LOUIS I. KAHN a Guide for Educators

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ARTIST’S WORK/ARTIST’S VOICE: LOUIS I. KAHN A Guide for Educators

Department of Education at The Museum of Modern Art Artists Voices Kahn Cvr_08.23.07 9/11/07 3:19 PM Page 2 Artists Voices Kahn Cvr_08.23.07 9/11/07 3:19 PM Page 4

TABLE OF CONTENTS CREDITS

1. A NOTE TO EDUCATORS AUTHOR: Lisa Mazzola ARTIST’S WORK/ARTIST’S VOICE: EDUCATION EDITORS: Sarah Ganz Blythe and Susan McCullough 2. USING THE EDUCATORS GUIDE ARCHITECTURE EDITOR: Peter Reed LOUIS I. KAHN EDITOR: Rebecca Roberts 3. SETTING THE SCENE DESIGNERS: Elizabeth Elsas and Tamara Maletic A Guide for Educators PRODUCTION MANAGER: Claire Corey 6. LESSONS Lesson One: What is Architecture?

Lesson Two: The Power of Drawing Teacher Programs at The Museum of Modern Art are sponsored by the Citigroup Foundation. Lesson Three: The Process of Design Artist’s Work/Artist’s Voice: Louis I. Kahn is made possible by a grant from the National Lesson Four: Form and Function Architectural Trust.

Lesson Five:Department The Spirituality of Education of Matter at The Museum of Modern Art

Lesson Six: Designs for Urban Life

30. FOR FURTHER CONSIDERATION

32. GLOSSARY In reproducing the images contained in this publication, the Museum obtained the permis- 33. SELECTED BIBLIOGRAPHY AND RESOURCES sion of the rights holders whenever possible. In those instances where the Museum could not locate the rights holders, notwithstanding good faith efforts, it requests that any contact 36. MoMA SCHOOL PROGRAMS information concerning such rights holders be forwarded, so that they may be contacted for future editions, to: Department of Education, The Museum of Modern Art, 11 West 53 Street, New York, N.Y. 10019-5497.

No part of these materials may be reproduced or published in any form without prior written consent of The Museum of Modern Art. Design © 2007 The Museum of Modern Art, New York Kahn Guide.P 2/5/08 4:45 PM Page 1

A NOTE TO EDUCATORS

Artist’s Work/Artist’s Voice is a series of guides for educators devoted to artists and archi- 1 tects in The Museum of Modern Art’s collection. Rather than exhaustive monographs, these NO A guides consider key examples of an artist’s work in relationship to his or her social and

cultural context. Written with the guidance of Peter Reed, Senior Deputy Director of T TE

Curatorial Affairs at The Museum of Modern Art, and William Whitaker, Archivist at the EDUCA O Louis I. Kahn Archive at the University Of Pennsylvania, Artist’s Work/Artist’s Voice: Louis I. Kahn features the architect’s drawings, writing, models, and architectural renderings from T

MoMA’s collection in dialogue with works from the Louis I. Kahn Archive and other key ORS institutions.

The guide is informed by issues posed by selected works in a variety of mediums, but its organization and lesson topics are created with the school curriculum in mind, with partic- ular application to social studies, visual art, history, and language arts. Lessons are accom- panied by writing, research, and hands-on, art-based activities that encourage students to make connections between the visual arts and other disciplines. The goal of this guide is to introduce students to Kahn’s work. Through guided discussions and supplemental activities, students will draw parallels between their own ideas and experiences and those of one of the twentieth century’s most prominent architects.

The guide’s purpose is not just to explicate works of art, but also to demonstrate how images and historical information can be integrated into numerous subject areas and skill bases taught in the classroom. Students will be introduced to significant ideas in art and culture. By comparing a variety of mediums and artistic styles, students will be able to practice observation, articulation, and discussion skills, and to further develop their visual literacy. 3 SETTING THE SCENE —Louis I. Kahn Cathedral of and Paul, Saints Peter Masonic Temple,Masonic and Broad 18th Street at Logan18th Street Square, Philadelphia, Pennsylvania, c. 1902. and Picture The Print Collection, Library The Free of Philadelphia Filbert Streets, northeast corner, Philadelphia, Pennsylvania, c.1902. and Picture The Print Collection, Library The Free of Philadelphia IMAGE ONE: IMAGE TWO: IMAGE HITECT, ARTIST, AND PHILOSOPHER ARTIST, HITECT, C f architecture. glance, first At appears simplistic in its form work Kahn’s r o for his monumental building projects and also for his role as an artist, his role and also for projects building his monumental for teacher, n Louis I.Louis Unitarian visitors at First distributed to brochure Kahn, in the architecture untitled essay France’s in Jean quoted hilosophe onment ofonment that time. every project, With startingthe same. was place Kahn’s Whether appropriate use.appropriate ir is know create spaces that evoked a sense of a sense that evoked spaces create spirituality, in the built was lacking he felt a sense Architecture is the thoughtful making ofArchitecture spaces. is the creating It of spaces that evoke a feeling of e LOUIS I. KAHN: AR ouis I. and importance strongly in the value of (1901–1974) believed Kahn in architecture hurch ofhurch Rochester, in Rochester,York, New 2006. o . Epigraph. C ETTING THE SCENE SETTING 1 L society. lives. people’s and improve that well-designed influence felt buildings could Kahn H and p he was designing a place ofhe was designing a place worship, a school, residence, private a an art or museum, he and program. investigation, closer Upon however, of layers programmatic com- incredible apparent.plexity become and design innovation (“Lou,” Kahn his friends col- and close to is the thoughtful making of that architecture in his philosophy leagues) was resolute spaces the storywhose of design reveal can and should simultaneously their construction and meet the aesthetic and functional needs of the people who them. inhabit believed He practical to should appeal and aesthetic not only also to needs but strongly that architecture needsthe humanistic of it serves. the people and communities striving was continually He t env Designs for and What is Architecture?,What Drawing, of The Power —may units. be used as independent sequentially or key the to introduction An ional classroom activities. classroom ional Y ddit rocess of Design, Form and Function, The Spirituality of Matter, Matter, of The Spirituality Function, and Design,rocess Form of mation on the artistsmation on and and artworks topics general historical on and in this guide GES r a glossary of and art-historical in each (bolded mention first upon architectural terms nts will begin to develop a language for discussing and looking at architecture and art. nts will discussing and looking at architecture for a language begin develop to companying CD-ROM.companying stu- your showing it to prior image to each examine Carefully rban Life he Activity sections are intended to encourage students to make connections between their between connections make to students encourage to intended sectionsActivity are he rinciples of of examination a close by is followed lesson each work, each its including ffe U A lesson) of at the end is included the guide. GLOSSAR FOR FURTHER CONSIDERATION AND SELECTED BIBLIOGRAPHY AND RESOURCES CONSIDERATION FOR FURTHER questions, additional discussion for suggestions This section contains projects, research and field trips. and students teachers for list has been provided and a resources A bibliography research. use in conducting to further provide in these pages recommended The resources infor o ACTIVITIES T in the lessons. presented and the concepts own experiences Through these activities, stu- de of the activities tailor level the age to to Please feel free students. your IMA All of the questions, discussions, the on and activities the images based on are in this guide ac dents. If projector, and LCD is not equipped with a computer classroom also your may you projection. overhead papertransparency for to the CD-ROM print from images The six lessons that compose this guide— that compose The lessons six SING THE EDUCATOR GUIDE EDUCATOR USING THE The P historical context and biographical the architect. information on context historical based Discussion questions of formal analysis through this information lead on students con- create and seek to the work nections information between and visual evidence. lesson each The activities that conclude and carry learned work about each what they synthesize have the to students encourage skills practicing they it to are curriculum in the classroom. relate the broader or into lesson p

2 USING THE EDUCATOR GUIDE Kahn Guide.P 2/5/08 4:45 PM Page 2 Page PM 4:45 2/5/08 Guide.P Kahn 3 SETTING THE SCENE —Louis I. Kahn Cathedral of and Paul, Saints Peter Masonic Temple,Masonic and Broad 18th Street at Logan18th Street Square, Philadelphia, Pennsylvania, c. 1902. and Picture The Print Collection, Library The Free of Philadelphia Filbert Streets, northeast corner, Philadelphia, Pennsylvania, c.1902. and Picture The Print Collection, Library The Free of Philadelphia IMAGE ONE: IMAGE TWO: IMAGE HITECT, ARTIST, AND PHILOSOPHER ARTIST, HITECT, C f architecture. glance, first At appears simplistic in its form work Kahn’s r o for his monumental building projects and also for his role as an artist, his role and also for projects building his monumental for teacher, n Louis I.Louis Unitarian visitors at First distributed to brochure Kahn, in the architecture untitled essay France’s in Jean quoted hilosophe onment ofonment that time. every project, With startingthe same. was place Kahn’s Whether appropriate use.appropriate ir is know create spaces that evoked a sense of a sense that evoked spaces create spirituality, in the built was lacking he felt a sense Architecture is the thoughtful making ofArchitecture spaces. is the creating It of spaces that evoke a feeling of e LOUIS I. KAHN: AR ouis I. and importance strongly in the value of (1901–1974) believed Kahn in architecture hurch ofhurch Rochester, in Rochester,York, New 2006. o . Epigraph. C ETTING THE SCENE SETTING 1 L society. lives. people’s and improve that well-designed influence felt buildings could Kahn H and p he was designing a place ofhe was designing a place worship, a school, residence, private a an art or museum, he and program. investigation, closer Upon however, of layers programmatic com- incredible apparent.plexity become and design innovation (“Lou,” Kahn his friends col- and close to is the thoughtful making of that architecture in his philosophy leagues) was resolute spaces the storywhose of design reveal can and should simultaneously their construction and meet the aesthetic and functional needs of the people who them. inhabit believed He practical to should appeal and aesthetic not only also to needs but strongly that architecture needsthe humanistic of it serves. the people and communities striving was continually He t env Designs for and What is Architecture?,What Drawing, of The Power —may units. be used as independent sequentially or key the to introduction An ional classroom activities. classroom ional Y ddit rocess of Design, Form and Function, The Spirituality of Matter, Matter, of The Spirituality Function, and Design,rocess Form of mation on the artistsmation on and and artworks topics general historical on and in this guide GES r a glossary of and art-historical in each (bolded mention first upon architectural terms nts will begin to develop a language for discussing and looking at architecture and art. nts will discussing and looking at architecture for a language begin develop to companying CD-ROM.companying stu- your showing it to prior image to each examine Carefully rban Life he Activity sections are intended to encourage students to make connections between their between connections make to students encourage to intended sectionsActivity are he rinciples of of examination a close by is followed lesson each work, each its including ffe U A lesson) of at the end is included the guide. GLOSSAR FOR FURTHER CONSIDERATION AND SELECTED BIBLIOGRAPHY AND RESOURCES CONSIDERATION FOR FURTHER questions, additional discussion for suggestions This section contains projects, research and field trips. and students teachers for list has been provided and a resources A bibliography research. use in conducting to further provide in these pages recommended The resources infor o ACTIVITIES T in the lessons. presented and the concepts own experiences Through these activities, stu- de of the activities tailor level the age to to Please feel free students. your IMA All of the questions, discussions, the on and activities the images based on are in this guide ac dents. If projector, and LCD is not equipped with a computer classroom also your may you projection. overhead papertransparency for to the CD-ROM print from images The six lessons that compose this guide— that compose The lessons six SING THE EDUCATOR GUIDE EDUCATOR USING THE The P historical context and biographical the architect. information on context historical based Discussion questions of formal analysis through this information lead on students con- create and seek to the work nections information between and visual evidence. lesson each The activities that conclude and carry learned work about each what they synthesize have the to students encourage skills practicing they it to are curriculum in the classroom. relate the broader or into lesson p

2 USING THE EDUCATOR GUIDE Kahn Guide.P 2/5/08 4:45 PM Page 2 Page PM 4:45 2/5/08 Guide.P Kahn Kahn Guide.P 2/5/08 4:45 PM Page 4

always asked himself questions, trying to define and articulate the unique qualities embod- father became unable to work and the family was supported solely by his mother. Kahn ied by that institution. But how does one translate those qualities, which are immaterial and attended public schools and supplemented his education with art classes at the local indus- immeasurable, into a material and measurable building? This was the root of Kahn’s quest. trial art school, where he focused on drawing. He excelled in his studies and earned a place His desire to elevate architecture from the design of utilitarian forms to meaningful and in a prestigious public high school, where he was introduced to architecture through the important spaces, coupled with his rigorous attention to programmatic detail and con- study of world history. He continued to attend art classes throughout his high school career. struction and his interest in the inspirational and transcendendent quality of architectural Despite his family’s financial hardships, Kahn flourished in Philadelphia, a city that he loved spaces, set him apart from other architects of his time. and continued to live in as an adult. An acquaintance of Kahn has related this anecdote: “Once he was asked why he didn’t move to New York City where obviously fame and for- Kahn earned a bachelor’s degree in architecture from the University of Pennsylvania in 1924. tune would more readily be his and Lou answered quickly, why would he want to be a He studied closely under Paul Cret, an architect educated at the École des Beaux-Arts,who Philadelphian living in New York City?” 2 advanced a classical approach to design. Kahn and Cret balanced classicism with a demo- cratic approach, allowing for designs that addressed the differing requirements of each proj- • Show your students the photograph of Philadelphia (Image One), and ask them to 4 5 ect. Upon graduation, Kahn worked as a draftsman at a Philadelphia architecture firm, describe what they see. To help students explain what they are seeing, it may be useful S E T I N G SCENE THE SETTING where he applied his fine-tuned drawing skills. Eventually, after working at several firms, he to introduce them to the terms foreground, middle ground, and background. In this established his own office in Philadelphia in 1935. Kahn was inspired by the work of many image there is a monument in the foreground, there is a street with carriages, a trolley car,

T H E modern architects, including Le Corbusier, Frank Lloyd Wright, and Ludwig Mies van der and pedestrians in the middle ground, and there is a large building in the background. Rohe, and was equally drawn to classical and ancient forms of building. He synthesized old and S C E N new building styles by designing monumental forms that spoke of the past but employed current • Next, ask your students to think about what it might be like to be in this place. What might construction and design solutions. they hear, see, and smell? Next, have your students focus on the buildings in the photograph. Ask them to consider what these buildings might be used for. Do they see a school, a home, To plan and execute his ideas, Kahn worked collaboratively with a team of consultants and or some type of business? Ask them to provide visual evidence to support their assertions. architects in his own office. Together they used basic building materials such as concrete, brick, steel, glass, and marble, combining them with technical innovations in ways that in • Next, show your students the photograph of 18th Street at Logan Square in Philadelphia some cases had never been attempted before. Kahn was a perfectionist and often worked for (Image Two). Ask your students to compare the two places. How are they the same? How are several years on a project, seeking an ideal solution. In addition to his work designing build- they different? Ask your students to describe what they see in the foreground, middle ings, he wrote about architecture and lectured at universities throughout the United States ground, and background. and abroad. He was also a professor of architecture at Yale University and at the University of Pennsylvania, where he taught until his death in 1974. Kahn was a devoted teacher who • Inform your students that these are photographs of the neighborhoods Kahn experienced felt he often learned more than he taught. He said, “A good question is always greater than growing up. the most brilliant answer,”and,“The right thing done badly is always greater than the wrong thing well done.”1 Kahn’s work is now part of the canon of architecture history, and it serves • Next, read out loud the following quote from Kahn: “A city is the place of availabilities. It is as a source of inspiration in postmodern and contemporary building. the place where a small boy, as he walks through it, may see something that will tell him what he wants to do his whole life.”3 Kahn, like many architects, looked to the structures of the past for inspiration. Have your students compile some images of ancient architecture by searching the Great Buildings Web site at • Inform your students that Kahn was implying that a city is made up of things that are www.greatbuildings.com. On this site you can browse through images of pyramids, cathedrals, available to its inhabitants. These availabilities could be places, people, or ideas. Next, and Greek temples, among many others. Next, have your students go on an “eye spy” tour of ask your students if there is anything in their environment that has ever inspired them their neighborhood, looking for buildings that might have design elements that remind them to do or learn more about something. of the past. These could be domes or cupolas, classical columns, or Grecian pediments. • Ask your students to imagine what it would be like to live in a place like Philadelphia. Have • Ask your students to consider why architects designed the buildings as they did. Have them your students compare life on the street in Philadelphia with their own communities. How consider the aesthetic and functional possibilities. Next, have your students research the are they similar? How are they different? architectural style of their school and its relationship to history. You can use the information from both exercises to create a visual timeline of architecture based on your school and the Have your students document their neighborhoods in drawing, photography, or collage. surrounding neighborhood. Ask them to include elements that represent important personal narratives. This could be the dance school where they take classes, the soccer field where they play sports, or the shop where they work. Have your students write one- or two-sentence artist statements that 2. IN THE BEGINNING encapsulate their ideas. Louis Isadore Kahn was born in 1901 on the Baltic island of Osel, Estonia (a country in northern Europe that borders Latvia to the south and Russia to the east). At the age of four, Kahn moved with his family to Philadelphia, Pennsylvania. Kahn’s father was a glass painter and his mother worked in the textile industry. Shortly after their arrival in Philadelphia, his

