A PRESENTATION ON LOUIS I. KHAN PREPARED BY KIRAN MAN JOSHI(059/BAE/215)SUBHASH SHAKYA (059/BAE/240)

CONTENTS

INTRODUCTION BACK GROUND KAHNS UNIQUE VOCABULARY CONSTANTS KIMBELL ART MUSEUM YALA ART GALLERY SALK INSTITUTE NATIONAL ASSEMBLY HALL MINISTRY OF HEALTH KAHNS CONTRIBUTION SETBACKS CONCLUSION

INTRODUCTIONAMERICAN ARCHITECT BORN IN SAARAMA, ESTONIA (USSR) IN 1901HE IS KNOWN FOR HIS OBSESSION FOR NATURAL LIGHT AND SHADOWS AND CONNECTION WITH OUTDOORSHE WAS A ARCHITECT WHO REJECTED UNIFORRMITY IN THE DESIGNS. HE SUPPORTED INDIVIDUALITY, SENITIVITY AND FREEDOM TO RESPOND IN PARTICULAR WAY ACCORDING TO CONSTRAINS OF BUILDING PROGRAMHE IS BECAME THE LEGEND OF THE MODERN ARCHITECTURE

BACKGROUNDFROM ESTONIA HE IMMIGRATED TO PHILDELPHIA, USA IN 1905AS A BOY HE WAS INTERESTED IN PAINTING AND MUSICSCHOOLING FROM CENTRAL HIGH SCHOOL AND PUBLIC INDUSTRIAL ART SCHOOL IN PHILADELPHIAHE GRADUATED IN ARCHITECTURE FROM UNIVERSITY OF PENNSYLVANIA IN 1924HE WORKED WITH JOHN MOLITOR, PAUL CRET AFTER GRADUATION LATER WITH GEORGE HOWE AND OSCAR STONORVOHIS PROMINENT APPRENTICES INCLUDE MOSHE SAFDAI AND ROBERT VENTURI

BACKGROUNDIN 1950S HE EMERGE WITH A PROMINENT STYLE WITH PERFECT PHILOSOPHYFROM 1947 TO 1957 HE WAS DESIGN CRITIC AND PROFESSOR OF ARCHITECTURE AT YALE UNIVERSITY BEGINNING IN 1935 KAHN WORKED WITH A SERIES OF PARTENERS, BUT FROM 1948 UNTIL HIS DEATH IN 1974, KAHN WORKED ALONEALTHOUGH HE DEVELOPED HIS OWN ARCHITECTURAL FORMS HE DERIVED INFLUENCE FROM LE CORBUSIER AND HIS OWN BEAUX ARTS EDUCATION

KAHN UNIQUE VOCABULARY1. SERVANT AND THE SERVED SPACE

FORMAL ZONING DIFFERNTIATION BETWEEN THE PRIMARY SPACE OF THE BUILDING AND THE EQUIPMENT AND ANCILLARY USE

2. SILENCE AND LIGHT

HE IS CONCERNED WITH EXPRESSING THE CONTRASTS OF DUALITYSILENCE MEANS VOID AND DARK SPACES AND CLEAR DISTINCT SPACE IS LIGHT

CONSTANTS1. THE SENSE OF COMPOSITION AND INTEGRITY OF THE BUILDING BATH HOUSE IS MOST SIGNIGICANT ONE IN ALLOCATION OF SPACE AND ORDER PLAYS A KEY ROLE ORDER HAS PSYCHIC RELATION WITH ART ,INFLUENCE THE WEIGHT OF COMFORT OF THE OCCUPANTREALIZE WHETHER A SPACE IS TO SERVE OR TO BE SERVED

CONSTANTS2. THE ATTEMPT TO REVEAL THE CHARACTER OF THE BUILDINGHUGE OPENINGS IN THE BUILDING HAVE BEEN POSSIBLE DUE TO THE CONCRETRE BEAMS AND COLUMNGEOMETRY IS THE LINK BETWEEN MEASUREMENT AND SPACESIN THREE OUTSTANDING PROJECT HE USED SIMPLER MATERIAL (BRICK AND CONCRETE)

