PREFACEThe idea of preparing an extensive documentation of Louis I.Kahn's workThe 750 copies of the exhibition catalog.a page-by-page reproduction of theoccurred to me when Bemhard Hoesli held a series of lectures on Kahn at theexhibition panels which had approximately the same fommat asSwiss Federal instituteof Technology in Zurich(ETH)in the early sixties.Hoeslithe present volume.were soon sold.In the spring of 1971.Kahn.askingnot only showed the outstanding quality of Kahn's work but was able tofor more copies to give to his students and visitors.suggested ademonstrate that it was unique in kind:throughout the development of thesecond edition "of the book.which proved to myself as well as others sopost-modem movements.Kahn persevered like a dominant rock formationvaluable.only slightly modified atter the glacier of the Modem Movement had retreatedThis time it was my tumn to hesitate.A new edition would involve a thoroughSeon in the perspective of the immediate post-CIAM scenery in Europe.therevision of the existing layout as well as the inclusion of the work Kahn hadphasing out of the Intemational Style in the United States.and the full bloomdone sinco 1968.of what Sigfried Giedion called the 'Playboy Architecture',the exceptionalstature of Kahn's work could not be ignored.Trying to approach it from itsrelation to the Modem Movement.I had many talks with Oscar Stonorov.FIRST EDITION:1977whom I met in 1952 when he brought the big Gimbel-sponsored Frank LloydWright exhibition to the Kunsthaus in Zurich.Oscar was an obvious choice.Nonetholess,by September 1973.having prepared a basic layout of the newHe had known Kahn for 33 years and had been his partner from 1941-47.thevolume.Alessandro Vasella and myself were installed in a small room at 1501difficult war years and immediate post war years before Kahn moved rapidlyWalnut Street-Kahn's last Philadelphia office-trying to find sketches andtowards the focus of interest of the intemational community of architects withplans that were either missing in the 1969 chronology of the development ofprojects like the Morton Weiss House 1948-49.the Yale Art Gallery 1951-53a project or that would help to explain what could only be hinted at in theand the Penn Center and City Tower projects 1952-57.The death of OscarExhibition Catalog.We hoped to find matenal on buldings and projects thatStonorov in 1970 brought to the surface facts and relations that helped towere in Kahn's list of works but which never had been published.I am afraidreveal Kahn's career in a light modified from the one that had already begunwe were,at that time,responsible for many of Esther Kahn's late night calls toto become generally accepted through frequent publications.Kahn,travellingthe affice.where we kept her husband so busy helping us in our work with hisin Europe from Apnl 1928 till Apnl 1929.seems not to have had any closecomments and suggestions that he ended one of our lengthy workingcontact with the activities of his European colleagues of his own generation.sessions with the remark.Now you know more about my work than I do.think we can accept literally what he said in an obituary on Stonorov,descrb-We were given valuable help by Marshal Meyers.Henry Wilcots.and Daviding him as his First teacher out of the European earty influences in contempoWisdom,who either remembered circumstances or knew where to find arary architecture:a teacher young with rare and diversified natural talentsparticular sketch.plan.or model.Our work in Philadelphia had a peculiarHe could teach you to work with a surety.The immediacy of his major imagesflavor because,at the same time.Jaimini Mehta was working there to finishmade you want to work them out"(cited from Frederick Gutheim's notes inanother book on Kahn(Giurgola and Mehta.'Louis I.Kahn'.Artemis.1975)L'architettura'.June 1972).Stonorov,reminiscing about his partnership withKahn helped a lot to keep the nature of each book distinct:on the one sideKahn (see Biography and Chronology).helped me to establish the hithertothere was the personal interpretation of Giurgola and Mehta:on the otherdim contours of Kahn depicting him as someone stubbor,hard to convince.side.the strictly factual documentation of our own project.and suspicious of the seemingly obvious.The death of Louis I.Kahn on the 17th of March 1974.was a heavyWith more of Kahn's work being published.however.Stonorov's remarksblow and the ensuing uncertainty of the fate of the Kahn estate held up ourabout Kahn's habit of ever changing.questioning.and continually reconsiderwork.ing what seemed clear to him one day but appeared doubtful the next.Dunng this period of negotiation and attrition we had the moral support ofbecame more and more important in the picture that was beginning to formmany people concemed with the publication of the new book.During two ofWhen the sequences of sketches became visible in publications.I found outhis visits to Zurich.B.V.Doshi gave his comments and encouragement.what Stonorov had been talking