2. Richard Saul Wurman, What Will Be Has Always Been: The Words of Louis I. Kahn (New York: Rizzoli, 1986), introduction. 1. Louis I. Kahn, quoted in Wilder Green,“Louis I. Kahn, Architect: Alfred Newton Richards Medical Research Building,” Museum 3. Louis I. Kahn, quoted in John Lobell, Between Silence and Light: Spirit in the Architecture of Louis I. Kahn (Boston: Shambhala of Modern Art Bulletin 28(1) (1961): 3. Publications, 1985), 44. 7 LESSONS . (New York:(New Rizzoli, 1991), 129. Three, Four, the and Five) from (Images (New York:(New Rizzoli, 1991), 8. Louis I.Louis of the Realm In Kahn: Architecture Next, moderate a class experiences. based on everyone’s discussion . ; the making of over toiled “He with the same indefatigable words This lesson explores how Kahn used writing and sketches as tools for tools as used writing Kahn and sketches how explores This lesson 5 4 Drawings for City /2 Exhibition Louis I.Louis Writings, Kahn: Lectures, Interviews many cases,many elab- clarify and to his ideas and drawing to text combined Kahn s three s three n opping out the text. and distribute the copies. your class into pairs Break Ask I 6 our students that these three drawings were made by the architect Louis I. Louis the architect by made drawings were that these three our students Kahn. them. poems, like read often words His of reflective journey. an inner stu- your Ask m y plan.” e on group to understand what Kahn might have been trying to say about architecture. what Kahn to understand group rchitecture comes from the making of the making from comes rchitecture a room CD-ROM or download them from the Web site.Web the CD-ROM or download them from If possible, for each copy the drawings student, cr a list of adjectives that describe the drawings,your students to brainstorm and, in addition, questions they have about the works.have them write down three Have one pair present their findings to another pair of all your students’ descriptive words. a list on chart paper or on the board Make Next, ask your students what questions they have, and try to answer them based on the descriptive in the brainstorm. generated words a list of any new questions that arise as a result Make of this discussion. Pass out copies of the same three drawings, out copies of the same three Pass this time with the text included. Next, read each of the drawings. below from aloud the excerpts transcribed with your students as Work a Students will examine primary source imagery composed of text and drawing. imagery composed of text and primary source Students will examine Print Kahn’ at A of is the place The room the mind gether to communicate ideas. communicate to gether these instances, In communicate and words the images do David D.David G. and David Brownlee De Long, Louis I.Louis Kahn,“The of Institutions Man” (lecture, University, Princeton Princeton, N.J.: 13, March 1967). of The Museum Alessandra Latour, ed., odern Art Archives would be a writer.” would r a dents to consider in what situation or environment they encounter words and images used and images words they encounter in what environment situation or consider to dents to format than words. be a better when would images consider to them Ask similar ideas? words? have to effective is it more When energy architecture, to that he devoted a phrase and remaking out and rubbing out crossing o 5. 6. articulating his thoughts about architecture and its place in the world. in articulating and its place his thoughts about architecture Infor these drawings,With philosophy. illustrate his architectural to was attempting Kahn • 4. M INTRODUCTION INTRODUCTION in 1967, University During at Princeton lecture a said, Kahn “If not an architect, I were I LESSON OBJECTIVES • writing and drawing. philosophy through architectural to Kahn’s Students will be introduced • • and the built environment. of architecture their interpretations Students will discuss •neighborhood. buildings in their and record Students will observe DISCUSSION INTRODUCTORY written to language: connection describe the architect’s often work Experts Kahn’s on “Words, I. Louis for Kahn, imagery the same powerful as his sketches, projected drawings, itself”and the work DISCUSSION IMAGE-BASED • or a r 34 x 34" (86.4 x Drawings for D awings for Dr wings for al, ahn. American, co . 1971. Charcoal, hia Museum ofhia Museum Art. har C 34 x 34" (86.4 x 86.4 cm). Louis I.Louis Kahn. American, ouis I. K Louis I.Louis Kahn. American, al, 971. L 1 Philadelp hia Museum ofhia Museum Art. Gift of nt. lp me 34" (86.4 x 86.4 cm). Philadelphia GE FIVE: x rn Estonia. 1901–1974. ity/2 Exhibition:The Street is a Room. 86.4 cm). Gift of Kahn Louis bo IMA born Estonia. 1901–1974. C City/2 Exhibition: The City From a Simple Exhibition:City/2 The City From Settle Museum ofMuseum Art. Gift of Kahn Louis IMAGE FOUR: IMAGE Kahn Louis IMAGE THREE: IMAGE born Estonia. 1901–1974. 1971. Charco City/2 Exhibition: Architecture Comes from Comes Exhibition:City/2 Architecture ofthe Making a Room 34 Philade ESSON ONE: What is Architecture? LESSON ONE: LESSONS

6 LESSONS Kahn Guide.P 2/5/08 4:45 PM Page 6 Page PM 4:45 2/5/08 Guide.P Kahn 7 LESSONS . (New York:(New Rizzoli, 1991), 129. Three, Four, the and Five) from (Images (New York:(New Rizzoli, 1991), 8. Louis I.Louis of the Realm In Kahn: Architecture Next, moderate a class experiences. based on everyone’s discussion . ; the making of over toiled “He with the same indefatigable words This lesson explores how Kahn used writing and sketches as tools for tools as used writing Kahn and sketches how explores This lesson 5 4 Drawings for City /2 Exhibition Louis I.Louis Writings, Kahn: Lectures, Interviews many cases,many elab- clarify and to his ideas and drawing to text combined Kahn s three s three n opping out the text. and distribute the copies. your class into pairs Break Ask I 6 our students that these three drawings were made by the architect Louis I. Louis the architect by made drawings were that these three our students Kahn. them. poems, like read often words His of reflective journey. an inner stu- your Ask m y plan.” e on group to understand what Kahn might have been trying to say about architecture. what Kahn to understand group rchitecture comes from the making of the making from comes rchitecture a room CD-ROM or download them from the Web site.Web the CD-ROM or download them from If possible, for each copy the drawings student, cr a list of adjectives that describe the drawings,your students to brainstorm and, in addition, questions they have about the works.have them write down three Have one pair present their findings to another pair of all your students’ descriptive words. a list on chart paper or on the board Make Next, ask your students what questions they have, and try to answer them based on the descriptive in the brainstorm. generated words a list of any new questions that arise as a result Make of this discussion. Pass out copies of the same three drawings, out copies of the same three Pass this time with the text included. Next, read each of the drawings. below from aloud the excerpts transcribed with your students as Work a Students will examine primary source imagery composed of text and drawing. imagery composed of text and primary source Students will examine Print Kahn’ at A of is the place The room the mind gether to communicate ideas. communicate to gether these instances, In communicate and words the images do David D.David G. and David Brownlee De Long, Louis I.Louis Kahn,“The of Institutions Man” (lecture, University, Princeton Princeton, N.J.: 13, March 1967). of The Museum Alessandra Latour, ed., odern Art Archives would be a writer.” would r a dents to consider in what situation or environment they encounter words and images used and images words they encounter in what environment situation or consider to dents to format than words. be a better when would images consider to them Ask similar ideas? words? have to effective is it more When energy architecture, to that he devoted a phrase and remaking out and rubbing out crossing o 5. 6. articulating his thoughts about architecture and its place in the world. in articulating and its place his thoughts about architecture Infor these drawings,With philosophy. illustrate his architectural to was attempting Kahn • 4. M INTRODUCTION INTRODUCTION in 1967, University During at Princeton lecture a said, Kahn “If not an architect, I were I LESSON OBJECTIVES • writing and drawing. philosophy through architectural to Kahn’s Students will be introduced • • and the built environment. of architecture their interpretations Students will discuss •neighborhood. buildings in their and record Students will observe DISCUSSION INTRODUCTORY written to language: connection describe the architect’s often work Experts Kahn’s on “Words, I. Louis for Kahn, imagery the same powerful as his sketches, projected drawings, itself”and the work DISCUSSION IMAGE-BASED • or a r 34 x 34" (86.4 x Drawings for D awings for Dr wings for al, ahn. American, co . 1971. Charcoal, hia Museum ofhia Museum Art. har C 34 x 34" (86.4 x 86.4 cm). Louis I.Louis Kahn. American, ouis I. K Louis I.Louis Kahn. American, al, 971. L 1 Philadelp hia Museum ofhia Museum Art. Gift of nt. lp me 34" (86.4 x 86.4 cm). Philadelphia GE FIVE: x rn Estonia. 1901–1974. ity/2 Exhibition:The Street is a Room. 86.4 cm). Gift of Kahn Louis bo IMA born Estonia. 1901–1974. C City/2 Exhibition: The City From a Simple Exhibition:City/2 The City From Settle Museum ofMuseum Art. Gift of Kahn Louis IMAGE FOUR: IMAGE Kahn Louis IMAGE THREE: IMAGE born Estonia. 1901–1974. 1971. Charco City/2 Exhibition: Architecture Comes from Comes Exhibition:City/2 Architecture ofthe Making a Room 34 Philade ESSON ONE: What is Architecture? LESSON ONE: LESSONS

6 LESSONS Kahn Guide.P 2/5/08 4:45 PM Page 6 Page PM 4:45 2/5/08 Guide.P Kahn Kahn Guide.P 2/5/08 4:45 PM Page 8

• Ask your students to make lists of the different kinds of rooms they are familiar with. Have LESSON TWO: The Power of Drawing them include descriptive words that convey a sense of the activities that take place in those spaces. Are any of the spaces they mentioned places where they use their minds? Have them cite specific examples.

In a small room one does not say what one would in a large room A room is not a room without natural light

• Ask your students to consider the important elements of a room. What does a room need to be functional? What role does natural light play in the experience of a place?

The street is a room by agreement 8 9 A community room the walls of which belong to the donors LESSONS LESSONS The ceiling is the sky

• How is a street like a room? Have your students make lists of words that describe the design elements and activities that exist on a street in their neighborhood. Have them compare their descriptive lists about the street to those about the room. Are there any similarities? IMAGE SIX: Louis I. Kahn. American, IMAGE SEVEN: Louis I. Kahn. American, born Estonia. born Estonia. 1901–1974. Towers, 1901–1974. Alfred Newton Richards Medical Research • Ask your students to consider who the “donors” are in a community. San Gimignano. 1928. Watercolor Building and Biology Building, University of Pennsylvania, 1 1 and red pencil on paper, 12 ⁄8 x 9 ⁄4" Philadelphia, Pennsylvania. Preliminary version: perspec- 7 tive. 1957. Charcoal on tracing paper, 23 ⁄8 x 31" (60.6 x The city from a simple settlement became the place of assembled institutions (30.8 x 23.5 cm). Collection, Williams College Museum of Art. 78.7 cm). The Museum of Modern Art, New York. Gift of The measure of the greatness of a place to live must come from the character of its insti- Museum purchase with funds the architect tutions sanctioned through how sensitive they are to renewed desire for new agreement provided by an anonymous donor and with the J. W. Field Fund, John B. Turner ’24 Memorial Fund, • Ask your students to consider the different elements that make up a city. What are the Joseph O. Eaton Fund, Karl E. different activities that take place in a city? Weston Memorial Fund, Bentley W. Warren Fund Inform your students that, for Kahn, the room was the basic building block of architecture. For him, a building was composed of organized groups of rooms that share a common purpose. Institutions were the places and spaces where civic life takes place. These places–sites of inspiration and wonder–could be a church, a museum, or a school. In his view, cities were made up of different kinds of institutions, including places for shopping, learning, worship, and play, among others. The donors are the people who inhabit these places and spaces in a community.

• Ask your students to work in partners and discuss the texts as they relate to the imagery. Do these images and words tell us about Kahn’s approach to architecture? If so, what do they tell us? Do these statements answer any of their questions about the work? Bring your students back together as a group to share their experiences, revisiting earlier questions.

ACTIVITY Ask your students to choose a neighborhood “institution”that they are very familiar with. Have your students make a list of the activities that take place in that space. Then, have your students make a list of words that describe the mood or feeling of that place. Is it bright and loud or dark and quiet? Based on these descriptions, have your students make a sketch of this place.

IMAGE EIGHT: Louis I. Kahn, c. 1971. The Architectural Archives, University of Pennsylvania, Philadelphia. Photograph: Martin Rich Kahn Guide.P 2/5/08 4:45 PM Page 8

In a small room one does not say what one would in a large room A room is not a room without natural light

• Ask your students to consider the important elements of a room. What does a room need to be functional? What role does natural light play in the experience of a place?

The street is a room by agreement 8 9 A community room the walls of which belong to the donors LESSONS LESSONS The ceiling is the sky

IMAGE EIGHT: Louis I. Kahn, c. 1971. The Architectural Archives, University of Pennsylvania, Philadelphia. Photograph: Martin Rich Kahn Guide.P 2/5/08 4:45 PM Page 10

INTRODUCTION • Read the following quotation from Kahn out loud: Kahn learned to paint and draw at a very young age. As a child, he enrolled in after-school art classes, which he continued until he graduated from high school. In architecture school No object is entirely apart from its surroundings and therefore cannot be represented he learned how to create different types of architectural renderings. When he graduated convincingly as a thing in itself; also the presence of our own individuality causes it to from college in 1924, it was these skills that earned him his first job in an architecture firm — appear differently than it would to others. . . . There is no value in trying to imitate exactly. as a draftsman. In 1928, he decided to spend a year in Europe to experience great architec- Photographs will serve you best of all, if that is your aim. We should not imitate when our ture of the past. He began his journey in England, then traveled across northern Europe and intention is to create—to improvise. . . . I try in all my sketching not to be entirely on to Italy and France. While he was in Europe, Kahn made many drawings that were much subservient to my subject, but I have respect for it, and regard it as something tangible— more painterly than the precise renderings he had created in architecture school and at the alive—from which to extract my feelings. I have learned to regard it as no physical impos- Philadelphia architecture firm. Using watercolor and pencil in new ways, he employed his sibility to move mountains and trees, or change cupolas and towers to suit my taste.7 new style throughout a body of work that illustrated structures that interested him for their compositional elements. • Ask your students to discuss this quotation as it relates to the image. What can we interpret 10 11 about this sketch of San Gimignano based on reading this quotation? Conduct an Internet LESSONS LESSONS Even as Kahn’s career as an architect escalated, he never abandoned painting and drawing, search for photographs of San Gimignano. Does Kahn’s representation depict the town exactly? and he continued to create and exhibit artwork throughout his life. He also continued to travel throughout the world, creating drawings of the structures that inspired him. This • Show your students Kahn’s perspective sketch for the Alfred Newton Richards Medical lesson explores the different techniques of drawing Kahn used to articulate his ideas. Research Building and Biology Building (Image Seven).

In 1957, Kahn was commissioned by the University of Pennsylvania to design a new research LESSON OBJECTIVES laboratory for the medical school. Until this time, Kahn had not built a high-rise structure. For • Students will compare and contrast works of art in different mediums. the Richards Building he designed three laboratory towers surrounded by four monumentally scaled air-intake stacks. This was an early sketch he made to document his overall idea. He went • Students will become familiar with the different ways architects express their ideas visually. on to create many more drawings, rendered in greater detail.

• Students will be exposed to different styles of rendering. • Ask your students to look at this sketch and Towers, San Gimignano and observe any similarities or differences in subject, style, and technique. Ask your students if they see any relationship between the two works. INTRODUCTORY DISCUSSION • Lead a discussion with your students about the role of drawing in their lives. Ask your Architects create perspective sketches as a nonprecise way of articulating a main idea— students what kinds of subject matter they choose to draw and how they decide to much in the same way Kahn’s drawing of San Gimignano gives us a sense of the mood of the represent their subjects. Ask them to make a list of the different kinds of tools they use place without precise, photorealistic details. The main idea in this perspective sketch is the to draw. Do they use these tools the same way every time? Inform your students about relationship of the overall size, shape, and scale of the structures. Kahn began the design Kahn’s background as an artist and how he used different techniques of rendering process with sketches like this to illustrate his broad tconcep rather than specific details. throughout his life. • Show your students Image Eight. This is a picture of Kahn drawing a flower within a circle, using both hands simultaneously. Kahn learned this drawing technique in his childhood art IMAGE-BASED DISCUSSION classes in Philadelphia. To render using this technique, the drawer needs to balance his or • Give your students a few minutes to look at Towers, San Gimignano (Image Six). Ask them her body movements with the sensation of the chalk against the board. to describe what they see. Ask them how they would describe it to someone who has never seen it. Have them make a list of five to ten adjectives that describe this work. • Have your students model this exercise in your classroom. Have them draw a circle on the board or on paper tacked up on the wall, then draw a flower (a basic outline of the leaves Inform your students that this is a watercolor sketch of San Gimignano, a small town in the and petals) inside the circle with both hands simultaneously. Lead a discussion with your Tuscan region of Italy. Kahn made this sketch while he was traveling in Europe in 1928. students about this process. Did they find it difficult? Why or why not? Ask your students if they can see a benefit to practicing a technique of drawing like this one. • Ask your students to consider what materials these structures could be made of. Is there any visual evidence that answers these questions? ACTIVITY Kahn’s travel sketches were not rendered in perfect perspective. He was interested in captur- Have your students visit a place in their community and spend some time observing what is ing the essence of the place he was drawing, which had to do more with the feeling of the there. Have them consider what mood or feeling the design of the place conveys. Encourage environment and less with documenting exact architectural details. them to position themselves in different places in order to gain multiple perspectives. Have your students choose one perspective to render through the drawing techniques of their • Ask your students if they feel this drawing expresses a certain kind of mood or tone. choice. Exhibit your students’ work around the classroom and lead a discussion in which students talk about their processes.