CONSTANTSTHE SENSE OF THE ROOM AS THE ESSENCE OF ARCHITECTURETHE ROOM IS THE PLACE OF MINDSPACE GIVE ORDER THAN FUNCTION WILL BE FULFILLEDSTRUCTURE OF THE SPACE WAS MORE IMPORTANT THAN THE BUILDING

CONSTANTS4. DAYLIGHT CAREFULLY EMPLYOD AS THE MAKER OF ARCHITECTURE

KIMBELL ART MUSUEM IS BEST ONE WHERE WE CAN FIND EFFECT OF NATURAL LIGHT FROM SKYLIGHT AND METAL REFLECTOR AND OPENING MODULATES THE QUALITY AND INTENSITY OF DAYLIGHT INSIDEKAHN SAW ARCHITECTURAL ELEMENTS, SUCH AS THE COLUMN, ARCH, DOME, AND VAULT, IN THEIR CAPACITY OF MOLDING LIGHT AND SHADOWHE TOOK LIGHT FOR DIVISION OF SPACES AND THINKS THAT SHADES AND SHADOW ARE MYSTERY OF LIGHT

CONSTANTS5. ARCHITECTURE OF CONNECTIONTHE CONNECTING ELEMENTS IN ARCHITECTURE ARE IMPORTANT WHEN THE CONCEPT OF COMPLEXITY IS SUBSTITUTED FOR A SINGLE BUILDINGSCONNECTIVE COLUMNS AND VAULT IN KIMBELL MUSEUM ARE PERFECTLY PLACEDBRYN MAWR COLLEGE DORMITORY THE CONNECTIONS ARE MADE AT THE CORNER OF THE SQUARE

BUILDINGS

STRUCTURESYEAR LOCATIONYALE UNIV. ART GALLERY1951-53 NEW HAVEN, CONNECTICUT NEWTON RICHARDS MEDICAL RESEARCH BUILDING 1957-65 PHILIDELPHIA, PENNSYLVANIA FIRST ULITARIAN CHURCH AND SCHOOL 1959-69 ROCHESTER NEW YORK SALK INSTITUTE FOR BIOLOGICAL STUDIES 1959-65 LA JOLLA, CALIFORNIA PHILIP EXETER ACADEMY LIBRARY 1965-72 EXETER, NEW HAMPSHIR KIMBELL ART MUSEUM 1966-72 FORT WORTH, TEXAS NATIONAL ASSEMBLY HALL1962-83 DHAKA, BANGLADESH

KIMBER ART MUSEUM FORT WORTH,TEXAS(1966-1972)

LOCATED IN A PARK IN FORTH WORTH TEXASAREA 120000 sq ft , LENGTH 318 ft, WIDTH 174 ft, HIGH 40 ftVAULT ROOF COVERED WITH COPPEREACH VAULT SPLIT BY A SKYLIGHT AT APEXLIGHT COMES FROM BOTH ABOVE AND FROM INTERNAL COURTYARDMOVEABLE WALLSSPACE OF MUSEUM IS FLEXIBLE FOR TEMPORARY EXHIBITION

INTERIORS AND EXTERIOR OF KIMBELL ART MUSEUM

KIMBELL ART MUSEUM FORT WORTH,TEXAS(1966-1972)EACH FACADE IS TREATED INTRESTINGLYVAULT AND CHANNEL ARE EFFECTIVE STRUCTUREVIEW OF INTERIOR AND VISTA TOGETHER ADD VISUAL INTEREST TO THE MUSEUM VISITOREFFECT OF NATURAL LIGHT FROM SKYLIGHT AND METAL REFLECTOR AND OPENING MODULATES THE QUALITY AND INTENSITY OF DAYLIGHT INSIDE

YALE ART GALLERY NEW HAVEN, CONNECTICUT (1951-53)

THIS WAS HIS FIRST MAJOR RENOWNED WORKBUILD AS A EXTENSION OF YALE UNIVERSITYTHE MAIN ORTHOGONAL VOLUME IS ANIMATED BY A CYLINDRICAL FORM HOUSING THE MAJOR ACCESS STAIR. HERE, THE CYLINDER IS THE "SERVANT" AND THE RECTANGLE THE "SERVED" FORM.

