be visually binded or connected to avoid a drama”. Shape is most important feature of binding elements. If two buildings have same shape or pattern feeling of united ness is automatically created. Like in Richard Medical Institute, University of Pennsylvania and national Assembly Building Dhaka triangular and circular openings for ventilations. He gave the philosophy of connections. According to him all the elements in buildings should be connected visually in one way or another, which means more parts of a building should look alike. One can use different forms in a building but it should not disturb the unity of the building. You can use form or shape of building, texture of material.

PERIPHERIAL ENCLOSER It is the spirit of the building, without it the building look barren. Everything has certain boundaries; we can work only in these boundaries . Just like in capital complex in Dhaka cluster of building has its own periphery. Main strong point in his design was periphery, which is binding the central space. SUNLIGHT He used sunlight very carefully in his buildings and employed it as the maker of architecture. He saw the sunlight as an essential and governing element in architecture. Sunlight govern the form of the building and was carefully taken to the interior as in Kimball art museum, light decide the penetration . He used light to create various moods in residential as well as in commercial buildings.

LOCAL MATERIAL At that time the construction material was mostly brick, glass and steel. Kahn preferred locally available materials more for example: Kim bell art museum. Material used in this museum were locally available like: concrete, travertine, stainless steel and white oak.

ORDER According to him there should be some order in buildings. The sense of composition and the integrity of building in his buildings one could see that compositions were chosen very carefully so that integrity of entire area is not disturbed . The different elements in every building are inter related maintaining the order of building.

Four Key Ideas  a) The Slit and the architecture of natural interior lighting b) What the space wants to be c) illuminating monumentality d)The unexpected interior

The slit which allows natural light to illuminate interiors; seeking to understand “what the space wants to be”; the illumination of monumentality; and the presence of interiors which are surprising given the exterior of the building.

Philadelphia Psychiatric Hospital (1948-54).

The placement of the windows along the top and bottom of the same wall coincidentally produce a floating effect on the wall.

SLIT

NATIONAL ASSEMBLY BUILDING Louis Kahn’s National Assembly Building of Bangladesh in Dhaka is an extraordinary example of modern architecture being transcribed as a part of Bangali vernacular architecture. The National Assembly building, completed in 1982, stands as one of Kahn’s most prominent works, but also as a symbolic monument to the government of Bangladesh. The intention of Kahn for the parliament was to produce an ideal expression for the new democracy by using perfectly geometric shapes: circle, the half circle, square and triangleArchitect: Louis KahnLocation: Dhaka, BangladeshProject Year: 1959-1982 Material : Concrete , Marble Building type : Government Style : ModernThe complex includes the National Assembly building, the plaza north (65,000 square feet), the plaza south (223,000 square feet), hotels for members of parliament, ministers and secretaries, social halls and common buildings, all linked by roads and walkways and surrounded by attractive gardens and lakes.

NATIONAL ASSEMBLY ,BANGLADESH

There are eight halls that are concentrically aligned around the parliamentary grand chamber, which is not only a metaphor for placing the new democratic government at the heart of the building.The interior of the Assembly Building is divided into three zones.The Central zone is the area of the Assembly. The middle zone provides inner circulation, ties together the galleries of the people and the press gives access to Committee rooms and the Library. The outer zone is the area of the offices, Party Rooms, Lounges, Tea Rooms and Restaurant, the Garden Entrance, and the Entrance of the Mosque.

This is a concentric plan, where several functional layers are developed around a main hall where meetings with capacity for 354 parliament seats are held. The plan is born of a square that has been manipulated to reach an octagon. There are four identical blocks of offices along with other features in the blocks of the corners. There is also an elaborate system of traffic with different types of elevators. In the floor situated in the basement is a parking area and the chambers of machines and facilities that cater to the building.