7. Louis I. Kahn,“The Value and Aim In Sketching,”in Latour, Louis I. Kahn, 11. Kahn Guide.P 2/5/08 4:45 PM Page 10

7. Louis I. Kahn,“The Value and Aim In Sketching,”in Latour, Louis I. Kahn, 11. LESSONS 13 . 9 concept through to the final plan. to through etch for the First Unitarian etch for the First concept plan, ambulatory, concept sk s Kahn was selected,Kahn shortly and he afterward 8 , 28. e and Light nc ile chitect conceptualizes and plans a building design. chitect conceptualizes n S Betwee from their existence in the mind to their tangible their presence. in the mind to existence their from . . . archi- In obell, ean France’s untitled essay in the architecture brochure distributed to visitors at First Unitarian visitors at First distributed to brochure in the architecture untitled essay ean France’s m in J in L d d ian Church to equal the architectural integrity architectural the equal of to ian Church original building. Upjohn’s ocess ofocess function as a sanctuary that would a space of (a space envisioning con- r nitar taking the ochester, in Rochester,York, New 2006. ahn, quote ahn, quote e, of it characterizes a harmony a certain activity. good for spaces f R the p ur h o his sense ofhis sense spirituality and mysticism, ofechoed the ideals closely which the Unitarian an ouis I. K ouis I. K the late 1950s,the late redesign to an architect for search to was formed in Rochester a committee Students will learn how an ar Students will learn how at Kahn’ Give your students a few minutes to look (Image Nine).Church looking at the work, are your students While the following quota- read Kahn out loud: tion from urc tect Form precedes Design. precedes Form “how.”.“what.”Design is is . Form . their the elements Design gives shape, number ofnumber interviewed, were well-known architects Kahn was drawn to the committee but r L L ote: of Church Unitarian information about the First Additional and building Rochester esign meeting with of members congregation, Church Unitarian the First to this he drew esign it. and architect, be client to turns pretending take them Have the determining one n Ch 8. 9. beg ofgregation) and a school religious instruction children, for teenagers. infants to from Have if this might look like like discuss what a space to in pairs work students your to they were d of sketches activities creating and the other the space for those needs. possible design for solutions Tell your students that Kahn called this type that Kahn students of your Tell drawing.”“form in an early a While sketch d his ideas.express used this kind of often Kahn visualizing for drawing and explain- as a tool ing his thoughts about a project. others. to also helped his ideas him explain It this sketch, In began of his exploration Kahn a design concept. INTRODUCTION 1959,In of Church Unitarian First the design for building a new to was commissioned Kahn Rochester,York. New building, The original church well-known nineteenth- designed by in Lower Church Trinity include (whose projects other Upjohn Richard century architect Manhattan), as part demolished was of Rochester. downtown plan for a redevelopment This the initial from design process Kahn’s examines lesson LESSON OBJECTIVES • • conceptual representations, Students will compare drawings, and photographs. • words: Students will learn the following vocabulary DISCUSSION INTRODUCTORY I DISCUSSION IMAGE-BASED • the First U the First A fo building to approach faith. innovative with also impressed Kahn’s were members Committee and his style of what matters.” “only expressing bout Unitarian philosophy is available on the First Unitarian Church of Church Unitarian the First on is available philosophy about Unitarian Web Rochester’s site, www.rochesterunitarian.org. at N nitarian st U Fir ania Historical ania Historical : lv Louis I.Louis Kahn. First Unitarian First Louis I.Louis Kahn. : nnsy lvania, the gift by of the plan. 1961. The Architec- f Pe r GE ELEVEN urch, Rochester, York. New nnsy y o hurch, Rochester, York. New American, born Estonia. 1901–1974. Church, Rochester, York. New Floo tural Archives, of University Pe Ch I.Louis Collection, Kahn Univer- sit IMAGE TEN IMAGE IMA IMAGE NINE: IMAGE American, born Estonia. 1901–1974. Unitarian First C Plan. 1961 First Unitarian Church, Unitarian First Rochester and Museum Commission and Museum LESSON THREE: of Design The Process

LESSONS 12 Kahn Guide.P 2/5/08 4:45 PM Page 12 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 13 . 9 concept through to the final plan. to through etch for the First Unitarian etch for the First concept plan, ambulatory, concept sk s Kahn was selected,Kahn shortly and he afterward 8 , 28. e and Light nc ile chitect conceptualizes and plans a building design. chitect conceptualizes n S Betwee from their existence in the mind to their tangible their presence. in the mind to existence their from . . . archi- In obell, ean France’s untitled essay in the architecture brochure distributed to visitors at First Unitarian visitors at First distributed to brochure in the architecture untitled essay ean France’s m in J in L d d ian Church to equal the architectural integrity architectural the equal of to ian Church original building. Upjohn’s ocess ofocess function as a sanctuary that would a space of (a space envisioning con- r nitar taking the ochester, in Rochester,York, New 2006. ahn, quote ahn, quote e, of it characterizes a harmony a certain activity. good for spaces f R the p ur h o his sense ofhis sense spirituality and mysticism, ofechoed the ideals closely which the Unitarian an ouis I. K ouis I. K the late 1950s,the late redesign to an architect for search to was formed in Rochester a committee Students will learn how an ar Students will learn how at Kahn’ Give your students a few minutes to look (Image Nine).Church looking at the work, are your students While the following quota- read Kahn out loud: tion from urc tect Form precedes Design. precedes Form “how.”.“what.”Design is is . Form . their the elements Design gives shape, number ofnumber interviewed, were well-known architects Kahn was drawn to the committee but r L L ote: of Church Unitarian information about the First Additional and building Rochester esign meeting with of members congregation, Church Unitarian the First to this he drew esign it. and architect, be client to turns pretending take them Have the determining one n Ch 8. 9. beg ofgregation) and a school religious instruction children, for teenagers. infants to from Have if this might look like like discuss what a space to in pairs work students your to they were d of sketches activities creating and the other the space for those needs. possible design for solutions Tell your students that Kahn called this type that Kahn students of your Tell drawing.”“form in an early a While sketch d his ideas.express used this kind of often Kahn visualizing for drawing and explain- as a tool ing his thoughts about a project. others. to also helped his ideas him explain It this sketch, In began of his exploration Kahn a design concept. INTRODUCTION 1959,In of Church Unitarian First the design for building a new to was commissioned Kahn Rochester,York. New building, The original church well-known nineteenth- designed by in Lower Church Trinity include (whose projects other Upjohn Richard century architect Manhattan), as part demolished was of Rochester. downtown plan for a redevelopment This the initial from design process Kahn’s examines lesson LESSON OBJECTIVES • • conceptual representations, Students will compare drawings, and photographs. • words: Students will learn the following vocabulary DISCUSSION INTRODUCTORY I DISCUSSION IMAGE-BASED • the First U the First A fo building to approach faith. innovative with also impressed Kahn’s were members Committee and his style of what matters.” “only expressing bout Unitarian philosophy is available on the First Unitarian Church of Church Unitarian the First on is available philosophy about Unitarian Web Rochester’s site, www.rochesterunitarian.org. at N nitarian st U Fir ania Historical ania Historical : lv Louis I.Louis Kahn. First Unitarian First Louis I.Louis Kahn. : nnsy lvania, the gift by of the plan. 1961. The Architec- f Pe r GE ELEVEN urch, Rochester, York. New nnsy y o hurch, Rochester, York. New American, born Estonia. 1901–1974. Church, Rochester, York. New Floo tural Archives, of University Pe Ch I.Louis Collection, Kahn Univer- sit IMAGE TEN IMAGE IMA IMAGE NINE: IMAGE American, born Estonia. 1901–1974. Unitarian First C Plan. 1961 First Unitarian Church, Unitarian First Rochester and Museum Commission and Museum LESSON THREE: of Design The Process

LESSONS 12 Kahn Guide.P 2/5/08 4:45 PM Page 12 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 15 x 16 ⁄ 15 x 23 2 ⁄ 1 Construction photo, Alfred ouis I. Kahn. American, born e-cast beam during trans- L Pr (72.4 x 60.8 x 60.8 cm). The Museum " 16 GE FIFTEEN: ⁄ versity ofversity Pennsylvania. Photograph: 15 ni 23 Estonia. 1901–1974. Richards Newton Alfred Building, Research Medical of University Pennsylvania, Philadelphia, Pennsylvania. Structure of typical (final laboratory tower version). 1957–65. Model: wood, 28 MAGE THIRTEEN: IMAGE ofArt, Modern York. New Gift of the architect IMA port, Medical Richards Newton Alfred Laboratories,Research of University Pennsyl- vania, Philadelphia, Pennsylvania. I. The Louis Collection,Kahn of University Pennsylvania, and Museum Historical and the Pennsylvania Commission. Photograph: C. Ronald Binks IMAGE SEVENTEEN: IMAGE Newton Richards Medical Research Laboratories, Research Medical Richards Newton ofUniversity Pennsylvania, Philadelphia, Pennsylvania. Archives, The Architectural U D.Marshall Meyers " 4 ⁄ 3 x 14 4 ⁄ 3 x 22 2 ⁄ 1 Alfred Newton Richards Newton Alfred mmission. Photograph: Construction photo, Alfred Louis I.Louis Kahn. American, born um Co use olm Smith niversity ofniversity Pennsylvania. Photograph: ennsylvania, Philadelphia, Pennsylvania. Medical Research Laboratories, Research Medical of University P I.Louis Collection, Kahn of University Penn- sylvania, Historical and the Pennsylvania and M Malc IMAGE FOURTEEN: FOURTEEN: IMAGE Estonia. 1901–1974. Richards Newton Alfred Building, Research Medical of University Pennsylvania, Philadelphia, Pennsylvania. (final version). complex building Overall 1957–65. Model: basswood, 13 (34.3 x 57.8 x 37.5 cm). of The Museum Art, Modern York. New Gift of the architect IMAGE SIXTEEN: IMAGE LESSON FOUR: Form and Function and Form LESSON FOUR: TWELVE: IMAGE Newton Richards Medical Research Laboratories, Research Medical Richards Newton ofUniversity Pennsylvania, Philadelphia, Pennsylvania. Archives, The Architectural U D.Marshall Meyers ambu- e Works, 1935–74 t omple uis I. C Kahn: Lo awing? intention based on this dr s einz Ronner,einz Sharad Jhaveri,Vasella, Alessandro and eds., in H d 10 iew Press,iew 1977), 169. estv ahn, quote ould be structuralas well as functional, serving as the walls of sanctuary. the The outer idor next to it—around it—which served the school which was really the walls of was really served which it—which the school it—around to next idor the , aisle, or mark. the question surrounding circles the two by is represented which The ticipate in.ticipate what is being said. from away walk could so you And a I placed then And question mark? Could the lines and shapes have a specific meaning? and shapes have a specific Could the lines question mark? ouis I. K L consists of the sanctuary and school (on the right side) and a central corridor that connects right side) and a central consists of the sanctuary and school (on the them to an additional space, which would serve as a meetinghouse (left of the sanctuary). form drawing. has changed? What Eleven) and with Kahn’s elements has Kahn retained? What tion in mind. of the sketch. Ask them if this information has changed their interpretation Can they get a sense of Kahn’ this sketch and on the information they have learned.on the information they and this sketch with the process would he begin Why a [This] idea was my first reaction to what may be a direction in the building of in the building be a direction what may to reaction first was my [This] idea a Unitarian Church. of a sense give the minister heard Having aspirations, the Unitarian it occurred of me that the sanctuaryto the center is merely was that and that the school questions raisedwhich . the question . . raised and I felt that that which the the question—[and] spirit of inseparable. the question—were the ambulatory respect the fact that So to I drew to what what is being said or in a sanctuary is felt have something you was not necessarily par corr area. entire tory CTIVITIES heir diagrams could include shapes, diagramsheir include could lines, text, collaged pictorial representations even or ing,in marks,represents hatch diagonal drew Kahn which the school,surrounding the sanctuary. est its validity, designs the first of to on moved then be built. would the spaces the way These ogether. of the rest to plan a presentation group each Have illustrate its concept. to the class aisle w 1. form drawing is a kind of Kahn’s diagram, of visual or representation an idea. your Ask ifstudents use of made ever they have a problem. a diagram solve to 2. a basic plan of create to in teams work students your Have as school or classroom your it exists. Then, upon things brainstorm be improved that they to ask them feel could changed.or a problem, identified they have Once diagram to ask them a possible solution. T t •Ten). (Image Unitarian Church This plan First Show your students the final plan for the • of the finished building (Image this final plan to the photograph Have your students compare A Once Kahn had decided on the form of had on decided Kahn Once project, a to sketches rough make to he continued t in detail. render then finalizing a plan that he could him further brought toward sketches • with this new informa- the drawing to reexamine Have your students go back into their pairs la Inform your students that Kahn chose a question mark to represent the sanctuary, represent mark a question to chose that Kahn students your Inform he which should be central partbelieved the of the space. the sanctuary surrounded He with an • ideas, to consider Kahn’s pairs to work in Ask your students on basing their discussions r This sketch, drawing, form or of representation not a literal is what will the building look plan. a final architectural or like of serves as the visual It expression design concept Kahn’s the space.for Kahn, from the following quotation Share the early he explains in which ofprocess and discusses his sketch: this project developing (Colorado: W 10.

LESSONS 14 Kahn Guide.P 2/5/08 4:45 PM Page 14 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 15 x 16 ⁄ 15 x 23 2 ⁄ 1 Construction photo, Alfred ouis I. Kahn. American, born e-cast beam during trans- L Pr (72.4 x 60.8 x 60.8 cm). The Museum " 16 GE FIFTEEN: ⁄ versity ofversity Pennsylvania. Photograph: 15 ni 23 Estonia. 1901–1974. Richards Newton Alfred Building, Research Medical of University Pennsylvania, Philadelphia, Pennsylvania. Structure of typical (final laboratory tower version). 1957–65. Model: wood, 28 MAGE THIRTEEN: IMAGE ofArt, Modern York. New Gift of the architect IMA port, Medical Richards Newton Alfred Laboratories,Research of University Pennsyl- vania, Philadelphia, Pennsylvania. I. The Louis Collection,Kahn of University Pennsylvania, and Museum Historical and the Pennsylvania Commission. Photograph: C. Ronald Binks IMAGE SEVENTEEN: IMAGE Newton Richards Medical Research Laboratories, Research Medical Richards Newton ofUniversity Pennsylvania, Philadelphia, Pennsylvania. Archives, The Architectural U D.Marshall Meyers " 4 ⁄ 3 x 14 4 ⁄ 3 x 22 2 ⁄ 1 Alfred Newton Richards Newton Alfred mmission. Photograph: Construction photo, Alfred Louis I.Louis Kahn. American, born um Co use olm Smith niversity ofniversity Pennsylvania. Photograph: ennsylvania, Philadelphia, Pennsylvania. Medical Research Laboratories, Research Medical of University P I.Louis Collection, Kahn of University Penn- sylvania, Historical and the Pennsylvania and M Malc IMAGE FOURTEEN: FOURTEEN: IMAGE Estonia. 1901–1974. Richards Newton Alfred Building, Research Medical of University Pennsylvania, Philadelphia, Pennsylvania. (final version). complex building Overall 1957–65. Model: basswood, 13 (34.3 x 57.8 x 37.5 cm). of The Museum Art, Modern York. New Gift of the architect IMAGE SIXTEEN: IMAGE LESSON FOUR: Form and Function and Form LESSON FOUR: TWELVE: IMAGE Newton Richards Medical Research Laboratories, Research Medical Richards Newton ofUniversity Pennsylvania, Philadelphia, Pennsylvania. Archives, The Architectural U D.Marshall Meyers ambu- e Works, 1935–74 t omple uis I. C Kahn: Lo awing? intention based on this dr s einz Ronner,einz Sharad Jhaveri,Vasella, Alessandro and eds., in H d 10 iew Press,iew 1977), 169. estv ahn, quote ould be structuralas well as functional, serving as the walls of sanctuary. the The outer idor next to it—around it—which served the school which was really the walls of was really served which it—which the school it—around to next idor the , aisle, or mark. the question surrounding circles the two by is represented which The ticipate in.ticipate what is being said. from away walk could so you And a I placed then And question mark? Could the lines and shapes have a specific meaning? and shapes have a specific Could the lines question mark? ouis I. K L consists of the sanctuary and school (on the right side) and a central corridor that connects right side) and a central consists of the sanctuary and school (on the them to an additional space, which would serve as a meetinghouse (left of the sanctuary). form drawing. has changed? What Eleven) and with Kahn’s elements has Kahn retained? What tion in mind. of the sketch. Ask them if this information has changed their interpretation Can they get a sense of Kahn’ this sketch and on the information they have learned.on the information they and this sketch with the process would he begin Why a [This] idea was my first reaction to what may be a direction in the building of in the building be a direction what may to reaction first was my [This] idea a Unitarian Church. of a sense give the minister heard Having aspirations, the Unitarian it occurred of me that the sanctuaryto the center is merely was that and that the school questions raisedwhich . the question . . raised and I felt that that which the the question—[and] spirit of inseparable. the question—were the ambulatory respect the fact that So to I drew to what what is being said or in a sanctuary is felt have something you was not necessarily par corr area. entire tory CTIVITIES heir diagrams could include shapes, diagramsheir include could lines, text, collaged pictorial representations even or ing,in marks,represents hatch diagonal drew Kahn which the school,surrounding the sanctuary. est its validity, designs the first of to on moved then be built. would the spaces the way These ogether. of the rest to plan a presentation group each Have illustrate its concept. to the class aisle w 1. form drawing is a kind of Kahn’s diagram, of visual or representation an idea. your Ask ifstudents use of made ever they have a problem. a diagram solve to 2. a basic plan of create to in teams work students your Have as school or classroom your it exists. Then, upon things brainstorm be improved that they to ask them feel could changed.or a problem, identified they have Once diagram to ask them a possible solution. T t •Ten). (Image Unitarian Church This plan First Show your students the final plan for the • of the finished building (Image this final plan to the photograph Have your students compare A Once Kahn had decided on the form of had on decided Kahn Once project, a to sketches rough make to he continued t in detail. render then finalizing a plan that he could him further brought toward sketches • with this new informa- the drawing to reexamine Have your students go back into their pairs la Inform your students that Kahn chose a question mark to represent the sanctuary, represent mark a question to chose that Kahn students your Inform he which should be central partbelieved the of the space. the sanctuary surrounded He with an • ideas, to consider Kahn’s pairs to work in Ask your students on basing their discussions r This sketch, drawing, form or of representation not a literal is what will the building look plan. a final architectural or like of serves as the visual It expression design concept Kahn’s the space.for Kahn, from the following quotation Share the early he explains in which ofprocess and discusses his sketch: this project developing (Colorado: W 10.

