| Architectural indulgences or homes for living in? |
| Slide 2 |
| Slide 3 |
| Slide 4 |
| Concrete Expressions: New Monumentality, New Brutalism |
| On Monumentality |
| Slide 7 |
| Lewis Mumford, The Culture of Cities (1938) |
| if it is a monument it is not modern, and if it is modern it cannot be a monument. |
| Monumentality in architectural discourse of the 1940s |
| -Architectural historian Sigfried Giedion, architect Jos Luis Sert, and artist Fernand Lger, Nine Points on Monumentality; | |
| -Paul Zucker, ed., New Architecture and City Planning (1944): | |
| -Louis Kahn, Monumentality | |
| J.L. Sert, F. Lger, and S. Giedion, Nine Points on Monumentality |
| Conclusion: | |
| Monumental architecture will be something more than strictly functional. It will have regained its lyrical value. In such monumental layouts, architecture and city planning could attain a new freedom and develop new creative possibilities, such as those that have begun to be felt in the last decades in the fields of painting, sculpture, music, and poetry. | |
| (we can imagine Picasso, Brancusi, Naum Gabo, Calder, even Lgers work) |
| Kahn, Monumentality, in Paul Zucker, New Architecture and City Planning (1944) |
| No architect can rebuild a cathedral of another epoch, embodying the desires, the aspirations, the love and hate of the people whose heritage it became. Therefore the images we have before us of monumental structures of the past cannot live again with the same intensity and meaning. Their faithful duplication is unreconcilable, but we dare not discard the lessons these buildings teach, for they have the common characteristics of greatness upon which the buildings of our future must, in one sense or another, rely. |
| Monumentality conclusion (Kahn): |
| I do not wish to imply that monumentality can be attained scientifically or that the work of the architect reaches its greatest service to humanity by his peculiar genius to guide a concept toward a monumentality. I merely defend, because I admire, the architect who possesses the will to grow with the many angles of our development. For such a man finds himself far ahead of his fellow workers. |
| Louis I. Kahn, 1901-1974 |
| Intentions |
| If I were to define architecture in a word, I would say that architecture is a thoughtful making of spaces. It is not filling prescriptions as clients want them filled. It is not fitting uses into dimensioned areas It is a creating of spaces that evoke a feeling of use. Spaces which form themselves into a harmony good for the use to which the building is to be put | |
| I believe that the architects first act is to take the program that comes to him and change it. Not to satisfy it but to put it into the realm of architecture, which is to put it into the realm of spaces. | |
| Louis Kahn |
| Map of Europe |
| Paul Philippe Cret, Main Building, University of Texas, 1933 |
| George Howe and Lescaze, PSFS (Philadelphia Savings Fund Society) - now Hotel Loews, Philadelphia |
| Louis I. Kahn, Yale
University Art Gallery addition, New Haven, Connecticut, 1951-53 Entrance, Chapel Street elevation (south faade) |
| Kahn, Yale University Art
Gallery addition, New Haven, Connecticut, 1951-53 Early perspective sketch from the southeast, showing the existing 1928 building in the foreground and Kahns addition |
| View of New Haven, Connecticut |
| Kahn, Yale University Art
Gallery addition, New Haven, Connecticut, 1951-53 Plan |
Kahn, Yale University Art Gallery addition, New Haven, Connecticut, 1951-53 West faade |
Kahn, Yale University Art Gallery addition, New Haven, Connecticut, 1951-53 North elevation with glazed curtain wall |
| Kahn, Yale University Art
Gallery addition, New Haven, Connecticut, 1951-53 Exterior views of north elevation |
| Kahn, Yale University Art
Gallery addition, New Haven, Connecticut, 1951-53 Reflected ceiling plan |
| Kahn, Yale University Art
Gallery addition, New Haven, Connecticut, 1951-53 Adath Jerusalem Synagogue, Philadelphia, 1954: geometric archaic forms: triangle circumscribed by circle |
| Kahn, Yale University Art
Gallery addition, New Haven, Connecticut, 1951-53 Interior view of tetrahedrons |
| Kahn, Yale University Art
Gallery addition, New Haven, Connecticut, 1951-53 Stairwell looking up |
| Kahn, Yale University Art Gallery and Yale Center for British Art |
| Kahn, Yale Center for British Art, New Haven, Connecticut, 1969-74 |
| Kahn, Yale Center for British Art, New Haven, Connecticut, 1969-74 |
| Kahn, Yale Center for
British Art, New Haven, Connecticut, 1969-74 Treated stainless steel panels and glass asymmetrically organized |
| Kahn, Yale Center for
British Art, New Haven, Connecticut, 1969-74 Ground floor plan, typical floor plan, + section |
| Kahn, Yale Center for
British Art, New Haven, Connecticut, 1969-74 Interior perspective of double-height light court |
| Kahn, Yale Center for
British Art, New Haven, Connecticut, 1969-74 Library court |
| Kahn, Yale Center for British Art, New Haven, Connecticut, 1969-74 |
| Kahn, Yale Center for
British Art, New Haven, Connecticut, 1969-74 Interior view of galleries |
