History of Twentieth Century Architecture: Richards Medical Labs by Louis Kahn

History of Twentieth Century Architecture: Richards Medical Labs by Louis Kahn Louis I. Kahn (b. Kuressaare, Saaremaa, Estonia 1901; d. New York, NY, United States of America 1974) Louis Kahn completed his Bachelor of Architecture in 1924 at University of Pennsylvania. Former professor of Yale University and University of Pennsylvania. His most famous designs: Yale Art Gallery, Salk Institute, Fisher House, Jatiyo Sangshad Bhaban, Exeter Library and Kimbell Art Museum. Fellow in the American Institute of Architects and member of the American Academy of Arts and Sciences. Awarded with the Frank P. Brown Medal in 1964, the AIA Gold Medal and Royal Gold Medal by the RIBA in 1972. In 1957, Kahn left University of Yale to teach at University of Pennsylvania where he also received a commission to design a new building for the campus, the Alfred Newton Richards Medical Research Laboratories Buildings. In his first design, the service towers would act as columns for the laboratories’ floors, but he changed it, following the advice of his engineers who suggested him to position the columns to the third points of the buildings. (Vincent Scully, 1962, p. 28) A successful partnership between Kahn and August Komendant, a structural engineer, started during this project. Komendant was a pioneer in using precast and pre- Nelly Chang, 2010 The redbrick facade seemed to be a stressed concrete to build bridges in Germany. The use sensible choice for Richards Labs as it of his expertise can be easily seen in Richards Labs, was surrounded by the 19th century Xavier de Jauréguiberry, 2011 Xavier de Jauréguiberry, buildings of the University campus. because of Kahn’s choice to expose the structure, in an act of “honesty” (Architectural Record, April 1963, p. 26, cited in International Working Party for the Documentation and Conservation of Buildings website), in conformity with Modern Architecture of the time. The eight-storey concrete structure was fabricated off site and Museum of Modern Art, 1961 Museum of Modern assembled the total of 1019 pre-stressed pieces (beams, columns The columns placed in the third points allowed the use and trusses) using an enormous crane on site. of big glass windows at the free corners of each floor, “... it made me aware of the meaning of the crane in design, for it is merely the extension of the arm like a hammer.” Louis I. Kahn, quoted in Thomas welcoming Kahn’s preference to use of natural light. Leslie, Louis I. Kahn: Building Art, Building Science, (New York: Braziller, 2005) But the idea was soon compromised by budget cuts imposed by the University during the project, leading to the substitution of insulated glass by regular panels and The laboratories floors were meant to be unobstructed, “served” by the other areas. For this reason, stairs, service towers the elimination of windows blinds. Later, this changes (including animal quarters, house of elevators and mechanical in design would generate some complains about the systems), the “servant”, were kept in separated structures. solar gain and problems with temperature control. This episode may have attracted Kahn’s interest to the use of Art, 1961 Museum of Modern indirect natural light, technique that is explored in other design projects, such as in the Kimbell Art Museum. Kahn created a squared open space in each floor to be used as laboratories, supported by Vierendeel trusses, held by the columns at the third points. The Vierendeel trusses were left exposed in the ceilings of each next floor underneath, allowing ducts and pipes to be exposed and easily installed or removed. Xavier de Jauréguiberry, 2011 Xavier de Jauréguiberry, The whole design demonstrates Kahn’s successful application of the concept of “served” and “servant” spaces using simple geometrical Xavier de Jauréguiberry, 2011 Xavier de Jauréguiberry, forms. This new approach to design process influenced many architects in their work, e.g. Richard Rogers, Renzo Piano, Tadao Ando, Norman Foster and Robert Venturi. He may have developed his taste for elements of architecture of the past when he observed the Scottish castles, painted the Towers of San Gimignano or even when he was studying Greek, Italian and Egyptian Classical Architecture. Xavier de Jauréguiberry, 2011 Xavier de Jauréguiberry, “The air we breathe and the air we throw away must be in different channels.” Louis I. Kahn, “The Institutions of Man.” , January 2012 Carlos R De Malchi 0. Portico; 1.Laboratories; 2. Elevators and Starways; “Servant” space 3. Animal Quarters; 4. Animal Service Rooms; “Served” space 5. Fresh Air Intake Stacks; 6. Air Distribution Shafts; Prepared for AR10342 by Prepared for O. Yosuke, 2009 O. Yosuke, 7. Fume and Exhaust Stacks Bibliography: Melvin, J. (2008). ...isms Understanding Architecture. London : Herbert Press. Vincent Scully, J. (1962). Louis I. Kahn. London: Prentice-Hall International. Kahn, N. (Director). (2003). My Architect, a son journey [Motion Picture]. Weston, R. (2004). Plans, sections and elevations : key buildings of the twentieth century. London: Laurence King.

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