LESSONS 14 Kahn Guide.P 2/5/08 4:45 PM Page 14 Page PM 4:45 2/5/08 Guide.P Kahn 17 LESSONS of towers, study w Vie Courtyard, Salk Institute : WENTY-SEVEN: Photograph: Lisa Mazzola GE T IMAGE TWENTY-FIVE IMAGE for Biological for Studies, La Jolla, California, 2006. IMA looking east, Biological for Studies, Salk Institute La Jolla, California, 2006. Photograph: Lisa Mazzola ahn. American, f towers, study ouis I. K w o L Detail of light wells, : Vie Y-SIX: WENTY-EIGHT WENT GE T GE T rn Estonia. 1901–1974. for Salk Institute IMAGE TWENTY-FOUR: IMAGE Salk Institute for Biological for Studies,Salk Institute La Jolla, California, 2006. Photograph: Lisa Mazzola bo Biological Studies, La Jolla, California. Section- ofperspective laboratory.Architectural The Archives, of University Pennsylvania, August Collection Komendant IMA IMA looking west, Biological for Salk Institute Studies, La Jolla, California, 2006. Photograph: Lisa Mazzola ourtyard, tail of c De : Detail of off porch Louis I.Louis Kahn. American, THREE WENTY- GE T alk Institute for Biological for Studies,alk Institute La Jolla, S California, 2006. Photograph: Lisa Mazzola IMA IMAGE TWENTY-ONE: TWENTY-ONE: IMAGE IMAGE NINETEEN: IMAGE born Estonia. 1901–1974. for Salk Institute Biological Studies, La Jolla, California. c. 1962. Model. I. Louis Collection, Kahn of University Pennsylvania, Historical and the Pennsylvania Commission.and Museum Photograph: Pohl George library, Biological for Studies, Salk Institute La Jolla, California, 2006. Photograph: Lisa Mazzola Detail of laboratory, Construction photo, Alfred Detail of laboratory tower itute for Biological for Studies,itute La Jolla, azzola nst olla, California, 2006. Photograph: IMAGE TWENTY: IMAGE wall, Biological for Studies, Salk Institute La J Lisa M IMAGE TWENTY-TWO: IMAGE Salk I California, 2006. Photograph: Lisa Mazzola Newton Richards Medical Research Laborato- Research Medical Richards Newton ries, of University Pennsylvania, Philadelphia, Pennsylvania. Archives, The Architectural ofUniversity Pennsylvania. Photograph: D.Marshall Meyers IMAGE EIGHTEEN: EIGHTEEN: IMAGE

LESSONS 16 Kahn Guide.P 2/5/08 4:45 PM Page 16 Page PM 4:45 2/5/08 Guide.P Kahn 17 LESSONS of towers, study w Vie Courtyard, Salk Institute : WENTY-SEVEN: Photograph: Lisa Mazzola GE T IMAGE TWENTY-FIVE IMAGE for Biological for Studies, La Jolla, California, 2006. IMA looking east, Biological for Studies, Salk Institute La Jolla, California, 2006. Photograph: Lisa Mazzola ahn. American, f towers, study ouis I. K w o L Detail of light wells, : Vie Y-SIX: WENTY-EIGHT WENT GE T GE T rn Estonia. 1901–1974. for Salk Institute IMAGE TWENTY-FOUR: IMAGE Salk Institute for Biological for Studies,Salk Institute La Jolla, California, 2006. Photograph: Lisa Mazzola bo Biological Studies, La Jolla, California. Section- ofperspective laboratory.Architectural The Archives, of University Pennsylvania, August Collection Komendant IMA IMA looking west, Biological for Salk Institute Studies, La Jolla, California, 2006. Photograph: Lisa Mazzola ourtyard, tail of c De : Detail of off porch Louis I.Louis Kahn. American, THREE WENTY- GE T alk Institute for Biological for Studies,alk Institute La Jolla, S California, 2006. Photograph: Lisa Mazzola IMA IMAGE TWENTY-ONE: TWENTY-ONE: IMAGE IMAGE NINETEEN: IMAGE born Estonia. 1901–1974. for Salk Institute Biological Studies, La Jolla, California. c. 1962. Model. I. Louis Collection, Kahn of University Pennsylvania, Historical and the Pennsylvania Commission.and Museum Photograph: Pohl George library, Biological for Studies, Salk Institute La Jolla, California, 2006. Photograph: Lisa Mazzola Detail of laboratory, Construction photo, Alfred Detail of laboratory tower itute for Biological for Studies,itute La Jolla, azzola nst olla, California, 2006. Photograph: IMAGE TWENTY: IMAGE wall, Biological for Studies, Salk Institute La J Lisa M IMAGE TWENTY-TWO: IMAGE Salk I California, 2006. Photograph: Lisa Mazzola Newton Richards Medical Research Laborato- Research Medical Richards Newton ries, of University Pennsylvania, Philadelphia, Pennsylvania. Archives, The Architectural ofUniversity Pennsylvania. Photograph: D.Marshall Meyers IMAGE EIGHTEEN: EIGHTEEN: IMAGE

LESSONS 16 Kahn Guide.P 2/5/08 4:45 PM Page 16 Page PM 4:45 2/5/08 Guide.P Kahn Kahn Guide.P 2/5/08 4:45 PM Page 18

INTRODUCTION IMAGE-BASED DISCUSSION In 1957, Kahn was commissioned to design a new laboratory and research facility for the • Give your students a few minutes to look at the models and photograph of the Richards University of Pennsylvania. Due to a rise in student enrollment at the university’s medical Building (Images Twelve, Thirteen, and Fourteen). Have your students describe the design of school, more space was needed for teaching and research. The new building, which was com- the building. pleted in 1960, was named the Alfred Newton Richards Medical Research Building. • Ask your students what they can infer about the function of this building based on how it looks. In 1955, scientist Jonas Salk was successful in trials for a new vaccine against the virus that caused polio. By 1956, polio had been almost completely eradicated. Salk’s vaccine saved Inform your students that Kahn’s final design for the site incorporated concrete laboratory thousands of lives and turned the scientist into a celebrity. Fueled by his scientific achieve- towers and brick tower shafts to house all of the mechanical facilities. Kahn felt strongly that ments, he began planning a research facility dedicated to the search for medical advances. In “the air we breathe and the air we throw away must be in different channels.”11 The concrete 1959, Salk met with Kahn after touring the Richards Building. He decided that Kahn would laboratory spaces were designed for scientists to conduct research in, and the gasses or by- be the architect with whom he would collaborate on his new research facility, which eventu- products of experiments would be expelled from the building through the brick towers. 18 19 ally became the Salk Institute for Biological Studies. Kahn called the laboratories the “served”spaces and the towers the “servant”spaces, and kept LESSONS LESSONS the two separate in his design. This was a new concept for the modern building of the time. These buildings were crucial to the development of Kahn’s work, as they allowed him to try out new techniques and new ideas in two different projects. Kahn brought what he learned • Ask your students to look at the images again. Ask them to locate the served and from the Richards Building to the larger scope of the Salk Institute. Previous experience, servant spaces. Ask your students to explore the idea of a hierarchy of spaces in their coupled with a fruitful collaboration with Salk, allowed Kahn to create a highly successful school. What is a function of a classroom, versus a hallway or a stairwell? How do building in form and function. the hallways and stairwells serve the classrooms? How are these spaces organized? Are there any similarities between these spaces and spaces outside your school?

LESSON OBJECTIVES • Next, show your students the Richards Building construction photos (Images Fifteen, Sixteen, • Students will explore the process of building construction through photographic Seventeen, and Eighteen). documentation and architectural plans and elevations. Kahn formed a team of people to collaborate on the construction of the Richards Building, • Students will use primary source documentation to explore the history of a building. including August Komendant, a structural engineer. Also a native of Estonia, Komendant was educated in Germany. After World War II, he worked in Germany on the reconstruction • Students will learn the following vocabulary words: design brief, model, plan, rendering, of bridges that had been destroyed during the Allied bombing. Due to the shortage of steel concept, and structural engineer. at that time, Komendant was forced to innovate new ways of building. He eventually developed a system of building with prestressed concrete structures that were prefabricated off- • Students will learn about different kinds of building structures and construction techniques. site and assembled onsite. He introduced this method of building to Kahn, and Kahn used it for the Richards Building.

INTRODUCTORY DISCUSSION • While your students are looking at the construction photographs, read the following When Kahn was commissioned to design the Richards Building, a committee from the uni- statement by Kahn out loud: versity gave him a design brief, or program. This brief specified that the building must include seventy-five thousand square feet of floor space and separate facilities to house A building is like a human, an architect has the opportunity of creating life. The way the research animals. Kahn’s design also included two additional biology towers, which were knuckles and joints come together make each hand interesting and beautiful. In a building built after the main structure. There were many rounds of revisions as a result of conflicts these details should not be put in a mitten and hidden. Space is architectural when the evi- between Kahn and the university over space allotments and budget. Kahn created multiple dence of how it is made is seen and comprehended.12 sketches, renderings, and models of his many design iterations. On May 19, 1958, Kahn and his colleagues met to approve a final architectural plan. • Ask your students to consider how a building is like a human body. What structures in buildings and bodies have a common design or purpose? • Split the class into two groups: one will represent an architecture firm and one will represent a client. Have the client group designate a design program for your classroom that addresses Eventually, the building skeleton was covered with a protective skin of brick, concrete, a need or a problem. This could be larger desks, more shelving, or larger storage spaces. Have and glass. the client group also include a budget for the project they have outlined. Have the architecture group make a series of recommendations for ways to address the problem, including sketches • Ask your students to look at the construction photos and the images of the models again to of possible ideas and an estimated budget. Ask your students to describe the process of working see if they can see the seams or joints where building parts join together. in groups to address a variety of needs. Did they find it difficult? Why or why not?

11. Louis I. Kahn,“The Institutions of Man.” 12. Louis I. Kahn, quoted in Ronner, Jhaveri, and Vasella, Louis I. Kahn, 116. Kahn Guide.P 2/5/08 4:45 PM Page 18

11. Louis I. Kahn,“The Institutions of Man.” 12. Louis I. Kahn, quoted in Ronner, Jhaveri, and Vasella, Louis I. Kahn, 116. LESSONS 21 16 158. Complete Works, Complete Ask them if they can identify the different building materials.Ask them if they can identify the different Ask them to aphs? egral part of design was the incorporation of Kahn’s natural light. believed He int r te free from any kind of any from free te added ornamentation. The pattern, seams, of and joints the as built, Twenty-three, can be in Images seen Twenty-five, and Twenty-six. at that time, of technique was Kahn’s what was uncommon but the exposed leaving combination of the two? Ask your students to refer to the images to support their ideas. to the images to support students to refer Ask your combination of the two? n Louis I.Louis Kahn, in Ronner, quoted Jhaveri,Vasella, and re used to hold the formwork in place. can see part hold the formwork used to ofre You Twenty. in Image rod an oval tdoor spaces where one can talk. one where spaces tdoor need one not spend all the time in laboratories.” Now ncre of the space as it exists today. did the original concept change, How as evidenced by these photogr how these structures (laboratories,how these structures meetinghouse, humanistic and and dormitories) address technical needs. model? by looking at this this question be answered Can Twenty-four). to the space. that to the function of of these materials and relate consider the nature all of the ways Are light into the building design? natural In what ways has Kahn incorporated allow him to do this? Is it Do the building materials or the environment the same? Different? a udies from the laboratory and placed them over gardens,” the laboratory over them udies from and placed he said. “The became garden 16. In his originalIn design, main laboratories. the two between space a garden included Kahn The space, • photographs model to the of the presentation the photograph Have your students compare the natural of add elements to to a garden include to wanted Kahn light, water, and and trees needs further of the human to address the space. inhabit those who would “I separated the st ou Kahn and Salk developed a three-part of and Salk design developed consisting Kahn laboratories, a meetinghouse, and visiting for dormitories faculty. ofcenter at the The laboratories were design, the and the meetinghouse and the dormitory side, either sat on north the (right) to and south (left) in model.the presentation realized, The laboratories were the meetinghouse but and dormi- be built. to yet tory have • model, presentation in the structures locate all three Ask your students to then ask them • Next,Twenty-seven). to Twenty of the built complex (Images photographs show your students ofEach laboratory the two structures tall, is six stories laboratory three comprising floors function. utilities needs that house the floors that the building to mechanical and three The selection of was an integral materials building part of the design process. was material Each specific for reasons, chosen carefully with the aesthetic and functional respect to needs of the building. the laboratory For structures, concrete, poured use to decided Kahn travertine marble, wood, steel, brick, serve and water. forms designed to wooden Komendant and Kahn the building,as molds for the formwork. into poured was then and concrete con- the Once was cured,crete hardened, or revealed. was and the building was removed the formwork “liquid stone.” of This process called concrete Kahn uncom- construction was not entirely mo co • Twenty of the Salk Institute (Images Have your students look at the detail photographs •Twenty. they see. Ask them describe the pattern Have your students look at Image Anothe • formwork were left visible. left were formwork addition, In visible also left that the metal form ties (rods) Kahn we that natural light was a basic human need that should be considered in the design ofthat natural light need that should be was a basic human considered buildings. ahn , ith this in mind, K W 15 ahn’s design demon- clearly ahn’s (New York:(New Braziller, 2005), 92. K 14 ecture: Drawings from The Museum ofThe Museum ecture: Drawings from Art Modern hit rc 13 Envisioning A Envisioning place he could invite Picasso to. invite he could place Louis I.Louis Art, Building Kahn: Building Science, d a ork: of The Museum Art, Modern 2002), 126. nded citynded schools. public bond was formed; immediate An would Kahn atte ahn, Architect,”3. d K aphrases Salk in “Louis I.“Louis aphrases Salk in Kahn,”in par ouis I. d ce, planning all of alongside Salk. its elements had a new opportunity to Kahn ee innovative structural concepts and new principles and new the organization structural of for concepts innovative space, and d r R ilda McQuaid (Newilda McQuaid Y spa nts and ha umiliated my building to be of out to building my umiliated scale. move- the crane its many through go I watched a Pete Louis I.Louis Kahn, Leslie, in Thomas quoted Green,“L needs for a space for scientific research. Can they see any similarities to the needs fulfilled in their place of research,Ask your students to consider what Salk meant about their school? center. inviting Picasso to the research Salk Institute (Image Nineteen). model of the Show your students the presentation different situations.different This could include a new sports maneuver or a challenging dance move. Ask them if this idea or experience is the same each time they attempt it. experi- Does the times they try something? ence change the more What do they have in common? What is different about the way they are structured and structured are about the way they is different What do they have in common? What how to understand your students to consider how they look in order used? Encourage used. they are One day I visited the site during the erection of I visited during the erection the site One day frame of the prefabricated the building. like place into swung them and members up 25-ton 200-foot boom picked The crane’s the hand. by moved matchsticks the garishly crane, painted I resented which this monster h “thing” this building and the site days more dominate was to many calculatingments how photograph a flattering ofbefore be made. could the building I am glad of Now this expe- of becauserience me aware it made of the meaning the crane in design, the it is merely for ofextension hammer. a the arm like uilding constructed in the United States since the war.” since States in the United uilding constructed alk told Kahn that he wante Kahn alk told enter, of top on the to and La Jolla the west to Ocean the Pacific mesa overlooking a large explore his ideas of his ideas explore served and servant spaces, again with working Komendant, who was a partner in the design program, with along Salk. forever refer to Salk as his greatest client. Salk as his greatest to refer forever 1960, In visit site to the project went first the two that the city of of San Diego and the University research Salk’s offering for were California c south. this commission, With nature the entire establish to the chance was at last given Kahn of 15. 13. • think constitute technical needs and humanistic a list of what they Ask your students to make • S • in Ask your students if they have had the experience of testing out an idea or technique • consider this idea. Ask your students to an extension of the arm? like How is a crane 1961,In was the subject of Building the Richards of at The Museum an exhibition Art. Modern curator,The show’s Green, Wilder the single most consequential “probably described it as b With the Richards Building, the Richards With trying was of Kahn process a new out building, using prefabri- site. building at the assembled that were pieces cated in piece each put used to were Cranes the right place, other, each to the pieces secured and workers ensuring the safety and stability ofbuilding. the students: with your Kahn by the following quotation Share strate it created a lively dialogue with the older, a lively it created of traditional more architecture campus. the university 1959,In Building. the Richards and toured Salk met with Jonas Kahn discovered The two ancestry. a common that they shared Kahn, Like immigrant Russian-Jewish Salk was born to pare immediately saw the need for a design program that would serve the technical and the a design serve the need the technical for program that would saw immediately needs ofhuman use the space. the scientists who would ed. Mat 14.