PLAN SHOWING SERVED AND SERVENT SPACE

YALE ART GALLERYNEW HAVEN, CONNECTICUT (1951-53)THE BUILDING IS CHARACTERISED BY HEAVY SPACE FRAMETHIS FOUR STORIED BUILDING SHOW IMPRESSIVE INTEGRATION OF MECHANICAL, ELECTRICAL, ACOUSTICAL & LIGHTING SYSTEM WITH MODIFIED CONCRETE

SALK INSTITIUTE LA JOLLA, CALIFORNIA(1959-1966)INSTITUTE FOR BIOLOICAL STUDIES BUILT ON SEA SIDE CONTEXTTHE EXTERNAL SUN CONTROL ELEMENTS ON THE BUILDING GIVES ABSTRACT MODERN FORMMATERIALS USED ARE CONCRETE,WOOD, MARBLE & GLASS. CONRETE BEING STONE OF MODERN MAN LEFT WITH EXPOSED JOINTS AND FORMWORK

SALK INSTITIUTE

BOARD PLAZA BETWEEN TWO RESEARCH & LAB WINGS PROVIDE VIEW OR THE BEAUTIFUL PACIFIC OCEAN AND COASTLINEKAHN DIDNT NEED TO DRESS UP THE LAND AROUND THE BUILDING. HE BLENDED THE BUILDING WITH THE SURROUNDING SEASIDE LANDSCAPEWELL IMPLEMENTATION OF HIS IDEA OF SERVED AND SERVENT SPACE. LABORATORIES BEING MAIN RESEARCH CENTER IS A SERVED SPACES WHILE STUDY AREAS AND OFFICES WHERE IDEAS ARE IMITIATED ARE SERVENT SPACES. FUNTIONALLY THE SERVENT SPACES SERVES THE SERVED SPACES.

NATIONAL ASSEMBLY BUILDINGDHAKA, BANGALADESH(1962-83 )MAGNIFICENT EXAMPLE OF VERNICULAR AND MONUMENTAL ARCHITECTURE WITH CLEAR FORM AND COMPOSITION WHICH KAHN DREAMT OF CREATINGUNIQUE WAY OF BRINGING LIGHT TO PUBLIC SPACES ARE THE MOST DISTINGUISHING ELEMENT OF KAHN'S DESIGN. LIGHT FROM THE ROOF ILLUMINATE DIFFERENT SPACES AS IF AMBIENT GLOWS ARE SHOWERED FROM HEAVEN

NATIONAL ASSEMBLY BUILDINGDHAKA, BANGALADESH(1962-83 )THE ENTIRE BUILDING BECAME A LIGHT FILTER, STARTING WITH ITS TOP, WITH GEOMETRIC RADIAL PARTITIONS CUT-OUTS, SERVING AS INTERNAL FILTERSDESPITE VARIOUS DIFFICULTIES HE WAS ABLE TO DESIGN MAGICAL SEQUENCE OF BUILDINGS THAT APPEAR TO FLOAT ABOVE THE SURROUNDING WATER IN VERNACULAR MARBLE & BRICK CONSTRUCTION BRILLIANTLY CONSTRUCTED BY LOCAL CRAFTMAN

NATIONAL ASSEMBLY BUILDINGDHAKA, BANGALADESH(1962-83 ). DOMINATING CIRCULAR AND RECTANGULAR CONCRETE MASSES IMPART A SUPREME MONUMENTALITY TO THE BUILDING QUITE SUITED TO ITS NOBLE FUNCTIONS SITE PLANINTERIOR CORRIDORSS