ARTIFICAL LAKE : The sheer mass of the monumentally scaled National Assembly and the artificial lake surrounding the building act as a natural insulator and cooling system that also begin to create interesting spatial and lighting conditions

MATERIAL : The entire complex is fabricated out of poured in place concrete with inlaid white marble, which is not only a modernist statement of power and presence, but is more of a testament to the local materials and values.

The geometric shapes found on the different faces of the façade add a dramatic impact to the overall composition of the building. The geometric shapes are abstracted forms found in traditional Bangali culture that are meant to create a marriage of old and new cultural identities, as well as, serve as light wells and a natural environmental control system for the interior. For Kahn, light was an important aspect in the design of a building, not just as a way to illuminate a space, but rather conceptualizing light as a creator of space.

GEOMETRIC SHAPES :

STRUCTURE : One cannot find a column inside the building. The columns have disappeared inside the divisive elements that have adopted the function of bearing walls. It's more like a large mass of concrete that has been digging and sculpting itself to achieve a perfect functional entity.

Encloser Openings

Geometric shapes

INDIAN INSTITUTE OF MANAGEMENTAHEMDABAD

Year of completion : 1963

Chief Architect : Louis Khan ,B.V Doshi, Anant Raje

Site Area : 66 Acres

Building Type : Education

Architecture Style : Modern

IIM,A

INDIAN INSTITUTE OF MANAGEMENT , AHEMDABAD

The Indian Institute of Management Ahemdabad better known as IIM Ahmadabad or simply IIM-A, is a business school located in Ahemdabad, Gujarat, India. It is the second Indian Institute of Management (IIM) to be established, after IIM Calcutta, in 1961.. IIM-A was the second IIM to be set up, on December 16, 1961.

For Louis I Kahn classroom was a centre of academic thought. He incorporated local materials( brick and concrete) and large

geometrical façade extractions as homage to Indian vernacular architecture.

It was kahn’s method of blending modern architecture and Indian tradition into an architecture that could only be applied for I.I.M

The large facades are positioned to act as light wells and natural cooling system protecting the interiors from India’s harsh desert climate.

Even though the porous, geometric façade acts as filters for sunlight and ventilation.

The broad airy corridors ,the amphitheatre like classrooms and transition spaces. In the complex enhance interaction among the faculty, students and visitors

ACADEMIC COMPLEXThe Academic complex comprises of the following :-Library , School Building, Faculty blocks ,Dormitories, Louis Khan Plaza

Separate entries for institutional and residential complex. Separate service entry. Academics and social activities have been integrated with

students and staff living. Institutional Complex is taken as Focal Building. Auditorium is located near main entrance for easy access for

visitors. Residential areas have been planned in Hierarchical pattern School building Is planned around a court. School building and students dorm have been placed diagonally

to take advantage of winds from southwest.

CAMPUS LAYOUT

ACADEMIC COMPLEX

LIBRARY BLOCK

Exterior view of library

Interior view of library

FIRST FLOOR PLAN OF LIBRARY The library building is five

storyed structure with rectangular plan.

It is approached by a broad, imposing flight of steps from the parking lot.

The design has been conceived to entail movement from the active spaces to most private and quite carrels at the farthest reaches.

Accommodate triple height reading hall and conference hall SECOND FLOOR PLAN OF LIBRARY

• THIRD FLOOR : Accommodates bound volumes of journals.

• FOURTH FLOOR : Has bound volumes of old books and journals.

CLASS ROOMS The shape of classroom is

hexagonal The Design of class room is

based on the seminar type interaction between the students and the faculty.

Windows are high to get glare free light.

Interior view of classroom Plan

FACULTY BLOCKS Faculty block is on the right side

of the main entrance. It is four stored building with

four blocks. All the openings are designed to

overlook the adjacent and landscape garden and Louis Khan Plaza.

DORMITORIES The shape of each dormitory

block is square with two residential wings, triangular lounge and a service area.

The position of the staircase and washroom are meant to protect the living room from sun and glare without obstructing and the breeze and ventelation.