LESSONS 20 Kahn Guide.P 2/5/08 4:45 PM Page 20 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 21 16 158. Complete Works, Complete Ask them if they can identify the different building materials.Ask them if they can identify the different Ask them to aphs? egral part of design was the incorporation of Kahn’s natural light. believed He int r te free from any kind of any from free te added ornamentation. The pattern, seams, of and joints the as built, Twenty-three, can be in Images seen Twenty-five, and Twenty-six. at that time, of technique was Kahn’s what was uncommon but the exposed leaving combination of the two? Ask your students to refer to the images to support their ideas. to the images to support students to refer Ask your combination of the two? n Louis I.Louis Kahn, in Ronner, quoted Jhaveri,Vasella, and re used to hold the formwork in place. can see part hold the formwork used to ofre You Twenty. in Image rod an oval tdoor spaces where one can talk. one where spaces tdoor need one not spend all the time in laboratories.” Now ncre of the space as it exists today. did the original concept change, How as evidenced by these photogr how these structures (laboratories,how these structures meetinghouse, humanistic and and dormitories) address technical needs. model? by looking at this this question be answered Can Twenty-four). to the space. that to the function of of these materials and relate consider the nature all of the ways Are light into the building design? natural In what ways has Kahn incorporated allow him to do this? Is it Do the building materials or the environment the same? Different? a udies from the laboratory and placed them over gardens,” the laboratory over them udies from and placed he said. “The became garden 16. In his originalIn design, main laboratories. the two between space a garden included Kahn The space, • photographs model to the of the presentation the photograph Have your students compare the natural of add elements to to a garden include to wanted Kahn light, water, and and trees needs further of the human to address the space. inhabit those who would “I separated the st ou Kahn and Salk developed a three-part of and Salk design developed consisting Kahn laboratories, a meetinghouse, and visiting for dormitories faculty. ofcenter at the The laboratories were design, the and the meetinghouse and the dormitory side, either sat on north the (right) to and south (left) in model.the presentation realized, The laboratories were the meetinghouse but and dormi- be built. to yet tory have • model, presentation in the structures locate all three Ask your students to then ask them • Next,Twenty-seven). to Twenty of the built complex (Images photographs show your students ofEach laboratory the two structures tall, is six stories laboratory three comprising floors function. utilities needs that house the floors that the building to mechanical and three The selection of was an integral materials building part of the design process. was material Each specific for reasons, chosen carefully with the aesthetic and functional respect to needs of the building. the laboratory For structures, concrete, poured use to decided Kahn travertine marble, wood, steel, brick, serve and water. forms designed to wooden Komendant and Kahn the building,as molds for the formwork. into poured was then and concrete con- the Once was cured,crete hardened, or revealed. was and the building was removed the formwork “liquid stone.” of This process called concrete Kahn uncom- construction was not entirely mo co • Twenty of the Salk Institute (Images Have your students look at the detail photographs •Twenty. they see. Ask them describe the pattern Have your students look at Image Anothe • formwork were left visible. left were formwork addition, In visible also left that the metal form ties (rods) Kahn we that natural light was a basic human need that should be considered in the design ofthat natural light need that should be was a basic human considered buildings. ahn , ith this in mind, K W 15 ahn’s design demon- clearly ahn’s (New York:(New Braziller, 2005), 92. K 14 ecture: Drawings from The Museum ofThe Museum ecture: Drawings from Art Modern hit rc 13 Envisioning A Envisioning place he could invite Picasso to. invite he could place Louis I.Louis Art, Building Kahn: Building Science, d a ork: of The Museum Art, Modern 2002), 126. nded citynded schools. public bond was formed; immediate An would Kahn atte ahn, Architect,”3. d K aphrases Salk in “Louis I.“Louis aphrases Salk in Kahn,”in par ouis I. d ce, planning all of alongside Salk. its elements had a new opportunity to Kahn ee innovative structural concepts and new principles and new the organization structural of for concepts innovative space, and d r R ilda McQuaid (Newilda McQuaid Y spa nts and ha umiliated my building to be of out to building my umiliated scale. move- the crane its many through go I watched a Pete Louis I.Louis Kahn, Leslie, in Thomas quoted Green,“L needs for a space for scientific research. Can they see any similarities to the needs fulfilled in their place of research,Ask your students to consider what Salk meant about their school? center. inviting Picasso to the research Salk Institute (Image Nineteen). model of the Show your students the presentation different situations.different This could include a new sports maneuver or a challenging dance move. Ask them if this idea or experience is the same each time they attempt it. experi- Does the times they try something? ence change the more What do they have in common? What is different about the way they are structured and structured are about the way they is different What do they have in common? What how to understand your students to consider how they look in order used? Encourage used. they are One day I visited the site during the erection of I visited during the erection the site One day frame of the prefabricated the building. like place into swung them and members up 25-ton 200-foot boom picked The crane’s the hand. by moved matchsticks the garishly crane, painted I resented which this monster h “thing” this building and the site days more dominate was to many calculatingments how photograph a flattering ofbefore be made. could the building I am glad of Now this expe- of becauserience me aware it made of the meaning the crane in design, the it is merely for ofextension hammer. a the arm like uilding constructed in the United States since the war.” since States in the United uilding constructed alk told Kahn that he wante Kahn alk told enter, of top on the to and La Jolla the west to Ocean the Pacific mesa overlooking a large explore his ideas of his ideas explore served and servant spaces, again with working Komendant, who was a partner in the design program, with along Salk. forever refer to Salk as his greatest client. Salk as his greatest to refer forever 1960, In visit site to the project went first the two that the city of of San Diego and the University research Salk’s offering for were California c south. this commission, With nature the entire establish to the chance was at last given Kahn of 15. 13. • think constitute technical needs and humanistic a list of what they Ask your students to make • S • in Ask your students if they have had the experience of testing out an idea or technique • consider this idea. Ask your students to an extension of the arm? like How is a crane 1961,In was the subject of Building the Richards of at The Museum an exhibition Art. Modern curator,The show’s Green, Wilder the single most consequential “probably described it as b With the Richards Building, the Richards With trying was of Kahn process a new out building, using prefabri- site. building at the assembled that were pieces cated in piece each put used to were Cranes the right place, other, each to the pieces secured and workers ensuring the safety and stability ofbuilding. the students: with your Kahn by the following quotation Share strate it created a lively dialogue with the older, a lively it created of traditional more architecture campus. the university 1959,In Building. the Richards and toured Salk met with Jonas Kahn discovered The two ancestry. a common that they shared Kahn, Like immigrant Russian-Jewish Salk was born to pare immediately saw the need for a design program that would serve the technical and the a design serve the need the technical for program that would saw immediately needs ofhuman use the space. the scientists who would ed. Mat 14.

LESSONS 20 Kahn Guide.P 2/5/08 4:45 PM Page 20 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 23 2. Building. and the Richards the Salk Institute compare students your Have These buildings serve similar functions. to created were How they different? are they same? How the are How part a designs? in their play built they in which were the environment does 3. structures further curriculum online the through explore students of your Have the Center,Salvadori at www.salvadori.org. site, On this books and download can order you a range of plans covering lesson topics, architectural trussing, including will which guide of exploration a hands-on through students with in working your you structures. es find imag o t tu re architec 17 165–66. (named after the Belgian engineer Arthur Vierendeel, the BelgianArthur (named after engineer who devel- Louis I.Louis Kahn, truss ation. e-open horizontal spaces, horizontal e-open in the above with facilities mechanical their stored of the Salk Institute, a type incorporated of and Komendant Kahn support id n be customized for the needs of for be customized scientists. incoming be The laboratories could ering details show us a viewering of details show of the side as if the building of one its walls has ns. the comparing a presentation create to in groups work students your Have as w . vertical by beams connected rigid truss features and lower upper Vierendeel The nd esig d h to Have your students conduct research to investigate other modern styles. other building investigate to research conduct students your Have the d Louis I.Louis Kahn, in Leslie, quoted Print out and enlarge a copy of the image so that your class can work together to locate and Print out and enlarge floors,identify the laboratory mechanical areas, stairway structures, and studies. Have your a map. like students label the drawing lesson as a guide included in this Use the photographs for this explor garden concept in the model.garden How did the mood or tone of this place change when the trees and a plaza was created? removed were Twenty-eight).buildings (Image your students to describe what they see. Ask do they What might represent? think this drawing He turned to us and said,“I turned to He single a not put in this area. tree would a plaza. make I would . . . If a plaza, make you so jealous of was the sky.”I facade to another will you have this idea mosaics for get all blue those would we “then saying it by help not adding to that I could nothing,”pointing Ocean. the Pacific to ry one. each with floors structures mechanical above The series of shapes six rectangular hese re uilding esigne ped the design in 1896). used first this style of Kahn trussing in the design the Richards for noug nformation about modern structures can be found on MoMA’s teacher Web site at site Web teacher nformation about modern structures MoMA’s can be on found n or outgoing gases expelled from experiments. gases expelled outgoing or from been cut away. To the right away. structures.been cut and stairway studies are labora- three are the left To To to the trussing. represent B beams. this innovation, to Previous beams and lower the upper beams connected diagonal in trusses; railroad bridges. can see this in many you This style new of support truss could additional support without system. below any the ceiling lift to and give the floor above This the Salk Institute,was the perfect for solution laboratory be flexible where had to spaces e 17. o ACTIVITIES 1. I gwww.moma.or /modernteachers. the term for the site Search called a Vierendeel Vierendeel called a • I T • at the images of the plaza. Have your students look the plaza to the compare Have them • Next, view of one of the Salk Institute laboratory show your students the cross-section There were concerns that a plaza made entirely of entirely that a plaza made concerns were There appear harsh, would stone the archi- so filled a central channel with water, created tects in a located a fountain emptied which into courtyard,lower staff where gather. could and Twenty-three This can be in Images seen Twenty-five. As the design evolved,As Barragán with assist to Luis the architect called in Mexican Kahn design of garden. the courtyard exhibition in an work Barragán’s had to been exposed Kahn ofat The Museum Art. Modern time the first Barragán the space: recalled He saw Richards Building to other buildings other of to Building Richards its time. and lesso d trussing, people and equipment. for in the laboratories themselves room more leaving Also, channels, separate two include to the space this allowed air and one clean incoming for one f

LESSONS 22 Kahn Guide.P 2/5/08 4:45 PM Page 22 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 23 2. Building. and the Richards the Salk Institute compare students your Have These buildings serve similar functions. to created were How they different? are they same? How the are How part a designs? in their play built they in which were the environment does 3. structures further curriculum online the through explore students of your Have the Center,Salvadori at www.salvadori.org. site, On this books and download can order you a range of plans covering lesson topics, architectural trussing, including will which guide of exploration a hands-on through students with in working your you structures. es find imag o t tu re architec 17 165–66. (named after the Belgian engineer Arthur Vierendeel, the BelgianArthur (named after engineer who devel- Louis I.Louis Kahn, truss ation. e-open horizontal spaces, horizontal e-open in the above with facilities mechanical their stored of the Salk Institute, a type incorporated of and Komendant Kahn support id n be customized for the needs of for be customized scientists. incoming be The laboratories could ering details show us a viewering of details show of the side as if the building of one its walls has ns. the comparing a presentation create to in groups work students your Have as w . vertical by beams connected rigid truss features and lower upper Vierendeel The nd esig d h to Have your students conduct research to investigate other modern styles. other building investigate to research conduct students your Have the d Louis I.Louis Kahn, in Leslie, quoted Print out and enlarge a copy of the image so that your class can work together to locate and Print out and enlarge floors,identify the laboratory mechanical areas, stairway structures, and studies. Have your a map. like students label the drawing lesson as a guide included in this Use the photographs for this explor garden concept in the model.garden How did the mood or tone of this place change when the trees and a plaza was created? removed were Twenty-eight).buildings (Image your students to describe what they see. Ask do they What might represent? think this drawing He turned to us and said,“I turned to He single a not put in this area. tree would a plaza. make I would . . . If a plaza, make you so jealous of was the sky.”I facade to another will you have this idea mosaics for get all blue those would we “then saying it by help not adding to that I could nothing,”pointing Ocean. the Pacific to ry one. each with floors structures mechanical above The series of shapes six rectangular hese re uilding esigne ped the design in 1896). used first this style of Kahn trussing in the design the Richards for noug nformation about modern structures can be found on MoMA’s teacher Web site at site Web teacher nformation about modern structures MoMA’s can be on found n or outgoing gases expelled from experiments. gases expelled outgoing or from been cut away. To the right away. structures.been cut and stairway studies are labora- three are the left To To to the trussing. represent B beams. this innovation, to Previous beams and lower the upper beams connected diagonal in trusses; railroad bridges. can see this in many you This style new of support truss could additional support without system. below any the ceiling lift to and give the floor above This the Salk Institute,was the perfect for solution laboratory be flexible where had to spaces e 17. o ACTIVITIES 1. I gwww.moma.or /modernteachers. the term for the site Search called a Vierendeel Vierendeel called a • I T • at the images of the plaza. Have your students look the plaza to the compare Have them • Next, view of one of the Salk Institute laboratory show your students the cross-section There were concerns that a plaza made entirely of entirely that a plaza made concerns were There appear harsh, would stone the archi- so filled a central channel with water, created tects in a located a fountain emptied which into courtyard,lower staff where gather. could and Twenty-three This can be in Images seen Twenty-five. As the design evolved,As Barragán with assist to Luis the architect called in Mexican Kahn design of garden. the courtyard exhibition in an work Barragán’s had to been exposed Kahn ofat The Museum Art. Modern time the first Barragán the space: recalled He saw Richards Building to other buildings other of to Building Richards its time. and lesso d trussing, people and equipment. for in the laboratories themselves room more leaving Also, channels, separate two include to the space this allowed air and one clean incoming for one f