| Kahn, Yale Center for British Art, New Haven, Connecticut, 1969-74 |
| Kahn, Yale Center for British Art, New Haven, Connecticut, 1969-74 |
| Kahn, Yale Center for
British Art, New Haven, Connecticut, 1969-74 Interior view of conservation lab |
| Salk Institute for Biological Studies, La Jolla, California, 1959-1965 |
| Salk Institute for
Biological Studies, La Jolla, California, 1959-1965 Model, Summer 1962 |
| Salk Institute for
Biological Studies, La Jolla, California, 1959-1965 Laboratories seen from the cliffs |
| Salk Institute for
Biological Studies, La Jolla, California, 1959-1965 Perspective of Meeting House, 1961 |
| Kahn, Salk Institute for
Biological Studies, La Jolla, California, 1959-1965 Early sketch with vegetation in central courtyard |
| Kahn, Salk Institute for
Biological Studies, La Jolla, California, 1959-1965 Perspective of courtyard with poplars, before December 1965 |
Kahn, Salk Institute for Biological Studies, La Jolla, California, 1959-1965 Study Tower and office interior |
Kahn, Salk Institute for Biological Studies, La Jolla, California, 1959-1965 Study Tower and laboratory wing with stair towers |
| Kahn, Alfred Newton
Richards Medical Research Building, University of Pennsylvania, Philadelphia, 1965 massing evocative of Tuscan hills + differentiated areas |
| Kahn, Richards Medical
Research Building, University of Pennsylvania, Philadelphia, 1965 differentiated space + towers with sheltered walkways |
| Kahn, Richards Medical
Research Building, University of Pennsylvania, Philadelphia, 1965 differentiated space |
| Kahn, Indian Institute of
Management, Ahmedabad, State of Gujarat, India, 1962-1974 a complete environment for learning |
| Kahn, Indian Institute of
Management, Ahmedabad, State of Gujarat, India, 1962-1974 Faade detail + Interior of Phillips Exeter Academy Library |
Kahn, Salk Institute for Biological Studies, La Jolla, California, 1959-1965 Canal emptying into lower reflecting pool |
| Jonas Salk Institute, La Jolla (nr. San Diego), California, 1959-65 |
| there is a time of day when the sun, reflecting on the ocean, merges with light reflecting on the rivulet of water in the trough bisecting the central court. Ocean and courtyard are fused Architecture and nature are joined in a metaphysics of place | |
| Stephen Holl | |
| Kahns use of materials |
| Kahn used materials in a way that anticipated the effects of weather and age, and in this he departed radically from the Modernists. The stains that rapidly appeared on the stucco of Gropiuss Graduate Center at Harvard made it look shabby and cheap. By contrast, the streaks on the concrete and the bleaching of the teakwood panels at Salk made the building appear durable and strong, recording years of salt spray and bright sunlight. Kahns are clearly buildings with a past - and a future. | |
| Carter Wiseman |
| Louis I. Kahn |
| On New Brutalism |
| New Brutalism |
| Alison + Peter Smithson and the Hunstanton Secondary Modern School, Norfolk, England, 1949-54 |
| Gerhardt M. Kallmann, Noel M. McKinnell, and Edward F. Knowles, Boston City Hall, 1969 |
| Paul Rudolphs Six
Determinants of Architectural Form, 1956 We must learn anew the meaning of monumentality |
| The environment of the building, its relationship to other buildings and to site; | |
| (in terms of scale; proportions) | |
| 2. Functional aspect: must consider the building as a whole, and human response; | |
| 3. Particular region, climate, landscape and natural lighting conditions; | |
| 4. The particular use of materials (find the potential of the material); | |
| **5. The psychological demands of the space (through use of symbols) to arouse curiosity, wonder, anticipation; | |
| 6. The spirit of the times (zeitgeist). |
| Paul Rudolph, Yale School of Art and Architecture, New Haven, Connecticut, 1953 |
| Paul Rudolph, Yale School
of Art and Architecture, New Haven, Connecticut, 1953 As seen from the rooftop of an adjacent building |
| Paul Rudolph, Orange County Government Center in Goshen, New York, 1963-67 |
| McGill University campus, Montral |
| Fleming and Smith, Frank
Dawson Adams Building, 1951 Housing Engineering and Geology functionalist, steel-frame, 4-storey blg, with large windows for natural light; bridge |
| ARCOP, Stephen Leacock
Building, McGill University, 1965 ARCOP, a firm contributed to by Affleck, Desbarats, Dimokopoulos, Lebensold, and Sise who were also responsible for the University Centre |
| Dobush, Stewart, and Bourke, Stewart Biological Sciences, 1965 |
| Stewart Biological
Sciences, Dobush, Stewart, and Bourke, 1965 Model |
| Dobush, Stewart, and Bourke,
McLennan Library Building, 1969, and Redpath Library Building, Montral |
| Marshall, Merrett, Stahl, Elliott, and Mill Architects, Burnside Hall, 1970 |
| Education Building, Ellwood, Aimers, and Henderson Architects, 1971 |
| Chadwick, Pope, and Edge
Architects, Samuel Bronfman Building, McGill University, 1971 |
| Dobush, Stewart, and
Assoc., Rutherford Physics Building, 1977 on the roof there are 2 astronomic observation domes used to study stars |
| Slide 79 |
| Slide 80 |