In most of the blocks the ground floor is used as bank etc.

The Dorns are placed one behind the other To Obtain the much needed breeze and cross ventelation.

Dormitory Block

Courtyard between Dormitory block

LOUIS KHAN PLAZA Instead of small courtyard,

one large court has been planned in the center to relate the movement around.

CAPACITY : 550 SEATS ENTRANCE LOBBY : 560 Sq fts FOYER : 560 Sq fts AUDITORIUM HALL : 3000 Sq fts CONFERENCE ROOM : 200 Sq fts SEMINAR ROOM :400 Sq fts Each

AUDITORIUM

GROUND FLOOR PLAN

FIRST FLOOR PLAN

BUILDING MATERIALS BRICK HAS BEEN USED AS PRIMARY BUILDING MATERIAL FOR THE

ENTIRE COMPLEX WALLS, COLUMNS. BRICK ARCHES HAVE BEEN USED FOR WIDE SPANS. USE OF CONCERETE HAS BEEN RESTRICTED TO FOUNDATIONS, FLOOR

SLABS, AND TIES FOR ARCHED OPENINGS

MANAGEMENT DEVLOPMENT CENTER MANAGEMENT DEVLOPMENT CENTER IS LOCATED TOWARDS ESTERN

EDGE OF THE CAMPUS. IT HAS BEEN PLANNED AS A SELF CONTAINED UNIT WITH ACADEMIC AREA, OFFICES, EXECUTIVES HOSTELS AND DINING FACILITIES.

IT IS A DOUBLE STORYED BUILDING WITH A BASEMENT AND HAS A U SHAPE PLAN ENCLOUSING A COURT IN BETWEEN

THERE ARE TWO LECTURE HALLS, TWO CONFERENCE ROOMS AND EIGHT SYNDICATE ROOMS IN THE MDC BUILDING.

IDENTIFY HIS MAIN ELEMENTS

KIMBELL ART MUSEUM(1966-1972)ARCHITECT : LOUIS I KAHN

Location : Fort worth, Texas, USA

Date : 1967 to 1972

Building Type : art museum

Construction system : reinforced concrete

Climate : temperate

Style : modern

KINBELL ART MUSEUM

KINBELL ART MUSEUM-2

KIMBELL ART MUSEUM

located in Fort worth, Texas, USA opened to the public for the first time in 1972 a mecca of modern architecture. natural light enters through narrow plexiglass skylights along the top of cycloid barrel vault wing-shaped pierced-aluminum reflectors hang below the vault main (west) facade of the building consists of three 100-foot bays, each fronted by an open, barrel-vaulted portico, with the central, entrance bay recessed and glazed three courtyards punctuate the interior space grand arches from Roman architecture have been used

KIMBELL ART MUSEUM

Selection of Materials – Kahn selected materials that complemented each other in tone and surface These were travertine, concrete, white oak, metal and glass These gave a sense of serenity, simplicity and elegance

Lighting - Natural light has been used to illuminate museum spaces so that visitors may be able to relate to nature and the effects of changing weather while inside Cycloid vault with “narrow slits to the sky” that allowed natural light to enter and transform the space have been given. Lamps bolster the daylight to give a mixture of natural and artificial light that is ideal for viewing works of art

.

FLOOR PLAN

FLOOR PLANS

The light strikes a suspended convex, perforated-aluminium “natural light fixture”, in the words of Kahn that prevents direct light from entering the space. As the light reflects onto the cool, curved concrete, it retains what Kahn called the “silver” quality of Texas light

INTERIOR VIEW OF ART GALLERY EXTERIOR VIEW OF MUSEUM

SECTIONS

ELEVATION

INTERIOR SECTION SHOWING DETAIL OF ROOF

SALK UNIVERSITY

monumental presence for nearly 50 years, the California research facility designed. where concrete meets calmComposed of strong willed yet sensuous material- traventine and reinforced concrete-it poses a hushed dignity that encourages contemplation.He built all four outer walls of the laboratory levels out of large, double strength glass panes, producing an open, airy work environment

THE SALK INSTITUTE

Kahn’s creation consists of two mirror image structures that a grand courtyard

Each building is six story tall. Three floors contain laboratories and three levels above the laboratory floors provide access to utilities.