MINISTRY OF HEALTHKATHMANDU, NEPALALTHOUGH NOT HIS MASTER PIECE OF WORKS, THE BUILDING REFLECTS HIS TASTE FOR EXPOSED BRICK MASONARY WORK AND SIMPLE INTERPALY OF MASS AND VOIDTHE EXISTING MANDALA WAS ALSO PART OF THE PLAN WHICH WAS BUILD MANY YEARS AFTER. THIS REFLECTS HIS FUTERISTIC VISIONTHE BUILDING HAS BEEN BUILT IN CONTEXT TO NEPLESE SOCIETY WHICH IS REFLECTED BY USE FO BRICK MASONARY AND COURTYARD PLANNING

CONTRIBUTIONS

USE OF LIGHT AS A BUILDING MATERIAL HE BELIEVED THA SHADES AND SHADOWS ARE MYSTERY OF LIGHT AND NO SPACE ARCHITECURALLY IS A SPACE UNLESS IT HAS NATURAL LIGHT. THE PRIME EXAMLE OF WHICH BEING KIMBELL ART GALLERY IT WAS NATURAL LIGHT THAT BROUGHT ARCHITECTURE TO LIFE. THE ARTIFICIAL LIGHT HAD AN UNVARYING "DEAD" QUALITY IN CONTRAST TO THE EVER-CHANGING DAYLIGHT. RELEASE OF CORNER OF A BUILDING FROM BEING AN INTRINSIC STRUCTURAL COMPONENT WITH USE OF NEW MATERIAL LIKE REINFORCED CONCRETRE AND STEEL, HE REBELLED WITH THE IDEA OF USING CORNERS AS STRUCTURAL COMPONENT OF BUILDINGS EG AT PHILIPS EXETER ACADEMY

CONTRIBUTIONS

CONCEPTION OF SERVED AND SERVENT SPACES HE FORMULATED A NEW CONCEPT OF BUILDING PLAN OF SEPERATING SERVED AND SERVENT SPACES. THE SERVECT SPACES SHOULD SERVE SERVED SPACE

INTEGRATION OF TRADITIONAL VALUES INTO CONTEMPORARY PRACTICE PRODUCE BUILDINGS WHICH WERE AS MONUMENTAL AND AS SPIRITUALLY INSPIRING AS THE ANCIENT RUINS OF GREECE AND EGYPT PRIME EXAMPLE OF IT ASSEMBLY BUILDING OF DHAKA

SETBACKSMUCH OF KAHN LIFE WAS STRUGGLEKAHN WORK OFTEN FAILED ECONOMICALLY BECAUSE OF HIS UNWILLINGNESS TO COMPROMIS HIS ARTISTIC AND THE SOCIAL GOALSTHE INSTITUTE OF MANAGEMENT AND ANOTHER ONGOING WORK, THE CAPITAL COMPLEX OF GOVERNMENT BUILDINGS AT DHAKA IN BANGLADESH, KAHNS MOST AMBITIOUS PROJECT WERE COMPLETED AFTER HIS DEATH. IT WAS DUE TO HIS UNCOMPROMISING CHATACTER THAT HE DIED BANKRUPT OWING HUNDREDS OF THOUSANDS OF DOLLARS

CONCLUSIONKAHN WAS ONE MODERN ARCHITECT WHO BELIEVED IN PRODUCING BUILDINGS WHICH WERE AS MONUMENTAL AND AS SPIRITUALLY INSPIRING AS THE ANCIENT RUINS OF GREECE AND EGYPTPOINEER IN USE OF NATURAL LIGHTING IN THE BUILDING HIS WORKS LIKE KIMBELL ART GALLERY SETS BENCHMARK IN INTERPLAY OF LIGHTING IN BUILDINGHIS WORK DISPLAYS MASSIVE CREATIVE EFFORTS MORE ARTISTICALLY IMPULSIVE THAN ANALYTICLALHE WAS PHYLOSOPHICAL AMONG THE ARCHITECT