LESSONS 22 Kahn Guide.P 2/5/08 4:45 PM Page 22 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 25 . the more But scale they different? Ask your students if they have they different? 376. e Louis I.Louis Kahn, the N r 18 fo Building,Assembly ational the reconsidered Kahn they similar? How ar Twenty-nine). geometric the different Have your students note e n cept co design: How ar to make rough sketches of sketches rough make to site, entire the secondary including structures, w n his ne d he went o he went , Hall, was called the Prayer this space Kahn it as a mosque.) to referred often Kahn n ssembly Building.ssembly scheme, second this new In of Hall the Prayer the program a is made ude a two-hundred-seat chamber for the legislature to convene in, convene the legislature to for chamber a two-hundred-seat ude hall, a prayer a dining er he finalized his his he finalized er Louis I.Louis Kahn, and De Long, in Brownlee quoted Have your students compare the interior and exterior views of the Prayer Hall (Images Thirty Hall (Images the interior and exterior views of the Prayer Have your students compare Thirty-one). and Building complex (Image forms they see. Have your students look closely at the photograph, way Kahn incorporated taking note of the geometry in his design. ever experienced a building whose interior and exterior seemed very different. The first design submitted . The design first submitted . . adjoining the building as a separate a Mosque showed A part of of the spaces as one. the architecture into and woven block Assembly the this In way, spiritual equal significance and gives as a mosque its meaning is equally emphatic without controversy. inviting ahn thought of about the nature and reflection), prayer (designated for the space the more he escribe K Prayer Hall. Prayer Originally, be significant or was not to in size this space • 18. INTRODUCTORY DISCUSSION INTRODUCTORY pairs. into students your Organize “drawer” be the be to to student and the other Assign one of the describers copies and give the drawers pencils and paper to Give “describer.” the the photograph of Twenty-nine).(Image Building Assembly the National Then, what they explain describers see. to ask the what theyhear being should draw The drawers described, without seeing image, the ever to and the describers comments should limit their descriptions of the drawing that is being on created. not comment the image—they must additional this exercise. rules can be to applied Various instance, For not be may the drawer questions, ask the describer any to allowed see what to not be allowed the describer or may is drawing.the drawer apply, want to rules Decide which you turns trying take or all them out. The and describers activity roles. switch best when the drawers works minutes ten After of describing drawing, and with students. your discuss the process was the most chal- What lenging part of and individual perception about the ways students your to Talk the exercise? exercise. this into play language the this photograph that shows students your Inform in Bangladesh Building East Pakistan)(center), (formerly Assembly National designed by Kahn, and that it servespolitical as the seat of Bangladesh. DISCUSSION IMAGE-BASED •Assembly of the National at the photograph Give your students a few minutes to look this project,With itself, Building Assembly the National focused first on Kahn was to which incl hall, offices. and numerous of with started sketches rough his design process He a large structure diamond-shaped, (or square it is viewed) with towers. how depending corner four T and hostels, as dormitories such of the east and west to Building. Assembly the National • • Next,Thirty-one). Thirty and Hall (Images of the Prayer show your students the photographs Aft strongly he felt that it should bestrongly he felt a significant part of the design. that the Prayer decided Kahn Building.Assembly the National should serve as the main entrance for Hall (Although, offi- cially d IMAGE THIRTY-ONE: THIRTY-ONE: IMAGE Hall, Prayer Exterior Nagar,Sher-e-Bangla Dhaka, Bangladesh. National Building,Assembly 2002. Photograph: Meier Raymond nstruction photo, Co Interior Prayer Interior TY-THREE: , Dhaka, Bangladesh, c. 1970. I. Louis ograph: Meier Raymond GE THIR agar IMAGE THIRTY: IMAGE Hall, Nagar, Sher-e-Bangla Dhaka, Bangladesh. National Building,Assembly 2002. Phot IMA National Assembly Assembly Building,National Sher-e-Bangla N Collection,Kahn of University Pennsylvania, and Historical and the Pennsylvania Commission Museum eating an architectural structure in another country and structure eating an architectural different types of construction techniques. different e ahn and assistants National Assembly National K in two phases.in two Building,Assembly the National included The phase first a d hall, and dormitories. be would acres the expectation more that eight hundred With esigne r ODUCTION GE THIRTY-TWO: August 1963,August department of the Pakistani a telegram from received Kahn works public eremonial building that was to serve as a political and spiritual that was to building symbol a community. eremonial for Students will learn about cr environment. plan for a site. n Building (center),Building Nagar, Sher-e-Bangla Dhaka, Bangladesh, c.1972. I. Louis Kahn Collection, of University Pennsylvania, and Historical and the Pennsylvania Commission Museum LESSON OBJECTIVES • • master meant to fit within an overall that are Students will consider the design of structures • Students will compar asking him if building Assembly National the new build to in a commission he was interested in Dhaka, East Pakistan. the commission, accepted Kahn and in January to 1963 he flew of the first Dhaka for visits. many of a tour was given He of site the thousand-acre open government. the Pakistani the design programfarmland from and was also given The project was d I praye acquired, courtrooms, plan included master the complete a hospital,of a museum,process designing schools, Kahn’s examines areas. residential and high-income and low- lesson This a c IMA IMAGE TWENTY-NINE: IMAGE with model of complex, Assembly the spring 1964. I. Louis Collection, Kahn ofUniversity Pennsylvania, and the and Museum Historical Pennsylvania Commission. Photograph: Pohl George INTR LESSON FIVE: The Spirituality of Matter The Spirituality LESSON FIVE:

LESSONS 24 Kahn Guide.P 2/5/08 4:45 PM Page 24 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 25 . the more But scale they different? Ask your students if they have they different? 376. e Louis I.Louis Kahn, the N r 18 fo Building,Assembly ational the reconsidered Kahn they similar? How ar Twenty-nine). geometric the different Have your students note e n cept co design: How ar to make rough sketches of sketches rough make to site, entire the secondary including structures, w n his ne d he went o he went , Hall, was called the Prayer this space Kahn it as a mosque.) to referred often Kahn n ssembly Building.ssembly scheme, second this new In of Hall the Prayer the program a is made ude a two-hundred-seat chamber for the legislature to convene in, convene the legislature to for chamber a two-hundred-seat ude hall, a prayer a dining er he finalized his his he finalized er Louis I.Louis Kahn, and De Long, in Brownlee quoted Have your students compare the interior and exterior views of the Prayer Hall (Images Thirty Hall (Images the interior and exterior views of the Prayer Have your students compare Thirty-one). and Building complex (Image forms they see. Have your students look closely at the photograph, way Kahn incorporated taking note of the geometry in his design. ever experienced a building whose interior and exterior seemed very different. The first design submitted . The design first submitted . . adjoining the building as a separate a Mosque showed A part of of the spaces as one. the architecture into and woven block Assembly the this In way, spiritual equal significance and gives as a mosque its meaning is equally emphatic without controversy. inviting ahn thought of about the nature and reflection), prayer (designated for the space the more he escribe K Prayer Hall. Prayer Originally, be significant or was not to in size this space • 18. INTRODUCTORY DISCUSSION INTRODUCTORY pairs. into students your Organize “drawer” be the be to to student and the other Assign one of the describers copies and give the drawers pencils and paper to Give “describer.” the the photograph of Twenty-nine).(Image Building Assembly the National Then, what they explain describers see. to ask the what theyhear being should draw The drawers described, without seeing image, the ever to and the describers comments should limit their descriptions of the drawing that is being on created. not comment the image—they must additional this exercise. rules can be to applied Various instance, For not be may the drawer questions, ask the describer any to allowed see what to not be allowed the describer or may is drawing.the drawer apply, want to rules Decide which you turns trying take or all them out. The and describers activity roles. switch best when the drawers works minutes ten After of describing drawing, and with students. your discuss the process was the most chal- What lenging part of and individual perception about the ways students your to Talk the exercise? exercise. this into play language the this photograph that shows students your Inform in Bangladesh Building East Pakistan)(center), (formerly Assembly National designed by Kahn, and that it servespolitical as the seat of Bangladesh. DISCUSSION IMAGE-BASED •Assembly of the National at the photograph Give your students a few minutes to look this project,With itself, Building Assembly the National focused first on Kahn was to which incl hall, offices. and numerous of with started sketches rough his design process He a large structure diamond-shaped, (or square it is viewed) with towers. how depending corner four T and hostels, as dormitories such of the east and west to Building. Assembly the National • • Next,Thirty-one). Thirty and Hall (Images of the Prayer show your students the photographs Aft strongly he felt that it should bestrongly he felt a significant part of the design. that the Prayer decided Kahn Building.Assembly the National should serve as the main entrance for Hall (Although, offi- cially d IMAGE THIRTY-ONE: THIRTY-ONE: IMAGE Hall, Prayer Exterior Nagar,Sher-e-Bangla Dhaka, Bangladesh. National Building,Assembly 2002. Photograph: Meier Raymond nstruction photo, Co Interior Prayer Interior TY-THREE: , Dhaka, Bangladesh, c. 1970. I. Louis ograph: Meier Raymond GE THIR agar IMAGE THIRTY: IMAGE Hall, Nagar, Sher-e-Bangla Dhaka, Bangladesh. National Building,Assembly 2002. Phot IMA National Assembly Assembly Building,National Sher-e-Bangla N Collection,Kahn of University Pennsylvania, and Historical and the Pennsylvania Commission Museum eating an architectural structure in another country and structure eating an architectural different types of construction techniques. different e ahn and assistants National Assembly National K in two phases.in two Building,Assembly the National included The phase first a d hall, and dormitories. be would acres the expectation more that eight hundred With esigne r ODUCTION GE THIRTY-TWO: August 1963,August department of the Pakistani a telegram from received Kahn works public eremonial building that was to serve as a political and spiritual that was to building symbol a community. eremonial for Students will learn about cr environment. plan for a site. n Building (center),Building Nagar, Sher-e-Bangla Dhaka, Bangladesh, c.1972. I. Louis Kahn Collection, of University Pennsylvania, and Historical and the Pennsylvania Commission Museum LESSON OBJECTIVES • • master meant to fit within an overall that are Students will consider the design of structures • Students will compar asking him if building Assembly National the new build to in a commission he was interested in Dhaka, East Pakistan. the commission, accepted Kahn and in January to 1963 he flew of the first Dhaka for visits. many of a tour was given He of site the thousand-acre open government. the Pakistani the design programfarmland from and was also given The project was d I praye acquired, courtrooms, plan included master the complete a hospital,of a museum,process designing schools, Kahn’s examines areas. residential and high-income and low- lesson This a c IMA IMAGE TWENTY-NINE: IMAGE with model of complex, Assembly the spring 1964. I. Louis Collection, Kahn ofUniversity Pennsylvania, and the and Museum Historical Pennsylvania Commission. Photograph: Pohl George INTR LESSON FIVE: The Spirituality of Matter The Spirituality LESSON FIVE:

LESSONS 24 Kahn Guide.P 2/5/08 4:45 PM Page 24 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 27 Louis I.Louis Kahn. American, nia. 1901–1974. Center, Civic project, o elphia, Pennsylvania. perspective Cut-away Est d n IMAGE THIRTY-SIX: IMAGE bor Phila of parking tower. c. 1957.Architectural The Archives,of University Pennsylvania, by the gift ofWurman Saul Richard (62.2 x 108.6 cm). of The Museum Art, Modern " 4 ⁄ 3 x 42 2 ⁄ 1 ouis I. Kahn. American, lvania. perspective. Aerial Louis I.Louis Kahn. American, born Estonia. 1901–1974. Study, Traffic project, L racing paper, 11x 14" (27.9 x Pennsy This is the question Kahn was asking in the 1950s. Kahn This is the question pre- to that in order felt He n t 19 his would, he theorized, place to place from and easily walk safely people to allow nk o GE THIRTY-FIVE: Louis I.Louis Kahn, in Reed,“Louis quoted I. Kahn,”112. rve the quality of in urban life environments, people, buildings, and services be should rought to the city center and cars and roadways should be placed on the periphery, on should be placed and roadways and cars the city to rought center outer or dges. T 35.6 cm). of The Museum Art, Modern York New born Estonia. 1901–1974. Center, Civic project, Philadelphia, 1957. I IMA Philadelphia, Pennsylvania. Plan of pattern. traffic-movement proposed 1952. Ink, graphite, paper, papers on cut-and-pasted 24 and MAGE THIRTY-FOUR: IMAGE New York. New Gift of the architect INTRODUCTION spaces,“What what activities, of center what buildings formed the creative commu- human nication?” LESSON SIX: Designs for Urban Life Designs for Urban LESSON SIX: se b e of the redevelopment plans for conceptual within a city. Kahn’s Philadelphia explores This lesson in the 1950s. 19. of the structural scale models ocess. was complete, began of plan the construction phase and his team to Kahn of activities spiritual their also for nature. but Assembly’s the National Ask n e ur esig . they had with dealt any before. engineering unlike issues presented This project esh) sought independence from West Pakistan. be West would that the site feared from esh) sought independence Many of the Bengal tiger). 1983, By most of was complete. the work Kahn, who died in ds Medical Research Building under construction from previous lessons (Images Fifteen previous from Building under construction ds Medical Research y for twenty-three years.twenty-three for war, Construction was held up in 1971 by as East Pakistan our students research the history of and culture research our students Dhaka, of the capital Bangladesh. the d ocess ofocess of Church designing Unitarian the First Rochester, Three. discussed in Lesson r d ical nat e e y gineer Richar to Eighteen). they see. Have them describe the differences do these photos reveal What and culture your students to consider how environment Ask about the construction process? might affect this pr “spiritual significance.” the Prayer Hall would be like. Hall would the Prayer form,giving Building as one architectural Assembly Hall into the Prayer “spiritual significance.” it more Thirty-two). ructures included in the master plan. in the master included ructures assis- and his can see Kahn this photograph you In ahn felt strongly that the structures he designed for this site should not just stand for the stand for strongly that the structures should not just ahn felt he designed this site for CTIVITY olit the project. Komendant,August with his long-time colleague worked Kahn a (Banglad en bombed during the conflict, pilots bypassed the site, enemy but thinking it was an ancient ruin. Eventually, Nagar Sher-e-Bangla was renamed and the site was resolved the conflict (the cit 1974, the Sher-e- for Architecture for Award Khan Aga the presented was posthumously Building. Assembly National Bangla Nagar A Hav the area, consider them Have its climate, food, music, population, and architecture. Working in groups, of should select students areas individual research, a into work their combine then presentation.group of the process Compare with complex Assembly designing the National the p of factors the cultural and environmental consider students your Have project. each The issues surrounding the construction of surrounding The issues of the climate included this project region the Asia. in and construction techniques hand, by built The structures were with workers carrying bamboo heads their up and down on scaffolding, concrete not com- and they were plete Onc • Newton Alfred these construction photos to the images of the Ask your students to compare K p if students your in this. succeeded they feel that Kahn • Next,Thirty-three). of the site (Image photograph show your students the construction • idea that this space should have to Kahn’s Ask your students how this choice connects For months,For additional and make his ideas refine to continued Kahn st • of approaching, what the experience to consider Ask your students entering, being inside and • weaving the about meant when he talked what Kahn may have students to consider Ask your • Next,Kahn and his assistants in his studio (Image of the photograph show your students tants maneuvering the various the models,tants maneuvering trying configurations. different out of placement the also considered and his team Kahn the structures within the cardinal points.(directional) east, Hall shift the Prayer they to decided Eventually toward face to Mecca, of be the spiritual to center considered Arabia a city in Saudi because it is the Islam birthplace of Mohammed. the prophet

LESSONS 26 Kahn Guide.P 2/5/08 4:45 PM Page 26 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 27 Louis I.Louis Kahn. American, nia. 1901–1974. Center, Civic project, o elphia, Pennsylvania. perspective Cut-away Est d n IMAGE THIRTY-SIX: IMAGE bor Phila of parking tower. c. 1957.Architectural The Archives,of University Pennsylvania, by the gift ofWurman Saul Richard (62.2 x 108.6 cm). of The Museum Art, Modern " 4 ⁄ 3 x 42 2 ⁄ 1 ouis I. Kahn. American, lvania. perspective. Aerial Louis I.Louis Kahn. American, born Estonia. 1901–1974. Study, Traffic project, L racing paper, 11x 14" (27.9 x Pennsy This is the question Kahn was asking in the 1950s. Kahn This is the question pre- to that in order felt He n t 19 his would, he theorized, place to place from and easily walk safely people to allow nk o GE THIRTY-FIVE: Louis I.Louis Kahn, in Reed,“Louis quoted I. Kahn,”112. rve the quality of in urban life environments, people, buildings, and services be should rought to the city center and cars and roadways should be placed on the periphery, on should be placed and roadways and cars the city to rought center outer or dges. T 35.6 cm). of The Museum Art, Modern York New born Estonia. 1901–1974. Center, Civic project, Philadelphia, 1957. I IMA Philadelphia, Pennsylvania. Plan of pattern. traffic-movement proposed 1952. Ink, graphite, paper, papers on cut-and-pasted 24 and MAGE THIRTY-FOUR: IMAGE New York. New Gift of the architect INTRODUCTION spaces,“What what activities, of center what buildings formed the creative commu- human nication?” LESSON SIX: Designs for Urban Life Designs for Urban LESSON SIX: se b e of the redevelopment plans for conceptual within a city. Kahn’s Philadelphia explores This lesson in the 1950s. 19. of the structural scale models ocess. was complete, began of plan the construction phase and his team to Kahn of activities spiritual their also for nature. but Assembly’s the National Ask n e ur esig . they had with dealt any before. engineering unlike issues presented This project esh) sought independence from West Pakistan. be West would that the site feared from esh) sought independence Many of the Bengal tiger). 1983, By most of was complete. the work Kahn, who died in ds Medical Research Building under construction from previous lessons (Images Fifteen previous from Building under construction ds Medical Research y for twenty-three years.twenty-three for war, Construction was held up in 1971 by as East Pakistan our students research the history of and culture research our students Dhaka, of the capital Bangladesh. the d ocess ofocess of Church designing Unitarian the First Rochester, Three. discussed in Lesson r d ical nat e e y gineer Richar to Eighteen). they see. Have them describe the differences do these photos reveal What and culture your students to consider how environment Ask about the construction process? might affect this pr “spiritual significance.” the Prayer Hall would be like. Hall would the Prayer form,giving Building as one architectural Assembly Hall into the Prayer “spiritual significance.” it more Thirty-two). ructures included in the master plan. in the master included ructures assis- and his can see Kahn this photograph you In ahn felt strongly that the structures he designed for this site should not just stand for the stand for strongly that the structures should not just ahn felt he designed this site for CTIVITY olit the project. Komendant,August with his long-time colleague worked Kahn a (Banglad en bombed during the conflict, pilots bypassed the site, enemy but thinking it was an ancient ruin. Eventually, Nagar Sher-e-Bangla was renamed and the site was resolved the conflict (the cit 1974, the Sher-e- for Architecture for Award Khan Aga the presented was posthumously Building. Assembly National Bangla Nagar A Hav the area, consider them Have its climate, food, music, population, and architecture. Working in groups, of should select students areas individual research, a into work their combine then presentation.group of the process Compare with complex Assembly designing the National the p of factors the cultural and environmental consider students your Have project. each The issues surrounding the construction of surrounding The issues of the climate included this project region the Asia. in and construction techniques hand, by built The structures were with workers carrying bamboo heads their up and down on scaffolding, concrete not com- and they were plete Onc • Newton Alfred these construction photos to the images of the Ask your students to compare K p if students your in this. succeeded they feel that Kahn • Next,Thirty-three). of the site (Image photograph show your students the construction • idea that this space should have to Kahn’s Ask your students how this choice connects For months,For additional and make his ideas refine to continued Kahn st • of approaching, what the experience to consider Ask your students entering, being inside and • weaving the about meant when he talked what Kahn may have students to consider Ask your • Next,Kahn and his assistants in his studio (Image of the photograph show your students tants maneuvering the various the models,tants maneuvering trying configurations. different out of placement the also considered and his team Kahn the structures within the cardinal points.(directional) east, Hall shift the Prayer they to decided Eventually toward face to Mecca, of be the spiritual to center considered Arabia a city in Saudi because it is the Islam birthplace of Mohammed. the prophet