The east end of building contain heating, ventilating, and other support systems. At the west end Are six floors of offices over looking the ocean.

MATERIAL SELECTION

materials that could last for generations with only minimal maintenance.

The material chosen for this purpose were concrete, teak, lead, glass special steel.

Exterior photo showing building facades facing onto courtyard space

Exterior close –up photo of water channel in courtyard , with sea view beyond

SITE PLAN

FLOOR PLAN

SECTIONS

ELEVATIONS

WEST ELEVATION

SOUTH ELEVATION

Esherick HouseThe Esherick House in Philadelphia, Pennsylvania, is one of the most studied of the nine built houses designed by American architect Louis Kahn. Commissioned by Margaret Esherick, it was completed in 1961.

The house is noted especially for its spatial organization and for the ventilation and natural lighting provided by its unusual window and shutter configuration. A kitchen of wood and copper was created for the house by Wharton

Eshrick House is admired for his spatial and luminous qualities and is the first of its kind residence to convey the grand idea of kahn’s style architecture

Kahn’s fusion of materials, wood with manmade beige concrete is true to its geometrically simple style which allows more emphasis to be placed on lighting and environmental context.

Inner walls are primarily white to accentuate the richness of wood. The living room is of double floor height.

It rests on a 6 acre garden.

Kahn’s open floor plan allows natural light to penetrate every corner through the floor-to-ceiling windows.

PLAN

PHILIP EXETER LIBRARY The Phillips Exeter

Academy Library in Exeter, New Hampshire, U.S., with 160,000 volumes on nine levels and a shelf capacity of 250,000 volumes, is the largest secondary school library in the world.

PLAN The library has an almost cubical

shape: each of its four sides is 111 feet (33 m) wide and 80 feet (24 m) tall. It is constructed in three concentric areas (Kahn called them "doughnuts")

The early designs included some items that were eventually rejected, such as a roof garden and two exterior towers with stairs that were open to the weather. They were removed from the plans when the building committee reminded Kahn that neither of those features would be practical in New England winters.

• Its facade is primarily brick with teak wood panels at most windows marking the location of a pair of wooden carrels. The bricks are load-bearing; that is, the weight of the outer portion of the building is carried by the bricks themselves, not by a hidden steel frame. Kahn calls this fact to the viewer's attention by making the brick piers noticeably thicker at the bottom where they have more weight to bear. The windows are correspondingly wider toward the top where the piers are thinner

Another arcade circles the building on the ground floor. Kahn disliked the idea of a building that was dominated by its entrance, so he concealed the main entrance to the library behind this arcade. Visitors unfamiliar with the library tend to wander around its edges before locating the two entrances, to be found on either side of a glass-walled projection into the recessed arcade that otherwise fills the first bay of the ground-floor story

• He felt that reading

spaces should be near the books and also to natural light.

• The seating was designed accordingly

A circular double staircase built from concrete and faced with travertine greets the visitor upon entry into the library. At the top of the stairs the visitor enters a dramatic central hall with enormous circular openings that reveal several floors of book stacks. At the top of the atrium, two massive concrete cross beams diffuse the light entering fromthe clerestory windows.

THANK YOU

“EVEN A SPACE INTENTED TO BE DARK SHOULD HAVE JUST ENOUGH LIGHT FROM SOME MYSTERIOUS OPENING TO TELL US HOW DARK IT REALLY IS “

STATE INSTITUE OF URBAN PLANNING AND ARCHITECTURE ,ROHTAK