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You can search through the full text of this book on the web at http : //books . google . com/| Digitized by Google i*^'- ^r«-iX»^ *'^^■9^^' Google Digitized by Google Digitized by Google Digitized by Google ZkL} JftH^IIBTti 1983^11^ BSNf^'FIJ^ l/A'aiLf /J A )^^7\ • ^""i^ — «a ^ «"* s^ <'f y^-^a- 1> ;K^**— V^RS/f >:?t^i^- : )=F*-II 12 pt;uK • J^rd"? 13 *y—kf-.^t.\) 16 <JH'7, • :^-ycJ:47.'>-y5-4!l> *:/•;. 1924/-W* 77>f^x^3«#«, 1929/x-;>yK7)#BEB|i, I951/i5*:/h, 1951 27 1. -f I-;^:^i!6.T-^ • :*£i'7'; 34 3. v-'9±mms{%m*m'9V9k 54 4. 7^'J :^ • '^T-K^ • ««# 76 5. '<>^7x*>iia*«« 86 6. TayHii^K too 7. -f>Kli«:^i!t 110 8. +>'<-»m«ll 128 9. 7-f U •y^^'X^-b^-»7'*x$-fia«ll 158 10. <:L-)VX^'%mHkmm%'^>9 172 <'f >?'yi-2> -T-i^n, • yuy;^ 186 *-AX«-'<-+>X 190 f'-f -y-f V K • ^^X^U 192 ■y-J'i'/U • •7'f -fr 195 ^3 9;^ • 5*7 /^On;^ 200 ^>. 1; _ . i>^ 4, a .y .y 203 y-f -y-f -y K • ?K-^ 207 tf-\) . ^_>f 210 JZ-iU'^iU-yT 212 '£?<7)J|*M</>=r«S-« 214 ^u-r ;:^ . :^ - ><7)«ffi . ffSbXk 238 ©a + U«»i:«* 1983#-llM6SB#t8Ti|^ I983%nfllBSn 1992^9 fl l B»5»,/«ftm «**tt l-'TV K-3.- Jl(«»X«E«»2-30-8 ««»<»: 113 «B 03-816-2935-7 «ft* $ffl««/»l«# +iW«[l5/ttB*t8W^ ■H-KT' 0\ : *6aA/«IJ : 'J^*»»*./Sffli3,9(4R(*1*3,800R)/iSW60R/S» J((jR3-98l l9/WS':?/r :;»^ B *tn«','*jXt?±/AS)c «tt:*>'4;H8«« Digitized by VjOOQIC ^ : Zt±i aSSS^"^ November, 1983 Extra Edhion AAA lOUB L KAHN Sr "" CONTENTS Introduction/Toshio Nakamura 4 Main Article Louis I. Kahn and His Times/Hisao Koyama 19 Interview— 1 Thoughts about Louis I. Kahn 24 Romald Giurgola 25 4 Sketches by Louis I. Kahn 27 Capri, 1929/St Francesco, Assisi, 1929/Temple Ruins, Egypt, 1951/Egypt, 1951 10 Works by Louis I. Kahn 1. Yale University Art Gallery, 1951-53 34 2. Richards Medical Research Building, University of Pennsylvania, 1957-64 44 3. Salk Institute- Laboratory Buildings, 1959-65 54 4 Erdman Hall Dormitories, Bryn Marwr College, 1960-65 76 5. Sher-e-Banglanagar National Assembly Hall, 1962-74 86 6. Sher-e-Banglanagar Ayub National Hospital, 1962-74 100 7. Indian Institute of Management, 1963-74 110 8. Kimbell Art Museum, 1966-72 128 9. Library, Phillips Exeter Academy, 1967-72 158 10. Center for British Art and Studies, Yale University, 1969-74 172 lntervlew-2 Thoughts about Louis L Kahn 216 Cesar Pelli 216 Michael Graves 217 Holms Perkins 220 David Wisdom 222 Marshall Meyers 223 Nicholas Gianopoulos 227 Henry Wilcotts 229 David Polk 232 Gary W. Moye 234 Neil Welliver 235 Article Louis Kahn Opened the Mind's Door/Kazumi Kawasaki 237 Personal History /Works and Projects 238 Copyright 1983 by A+U Publishing Co., cause new technology and materials were practical and useful but because they also provided the Images for a brilliant future. When Mies van der Rohe said in 1937, "We refuse to recognize problems of form, but only problems of building" he was not talking, about his personal philosophy, but Instead was expressing his understanding of a new popular image. In fact, until the end of the 1960's, people were excited mainly in the tremendous heights of buildings, unbelievably long spans and the large shining sheets of glass or metal rather than in the form or space of architecture. At this point, one may perhaps ask whether or not the ideology of Modernism or that of the Bauhaus neglected the question of form or space. In any architectural ideology, this just cannot be. In architec- ture, design cannot be undertaken without an image of form. The only difference that exists Is the idea whether one is conscious or unconscious to the image of form he or she is trying to achieve. Bauhaus could concentrate their study on social programs and tech- nology only because the formal image of architecture, they professed, was so commonly shared by them that there was no need for discussion concerning this image. Well then, what was this image of architectural form they all shared? It Is so readily apparent that, perhaps, no detailed explanation seems warranted. Indefinite space or flowing space was their spatial form. Their corporeal form consisted of a box enclosed by a membrane and when these boxes were grouped It acquired an asymmetrical configuration. Indefinite, universal space, certainly created a new architectural value in the early stage of Modernism. The pure, transparent boxes of Mies still remain today, one of the most impressive examples of architecture. We can easily imagine what a great surprise It must have given the people who just came out of the 19th century! Universal space in Modern Architecture was not only a newly derived value, but also something inevitable since it was impossible to define special- ized spaces in new types of buildings created by the Industrialized, 20th century society. Office buildings, factories, housing and schools fall into this category. There was no recourse but to produce generally or abstractly defined spaces; Indefinite spaces enclosed by a membrane. People seemed to be somewhat satisfied with the space because the space provided did not confine them but, Instead, allowed them to pass through. Upon passing through the space, however where will they go? No definite place, I suppose, but people were simply satisfied with just going through a space because they believed it was a glimpse of the future. Space, which began to fly out in all directions, were expected to be received within the natural or rural environment surrounding the building. These "ideal" surroundings, however, rarely existed. Usually, spaces ended up facing the confused streets of cities or the ugly walls of adjacent buildings. This, however was not severely questioned because "idealized nature" or garden cities, were conceived of as not actually existing, but rather, as a kind of Utopia. An Interesting note is that Utopian images of garden cities were shared by all the great masters of Modern Architecture. Le Corbusier, F.L.Wright and Mies all originated their plans from 19th century Utopian ideology.