LESSONS 26 Kahn Guide.P 2/5/08 4:45 PM Page 26 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 29 . nd whether or not it would and whether or not it concept e. ir data, recommen- their findings and make analyze to in teams work them have um’s Timeline of Timeline um’s Art History feature. of the images compare students your Have the ’s conceptual drawings for Philadelphia’s Center City were inspired in part inspired by City were Center drawings Philadelphia’s for conceptual ’s d use ahn uded in Kahn’s design Philadelphia. for studies in Kahn’s uded movement include students your Have view to locate the cylindrical structures.view to locate in your students Ask other forms they see what the foreground, ground, middle and background. other recall these structures Ask them if with. familiar are they structures is different. that is not available to them in the panorama here information can they see What design for Philadelphia. students to debate the merits of this Ask your view? to Ask them the validity of this design their feelings about express people who live ther better the lives of the panorama form is a of a wide, for that allows pictorial representation unobstructed view CTIVITIES f the city, institutions. for open the downtown leaving athere The cylindrical structures in the foreground are parking towers that would sit on the periphery sit on that would parking towers The cylindrical are structures in the foreground o dations for ways to improve their community.Have the teams create two- and three-dimensional and two- create community.Have their the teams improve to ways dations for ofpresentations all phases, design. to research from as a gallery classroom Set space, up your of members and invite work. see the completed to and the local community the school 2. K eighteenth-century views of Rome. of images for online search students your Have Rome. of use to Museum (www.metmuseum.org) site the Metropolitan They to go can Web Art’s the m designs. Kahn’s to Rome A • Next,Thirty-six). tower (Image the detail cut-away view of the parking show your students • view. this detail to the panorama compare Ask your students to to describe how it Ask them as part of not considered Ultimately, plans were Kahn’s of the redevelopment Philadelphia within opinions conflicting the city to due planning administration.Although not they were about the ideas realized, Kahn’s and reference research to continue and scholars architects modern city. A 1. part of in a study take students your Have of based some on environment their the concepts incl of the pattern that reflect traffic and sidewalks. streets on local with library Consult your to obtain maps of the projects. use as the basis for cityto town or your have students your Once g 20 . plans 29. affic. ahn, uis I. K Lo Ask your students to describe what they see in Ask your students to describe what they see awing of Kahn’s proposed traffic-movement pattern traffic-movement proposed awing of Kahn’s Thirty-four). as a need to reorganize streets to alleviate to streets congestion. reorganize as a need to a created He w oward a Plan for Midtown Philadelphia,”in Midtown a Plan for oward Latour, T awing, the bands of arrows the periphery around of downtown Philadelphia’s dr ahn,“ s show your students the panoramic aerial (bird’s-eye) view of Kahn’s proposed city proposed view of Kahn’s aerial (bird’s-eye) show your students the panoramic essing what he sa ahn’ ks, freely, more and pedestrians and stop will move way. other’s and not get in each . . . city surrounded by cylindrical parking towers.city surrounded Have your students look at the panorama als represent cars in parking cars lots.als represent his plan, In said, Kahn the use redefine “to he intended ouis I. K L structures (Image Thirty-five). (Image structures this drawing, With Kahn was further developing his idea for a reading it.reading their attention based on the notations? Draw conclusions can they draw What the periphery of the drawing. running around to the bands of arrows Ask your students this might represent. what kind of roadway Show your students the plan dr for Philadelphia (Image this drawing. cities and systems of flow for pedestrians and vehicular tr and vehicular of flow for pedestrians cities and systems concepts. or processes to other architectural relates nne, in southern France. a walled town itself defend had to as Carcassonne Just against its uc ddr n K own to be reserved for pedestrians. for be reserved own to 20. • Next, I • again, Have your students look at the drawing using the notation system as a guide for expressways. are area parking towers, represent arrows The circular are while in the center smaller streets. the walled cities of this plan to likened He times, ancient specifically Carcas- so enemies, the modern itself felt city defend must Kahn against the automobile, he saw which interaction. human to as a threat himself Kahn did not own a car. drive, learned to never He the periphery to should be that cars and he felt kept of the city, the down- allow would which t IMAGE-BASED DISCUSSION IMAGE-BASED • that this is a plan of them Inform City region of the Center Philadelphia.drawing, this In started of his exploration Kahn the modern city with traffic a look flows, at how specifically a of type one separate and streets of so that cars, another from movement buses,tr trolleys, ofThis system and convenience. is not designed order speed for for but movement The pres- of mixture ent staccato, through, all equally ineffectual.” the streets makes and go stop system ofsystem types the different of symbols represent to traffic flow. line represents The dotted of movement stop-and-go trucks and buses. fast-moving traffic, represent Arrows and the spir INTRODUCTORY DISCUSSION INTRODUCTORY the 1950s,In a period was undergoing Philadelphia of redevelopment, and Kahn, a long- time resident, Philadelphia of in the idea was very interested modern urban improving life. Based his principle on of “served”“servant” and spaces, plans for conceptual created Kahn City districtthe Center of and structures redesign traffic-flow that included Philadelphia of the issues to sensitive that were urban center. an ever-growing brain- students your Have a list ofstorm the design of to possible improvements their neighborhood. con- them Have fruition. to come these ideas have to in order occur to what mightsider have LESSON OBJECTIVES • to buildings, learn that in addition Students will design of involved with the are architects • how it and will consider of urban planning to the discipline will be introduced Students • and conceptual drawings contrast and Students will compare

LESSONS 28 Kahn Guide.P 2/5/08 4:45 PM Page 28 Page PM 4:45 2/5/08 Guide.P Kahn LESSONS 29 . nd whether or not it would and whether or not it concept e. ir data, recommen- their findings and make analyze to in teams work them have um’s Timeline of Timeline um’s Art History feature. of the images compare students your Have the ’s conceptual drawings for Philadelphia’s Center City were inspired in part inspired by City were Center drawings Philadelphia’s for conceptual ’s d use ahn uded in Kahn’s design Philadelphia. for studies in Kahn’s uded movement include students your Have view to locate the cylindrical structures.view to locate in your students Ask other forms they see what the foreground, ground, middle and background. other recall these structures Ask them if with. familiar are they structures is different. that is not available to them in the panorama here information can they see What design for Philadelphia. students to debate the merits of this Ask your view? to Ask them the validity of this design their feelings about express people who live ther better the lives of the panorama form is a of a wide, for that allows pictorial representation unobstructed view CTIVITIES f the city, institutions. for open the downtown leaving athere The cylindrical structures in the foreground are parking towers that would sit on the periphery sit on that would parking towers The cylindrical are structures in the foreground o dations for ways to improve their community.Have the teams create two- and three-dimensional and two- create community.Have their the teams improve to ways dations for ofpresentations all phases, design. to research from as a gallery classroom Set space, up your of members and invite work. see the completed to and the local community the school 2. K eighteenth-century views of Rome. of images for online search students your Have Rome. of use to Museum (www.metmuseum.org) site the Metropolitan They to go can Web Art’s the m designs. Kahn’s to Rome A • Next,Thirty-six). tower (Image the detail cut-away view of the parking show your students • view. this detail to the panorama compare Ask your students to to describe how it Ask them as part of not considered Ultimately, plans were Kahn’s of the redevelopment Philadelphia within opinions conflicting the city to due planning administration.Although not they were about the ideas realized, Kahn’s and reference research to continue and scholars architects modern city. A 1. part of in a study take students your Have of based some on environment their the concepts incl of the pattern that reflect traffic and sidewalks. streets on local with library Consult your to obtain maps of the projects. use as the basis for cityto town or your have students your Once g 20 . plans 29. affic. ahn, uis I. K Lo Ask your students to describe what they see in Ask your students to describe what they see awing of Kahn’s proposed traffic-movement pattern traffic-movement proposed awing of Kahn’s Thirty-four). as a need to reorganize streets to alleviate to streets congestion. reorganize as a need to a created He w oward a Plan for Midtown Philadelphia,”in Midtown a Plan for oward Latour, T awing, the bands of arrows the periphery around of downtown Philadelphia’s dr ahn,“ s show your students the panoramic aerial (bird’s-eye) view of Kahn’s proposed city proposed view of Kahn’s aerial (bird’s-eye) show your students the panoramic essing what he sa ahn’ ks, freely, more and pedestrians and stop will move way. other’s and not get in each . . . city surrounded by cylindrical parking towers.city surrounded Have your students look at the panorama als represent cars in parking cars lots.als represent his plan, In said, Kahn the use redefine “to he intended ouis I. K L structures (Image Thirty-five). (Image structures this drawing, With Kahn was further developing his idea for a reading it.reading their attention based on the notations? Draw conclusions can they draw What the periphery of the drawing. running around to the bands of arrows Ask your students this might represent. what kind of roadway Show your students the plan dr for Philadelphia (Image this drawing. cities and systems of flow for pedestrians and vehicular tr and vehicular of flow for pedestrians cities and systems concepts. or processes to other architectural relates nne, in southern France. a walled town itself defend had to as Carcassonne Just against its uc ddr n K own to be reserved for pedestrians. for be reserved own to 20. • Next, I • again, Have your students look at the drawing using the notation system as a guide for expressways. are area parking towers, represent arrows The circular are while in the center smaller streets. the walled cities of this plan to likened He times, ancient specifically Carcas- so enemies, the modern itself felt city defend must Kahn against the automobile, he saw which interaction. human to as a threat himself Kahn did not own a car. drive, learned to never He the periphery to should be that cars and he felt kept of the city, the down- allow would which t IMAGE-BASED DISCUSSION IMAGE-BASED • that this is a plan of them Inform City region of the Center Philadelphia.drawing, this In started of his exploration Kahn the modern city with traffic a look flows, at how specifically a of type one separate and streets of so that cars, another from movement buses,tr trolleys, ofThis system and convenience. is not designed order speed for for but movement The pres- of mixture ent staccato, through, all equally ineffectual.” the streets makes and go stop system ofsystem types the different of symbols represent to traffic flow. line represents The dotted of movement stop-and-go trucks and buses. fast-moving traffic, represent Arrows and the spir INTRODUCTORY DISCUSSION INTRODUCTORY the 1950s,In a period was undergoing Philadelphia of redevelopment, and Kahn, a long- time resident, Philadelphia of in the idea was very interested modern urban improving life. Based his principle on of “served”“servant” and spaces, plans for conceptual created Kahn City districtthe Center of and structures redesign traffic-flow that included Philadelphia of the issues to sensitive that were urban center. an ever-growing brain- students your Have a list ofstorm the design of to possible improvements their neighborhood. con- them Have fruition. to come these ideas have to in order occur to what mightsider have LESSON OBJECTIVES • to buildings, learn that in addition Students will design of involved with the are architects • how it and will consider of urban planning to the discipline will be introduced Students • and conceptual drawings contrast and Students will compare

LESSONS 28 Kahn Guide.P 2/5/08 4:45 PM Page 28 Page PM 4:45 2/5/08 Guide.P Kahn FOR FURTHER CONSIDERATION 31 es.Worth, in Fort Art Museum the Kimbell These include Texas, and the Stat buildings that incorporate some of some buildings that incorporate learned that they the styles have features or d A n nite t a w range for a local architect to visit your school and partner school visit to a participatory on your range a local architect for design project hese buildings have been recognized in the architectural community for the excellence of the excellence for community in the architectural been recognized hese buildings have roup in your area, in your roup Preservation. Historic for Trust as the National such if Ask they can xamples of onduct research projects about his built and unbuilt masterworks. and unbuilt about his built projects research onduct include projects His Yale Center for British Art and the Yale University Art Gallery, University Haven, both in New Yale Art and the British for Center Connecticut. Yale T designs.their discussion. in-class for these sites research students your Have Adop RESEARCH PROJECTS RESEARCH Masterworks Unbuilt an important history in the remains figure ofKahn American architecture. students your Have c libraries, art museums, schools, memorials, parks, of places and abroad. States in the United section worship, of the bibliography Consult buildings residential and a list of for this guide works, resources.research of Kahn’s detailed addition texts to In and writings his lectures are and reference. consideration for available Art Museums As in the U inthisguide,ell asthebuildings included designed art several built and museums Kahn of local chapter your Contact ofAmerican Institute the preservation a historic or Architects g ar rchitect students. withyour the Block around Walk of a walking tour Conduct school. the neighborhood your around find students your Have e about in this guide. findings. their document them Have lifetime, in may have played a role and how these factors s 21 ed in Green,“Louis I. Kahn, Architect,”3. mes part of the living, unmeasurable qualities. it evokes The design involving uot less than the spirit of existence. eco s such as the cost of materials, construction, or land; environment. and climate or natural ahn, q s, alway our students to consider whether their perspectives or opinions about the built envi- about the built opinions or whether perspectives their consider to our students the same way, start has to a building in the unmeasurable aura the through go and great building,great opinion, in my begin must with the unmeasurable, measur- through go e xistence-will, man, existence, becomes and evolution. laws nature’s through The results ouis I. K uilding b n L Ask students what kinds of similarities and differences they notice.Ask students what kinds of similarities and differences Have them use visual evidence to back up their assertions. in general. in this guide or about architecture featured turns writing Have them take questions on the board, the questions into categories, and then organize which may include: historical events during Kahn’ his career; building materials and technologies; community; history of a building’s economic factor quantities of brick, method of construction, engineering and the spirit is ended of its exis- over. takes tence A means whenable it is being designed, be unmeasurable. must and in the end The design, the making of things, is a measurable act. that point, At itself, nature physical like are you everything nature is measurable—evenbecause in physical unmea- is as yet that which sured. . . . spirit. what is unmeasurable is the psychic But feeling by is expressed The psyche be unmeasurable.and also thought will and I believe always exis- that the psychic I sense be. it what it wants to make to callstence-will nature on be a rose. wants to I think a rose E ar I be accomplished.measurable to can build. you way is the only It can get you way The only the laws, follow being must the measurable.You is through it into in the end, but when the b sk y 21. • • best. Ask them which designs they like Discuss why. • questions they have about the buildings a list of any remaining Ask your students to make CONCLUDING QUESTIONS CONCLUDING of the images Put and ask your side by side in this guide finished buildings featured Kahn’s them. compare to students Have your students revisit students of previous examples your Have in his words. outlined philosophy Kahn’s A ronment learned. based what on they changed have have The excerpt below is taken from Kahn’s writing philosophy. about his architectural Kahn’s from is taken below Have The excerpt meaning. and discuss its this text analyze students your OR FURTHER CONSIDERATION FURTHER FOR

FOR FURTHER CONSIDERATION 30 Kahn Guide.P 2/5/08 4:45 PM Page 30 Page PM 4:45 2/5/08 Guide.P Kahn FOR FURTHER CONSIDERATION 31 es.Worth, in Fort Art Museum the Kimbell These include Texas, and the Stat buildings that incorporate some of some buildings that incorporate learned that they the styles have features or d A n nite t a w range for a local architect to visit your school and partner school visit to a participatory on your range a local architect for design project hese buildings have been recognized in the architectural community for the excellence of the excellence for community in the architectural been recognized hese buildings have roup in your area, in your roup Preservation. Historic for Trust as the National such if Ask they can xamples of onduct research projects about his built and unbuilt masterworks. and unbuilt about his built projects research onduct include projects His Yale Center for British Art and the Yale University Art Gallery, University Haven, both in New Yale Art and the British for Center Connecticut. Yale T designs.their discussion. in-class for these sites research students your Have Adop RESEARCH PROJECTS RESEARCH Masterworks Unbuilt an important history in the remains figure ofKahn American architecture. students your Have c libraries, art museums, schools, memorials, parks, of places and abroad. States in the United section worship, of the bibliography Consult buildings residential and a list of for this guide works, resources.research of Kahn’s detailed addition texts to In and writings his lectures are and reference. consideration for available Art Museums As in the U inthisguide,ell asthebuildings included designed art several built and museums Kahn of local chapter your Contact ofAmerican Institute the preservation a historic or Architects g ar rchitect students. withyour the Block around Walk of a walking tour Conduct school. the neighborhood your around find students your Have e about in this guide. findings. their document them Have lifetime, in may have played a role and how these factors s 21 ed in Green,“Louis I. Kahn, Architect,”3. mes part of the living, unmeasurable qualities. it evokes The design involving uot less than the spirit of existence. eco s such as the cost of materials, construction, or land; environment. and climate or natural ahn, q s, alway our students to consider whether their perspectives or opinions about the built envi- about the built opinions or whether perspectives their consider to our students the same way, start has to a building in the unmeasurable aura the through go and great building,great opinion, in my begin must with the unmeasurable, measur- through go e xistence-will, man, existence, becomes and evolution. laws nature’s through The results ouis I. K uilding b n L Ask students what kinds of similarities and differences they notice.Ask students what kinds of similarities and differences Have them use visual evidence to back up their assertions. in general. in this guide or about architecture featured turns writing Have them take questions on the board, the questions into categories, and then organize which may include: historical events during Kahn’ his career; building materials and technologies; community; history of a building’s economic factor quantities of brick, method of construction, engineering and the spirit is ended of its exis- over. takes tence A means whenable it is being designed, be unmeasurable. must and in the end The design, the making of things, is a measurable act. that point, At itself, nature physical like are you everything nature is measurable—evenbecause in physical unmea- is as yet that which sured. . . . spirit. what is unmeasurable is the psychic But feeling by is expressed The psyche be unmeasurable.and also thought will and I believe always exis- that the psychic I sense be. it what it wants to make to callstence-will nature on be a rose. wants to I think a rose E ar I be accomplished.measurable to can build. you way is the only It can get you way The only the laws, follow being must the measurable.You is through it into in the end, but when the b sk y 21. • • best. Ask them which designs they like Discuss why. • questions they have about the buildings a list of any remaining Ask your students to make CONCLUDING QUESTIONS CONCLUDING of the images Put and ask your side by side in this guide finished buildings featured Kahn’s them. compare to students Have your students revisit students of previous examples your Have in his words. outlined philosophy Kahn’s A ronment learned. based what on they changed have have The excerpt below is taken from Kahn’s writing philosophy. about his architectural Kahn’s from is taken below Have The excerpt meaning. and discuss its this text analyze students your OR FURTHER CONSIDERATION FURTHER FOR

FOR FURTHER CONSIDERATION 30 Kahn Guide.P 2/5/08 4:45 PM Page 30 Page PM 4:45 2/5/08 Guide.P Kahn SELECTED BIBLIOGRAPHY & RESOURCES 33 New Boston: .Rev.ed.New York: .Rev.ed.New New York:New Rizzoli, 1991. e w York: Braziller, 2005. N Louis I.Louis Works Complete Kahn: o Y Old House, A Child’s House: New . York: New Monticelli Press, 2000. ork andLondon: W. W. Norton, 2003. . New Louis I.Louis of the Realm In Kahn: Architecture. . Washingt n, D.C.: Press, Preservation Drawn From The Source: The Travel Sketches of Sketches Travel The The Source: Drawn From D De Long. y . ssentialTexts Wh theNational Activitiesesign? from andProjects C What Will Be Has Always Been: The Words ofWords Been:The Always Be Has Will I. Louis What Kahn. Envisioning Architecture: Drawings from The Museum ofThe Museum Drawings from Architecture: Envisioning Modern Louis I.Louis Writings, Kahn: Lectures, Interviews. uis Kahn: E uis Kahn: ions, 1985. e Lo The Art ofArt The Construction: and Principles Projects Beginning for Engineers Why Buildings Stand Up: The Strength of Buildings Up: Stand Why Architecture Press, Review hicago 1995. o d . Woodstock, N.Y.: Press, Overlook 1995. L uis I.Art, Building Kahn: Science. Building Block Building for Children: Making Buildings of Making Block Children: Building for with the Ultimate World the d. Chicago: Press, Review Chicago 1990. 3r Cambridge and London: MIT Press, 1996. Louis I.Louis Masterworks Unbuilt Kahn: Between of Silence and Light: SpiritArchitecture in the I. Louis Kahn. ublicat useum. Chicago: o C olorado: Press, Westview 1977. Thomas. ation of Styles Architectural American rchitects. nal Trust for Historic Preservation, Historic for nal Trust 1993. mbly, Robert. k: Rizzoli, 1996. son, Kent. rk: of The Museum Art, Modern 2002. our, Alessandra, ed. . W. Norton, 1990. atio onstruction Toy eslie, ouis I.ouis Kahn. lafer, Anna, Cahill. and Kevin ohnson, J., Eugene J. and Michael Lewis. Ronner, Heinz,Vasella. Alessandro and and Sharad Jhaveri 1935–74. Lar Walker, Lester. C N Salvadori, Mario. A and Salvadori, Mario. W S McQuaid, Matilda, ed. .Art New Y FOR YOUNGER READERS FOR YOUNGER Gaughenbaugh, Michael, and Herbert Camburn. Explor ELECTED BIBLIOGRAPHY AND RESOURCES BIBLIOGRAPHY SELECTED Brownlee, D., David G and David York:New Rizzoli, 1991. J L Lobell, John. Shambhala P Wurman, Saul. Richard Yor Two L Building M Lat . . ly in the formof ly a portion of and a sphere y etween the sizes of the sizes etween objects. two , of school fineart. of one to Refers art several in schools Literall p who inspects,erson analyzes, designs, plans, andresearches A nship b c p dr walking, for place overed acloister. asin A latio : of describing and scope the elements A written record a design project A designs, plansor who draws erson of often be built. structures to A of inperspective awing structure. aproposed sc d In classical architecture, classical In gable, a low typically triangular with a horizontal ault with plan that is usual a circular lig B ar heme; aplan. idea. An A A pillar,ecorative of composed mostoften andtypically stone acylindrical having A roof, or ht structure adome on serving asabelfry, lantern, belvedere. or n he re chitecture, of representation athree-dimensional and/or aconcept adesign for I es A v A and structural static engineering structure used in architecture consisting usually T de. el: : A scale drawing diagram or showing the structure of an object arrangement or of objects. e d od ructural and structural components systems. faca building. f triangular into at joints units. straight interconnected members slender ornice and rakingornice cornices, surmounting a colonnade, wall, an end division of a major or Dome: France that advanced a classical approach to design to approach a classical that advanced France M Cupola: Cupola: a Plan Rendering: Column: Scale: that is constructed to exert an equal thrust an equal in all directions. exert to that is constructed Draftsman: Pediment: a c eaux-Arts: Ambulatory: GLOSSARY Écol or polygonal shaft with polygonal or a base. and usually a capital Concept: st Truss: o Design brief Structural engineer:

GLOSSARY 32 Kahn Guide.P 2/5/08 4:45 PM Page 32 Page PM 4:45 2/5/08 Guide.P Kahn SELECTED BIBLIOGRAPHY & RESOURCES 33 New Boston: .Rev.ed.New York: .Rev.ed.New New York:New Rizzoli, 1991. e w York: Braziller, 2005. N Louis I.Louis Works Complete Kahn: o Y Old House, A Child’s House: New . York: New Monticelli Press, 2000. ork andLondon: W. W. Norton, 2003. . New Louis I.Louis of the Realm In Kahn: Architecture. . Washingt n, D.C.: Press, Preservation Drawn From The Source: The Travel Sketches of Sketches Travel The The Source: Drawn From D De Long. y . ssentialTexts Wh theNational Activitiesesign? from andProjects C What Will Be Has Always Been: The Words ofWords Been:The Always Be Has Will I. Louis What Kahn. Envisioning Architecture: Drawings from The Museum ofThe Museum Drawings from Architecture: Envisioning Modern Louis I.Louis Writings, Kahn: Lectures, Interviews. uis Kahn: E uis Kahn: ions, 1985. e Lo The Art ofArt The Construction: and Principles Projects Beginning for Engineers Why Buildings Stand Up: The Strength of Buildings Up: Stand Why Architecture Press, Review hicago 1995. o d . Woodstock, N.Y.: Press, Overlook 1995. L uis I.Art, Building Kahn: Science. Building Block Building for Children: Making Buildings of Making Block Children: Building for with the Ultimate World the d. Chicago: Press, Review Chicago 1990. 3r Cambridge and London: MIT Press, 1996. Louis I.Louis Masterworks Unbuilt Kahn: Between of Silence and Light: SpiritArchitecture in the I. Louis Kahn. ublicat useum. Chicago: o C olorado: Press, Westview 1977. Thomas. ation of Styles Architectural American rchitects. nal Trust for Historic Preservation, Historic for nal Trust 1993. mbly, Robert. k: Rizzoli, 1996. son, Kent. rk: of The Museum Art, Modern 2002. our, Alessandra, ed. . W. Norton, 1990. atio onstruction Toy eslie, ouis I.ouis Kahn. lafer, Anna, Cahill. and Kevin ohnson, J., Eugene J. and Michael Lewis. Ronner, Heinz,Vasella. Alessandro and and Sharad Jhaveri 1935–74. Lar Walker, Lester. C N Salvadori, Mario. A and Salvadori, Mario. W S McQuaid, Matilda, ed. .Art New Y FOR YOUNGER READERS FOR YOUNGER Gaughenbaugh, Michael, and Herbert Camburn. Explor ELECTED BIBLIOGRAPHY AND RESOURCES BIBLIOGRAPHY SELECTED Brownlee, D., David G and David York:New Rizzoli, 1991. J L Lobell, John. Shambhala P Wurman, Saul. Richard Yor Two L Building M Lat . . ly in the formof ly a portion of and a sphere y etween the sizes of the sizes etween objects. two , of school fineart. of one to Refers art several in schools Literall p who inspects,erson analyzes, designs, plans, andresearches A nship b c p dr walking, for place overed acloister. asin A latio : of describing and scope the elements A written record a design project A designs, plansor who draws erson of often be built. structures to A of inperspective awing structure. aproposed sc d In classical architecture, classical In gable, a low typically triangular with a horizontal ault with plan that is usual a circular lig B ar heme; aplan. idea. An A A pillar,ecorative of composed mostoften andtypically stone acylindrical having A roof, or ht structure adome on serving asabelfry, lantern, belvedere. or n he re chitecture, of representation athree-dimensional and/or aconcept adesign for I es A v A and structural static engineering structure used in architecture consisting usually T de. el: : A scale drawing diagram or showing the structure of an object arrangement or of objects. e d od ructural and structural components systems. faca building. f triangular into at joints units. straight interconnected members slender ornice and rakingornice cornices, surmounting a colonnade, wall, an end division of a major or Dome: France that advanced a classical approach to design to approach a classical that advanced France M Cupola: Cupola: a Plan Rendering: Column: Scale: that is constructed to exert an equal thrust an equal in all directions. exert to that is constructed Draftsman: Pediment: a c eaux-Arts: Ambulatory: GLOSSARY Écol or polygonal shaft with polygonal or a base. and usually a capital Concept: st Truss: o Design brief Structural engineer:

GLOSSARY 32 Kahn Guide.P 2/5/08 4:45 PM Page 32 Page PM 4:45 2/5/08 Guide.P Kahn SELECTED BIBLIOGRAPHY & RESOURCES 35 . 2003. Kahn Nathaniel by and directed Written y’s holdings include approximately 300,000 books and exhibition catalogues, 300,000 books and exhibition approximately holdings include y’s 300 um Archives were established in 1989 to collect, established in 1989 to were Archives um organize, preserve, and make ar use individual artists. Collection highlights Dada and Surrealism, on works include The t nter ofnter aspects of many primary for concerning material source research modern and he Libr he M periodical subscriptions, 40,000 vertical files of and over and ephemera announcements abou ofMuseum Art/Franklin Modern Artist Book Collection, Furnace Art and the Political Archive.The LibraryDocumentation and Distribution appointment only. (PAD/D) by open is informationplease visit more www.moma.org/research/library.For accessible documentation concerning the Museum’s art in the and cultural historical role the Museum’s concerning documentation accessible centurytwentieth and, now, the twenty-first. recognized also an internationally They are ce contemporary art. appointment only. by open are Archives The informationplease visit more www.moma.org/research/archives.For FILM Architect My ABOUT MOMA LIBRARY ofThe Museum collection devoted noncirculating Art Library Modern is a comprehensive modern and contemporaryto art. painting, documents It sculpture, drawings,photography, architecture, design, prints, performance, video, film, the present.1880 to and emerging art forms from Staff to or collections and materials relevant help locate to available are department. the appropriate to question your direct T ABOUT MOMA ARCHIVES T Modern Art,Modern York New ig um of ictionary of subscription) Art Online (requires use e D Architectural Archives ofArchives Architectural of the University Pennsylvania st Unitarian Church Church st Unitarian eat Buildings ational Architectural ationalTrust Architectural he M he earning by Design,earning by of A Program Architecture, for Foundation York the New www.design.upenn.edu/archives/majorcollections/kahn.html Teachers Modern www.moma.org /modernteachers T www.moma.org N www.natarchtrust.org Museum Building National www.nbm.org B PBS Building www.pbs.org/wgbh/buildingbig /wonder/structure/home_insurance.html Center:Salvadori Environment and the Built Education www.salvadori.org ONLINE RESOURCES ofAmerican Institute Architects www.aia.org (CUBE) Environment the Built Understanding for The Center www.cubekc.org Cooper-Hewitt, Design Museum National www.ndm.si.edu Fir www.rochesterunitarian.org Gr www.greatbuildings.com Grov www.groveart.com L Architecture for The Center www.nyfarchitecture.org I.The Louis Collection, Kahn T

SELECTED BIBLIOGRAPHY & RESOURCES 34 Kahn Guide.P 2/5/08 4:45 PM Page 34 Page PM 4:45 2/5/08 Guide.P Kahn SELECTED BIBLIOGRAPHY & RESOURCES 35 . 2003. Kahn Nathaniel by and directed Written y’s holdings include approximately 300,000 books and exhibition catalogues, 300,000 books and exhibition approximately holdings include y’s 300 um Archives were established in 1989 to collect, established in 1989 to were Archives um organize, preserve, and make ar use individual artists. Collection highlights Dada and Surrealism, on works include The t nter ofnter aspects of many primary for concerning material source research modern and he Libr he M periodical subscriptions, 40,000 vertical files of and over and ephemera announcements abou ofMuseum Art/Franklin Modern Artist Book Collection, Furnace Art and the Political Archive.The LibraryDocumentation and Distribution appointment only. (PAD/D) by open is informationplease visit more www.moma.org/research/library.For accessible documentation concerning the Museum’s art in the and cultural historical role the Museum’s concerning documentation accessible centurytwentieth and, now, the twenty-first. recognized also an internationally They are ce contemporary art. appointment only. by open are Archives The informationplease visit more www.moma.org/research/archives.For FILM Architect My ABOUT MOMA LIBRARY ofThe Museum collection devoted noncirculating Art Library Modern is a comprehensive modern and contemporaryto art. painting, documents It sculpture, drawings,photography, architecture, design, prints, performance, video, film, the present.1880 to and emerging art forms from Staff to or collections and materials relevant help locate to available are department. the appropriate to question your direct T ABOUT MOMA ARCHIVES T Modern Art,Modern York New ig um of ictionary of subscription) Art Online (requires use e D Architectural Archives ofArchives Architectural of the University Pennsylvania st Unitarian Church Church st Unitarian eat Buildings ational Architectural ationalTrust Architectural he M he earning by Design,earning by of A Program Architecture, for Foundation York the New www.design.upenn.edu/archives/majorcollections/kahn.html Teachers Modern www.moma.org /modernteachers T www.moma.org N www.natarchtrust.org Museum Building National www.nbm.org B PBS Building www.pbs.org/wgbh/buildingbig /wonder/structure/home_insurance.html Center:Salvadori Environment and the Built Education www.salvadori.org ONLINE RESOURCES ofAmerican Institute Architects www.aia.org (CUBE) Environment the Built Understanding for The Center www.cubekc.org Cooper-Hewitt, Design Museum National www.ndm.si.edu Fir www.rochesterunitarian.org Gr www.greatbuildings.com Grov www.groveart.com L Architecture for The Center www.nyfarchitecture.org I.The Louis Collection, Kahn T

SELECTED BIBLIOGRAPHY & RESOURCES 34 Kahn Guide.P 2/5/08 4:45 PM Page 34 Page PM 4:45 2/5/08 Guide.P Kahn ANNING A MUSEUM VISIT PL classroom, in your or at MoMA Educator with discussion a guided schedule a Museum To Services Group at (212) 708-9685please contact [email protected]. email or Programs, information about School more For please call (212) 333-1112 e-mail or [email protected]. TEACHER RESOURCES TEACHER in print and online the year. throughout available are with CD-ROMs Guides Educator these resources. to access free unlimited have All schools at www.moma.org/modernteachers online MoMA’s explore to Teachers Modern Visit Guides,Educator resources, and collection. Resources, information about Teacher more please call (212) 708-9882For e-mail or [email protected]. OMA SCHOOL PROGRAMS MOMA SCHOOL

MOMA SCHOOL PROGRAMS 36 Kahn Guide.P 2/5/08 4:45 PM Page 36 Page PM 4:45 2/5/08 Guide.P Kahn Artists Voices Kahn Cvr_08.23.07 9/11/07 3:19 PM Page 24

TABLE OF CONTENTS CREDITS

1. A NOTE TO EDUCATORS AUTHOR: Lisa Mazzola EDUCATION EDITORS:ARTIST’S Sarah Ganz BlytheWORK/ARTIST’S and Susan McCullough VOICE: 2. USING THE EDUCATORS GUIDE ARCHITECTURE EDITOR: Peter Reed EDITOR: Rebecca Roberts LOUIS I. KAHN 3. SETTING THE SCENE DESIGNERS: Elizabeth Elsas and Tamara Maletic PRODUCTION MANAGER: Claire Corey A Guide for Educators 6. LESSONS Lesson One: What is Architecture?

Lesson Five: The Spirituality of Matter Department of Education at The Museum of Modern Art

Lesson Six: Designs for Urban Life

30. FOR FURTHER CONSIDERATION