about,and the notion of"Traces of a creativeThere was comforting assurance in Cartos Valhonrath's review of our layoutsforce'began to emerge(see Alvar Aalto,Synopsis,Birkhauser.1970:forewordEsther Kahn helped us with her optimistic letters and her comments duringby Bemhard Hoesl).It appeared to me that Kahn's work was not onlyher visit to Zurichexceptional,timely,and historcally significant,but that it was also outstandingS.Jhaver's visits to India brought us new material from Ahmedabad,includingbecause of its transparency,which opened it to close analysislast original sketches by Kahn.His pigrirage to most ot Kahn's buildings inAs a rule.architects and,for that matter,publcations of their wors show asthe Unitgd States and his conversatens with many persons associated withthe finished product:notes and prolminary skotches and plans are lookedwork resolted ina wealth of additional information which proved helpfulupon as chips fallen off the workbench to be swept up and thrown away Butfor the ennchment of our documentationis it not these very chips which allow us to study the nature of the croativeFinally in 1977 the 456 page book which again had approxmately the sameprocess itself,from which we can draw conclusions about the forces that leadformat as the present volume went to pressan architect to accept one possibaity and reject another?The concept of adocumentation of Kahn's work began to take shape:it was to be a straightforward biography of each of Kahn's projects,presented through the collectionSECOND EDITION:1987of sketches and plans as they had developed in the process of designIn 1981 Birkhauser Publishers which had already distnbuted part of the firstedition of 5000 volumes approached us with the plan of a second edition.OfEXHIBITION AND CATALOGUE:1969course it was not possible to print the same book again.The premises weredifferent since the Kahn Collection at the University of Pennsylvania offeredI approached Kahn in the spring of 1968 with my plan for a full-sized.systemnow a much more comprehensive basis tor research than had the office onatic documentation of his work in a comprehensive exhibition.I am glad toWainut Street.There were the files and drawers which.by the way of quetmake this exhibition in Switzerland;I somehow owe it to you because of thesearching.would disclose many facts hitherto hidden.We would now try togreat man.Corbu."Kahn told me after a period of hesitation.He had hisbe more complete.filling cartier omissions where Kahn himself had asked usdoubts however.as he mentioned to me later.He felt that the title of ourpresentation-'Arbeitsprozesse'.or'Work Processes'-somehow suggestedto delete a certain itemor not to make one or the other project too prominent.There was,however.a fundamental ditfference in our work with this secondto the English reader something mechanistic.something unlike its meaning inedition.In the carly seventies architects and students of architecture knew theGerman.But when he saw the effect of the catalogue on the students,he feltwork of Louis Kahn from frequent publications.whereas in the late eightiesat ease and was really proud of our untertaking.The exhibition was installed in the central hall of the Gottfried Semper BuildingLouis Kahn has become a mysterious historic figure to all but a few studentsWe thought that we could best respond to this problem by being as explicitof ETH in February.1969.A great number of original sketches.some in color.enhanced the significance of the occasion.With its 210 black and whiteccompnyng text and by addng anstraChronoogpanels.this exhibition remains the largest ever to have been presented ofKahn's work outside the United States.and it has since travelled to Delft.A book of this size and nature cannot be the work of one person.The exhbtion catalog I prepared together with Ralph Baenziger and the first cdition withStuttgart,Brussels.Pans.Vienna.Innsbruck,Naples.and Dublin.Alessandro Vasella and Sharad Jhaveri who were my coauthors.With theLouis Kahn came to open the exhibition officially on his way from Ahmedabadto Philadelphia.Introducing him to the audience.Bemhard Hoesli pointed outsecond edition more tundamental research had to be done to establish athe great man's significance:"It we can accept the premise that people whosystematic overview of the extensive newly found material.Sharad Jhaver.belong to one generation are marked because they were ablequalified for this job through his collaboration on the first edition since May-or not ableto participate in certain outstanding events and have gained a common basis1973.and his close contact with the Kahn Archives in Philadelphia.dedicatedsix vears for the completion of our proect.Now.due to his personal engageof unterstanding of themselves and their times through this participation,it isment and sensitivity,he has the most intimate knowledge of Kahn's architecalso true to say that fromn time to time a generation of architects comes intobeing because they enjoyed the priviloge of hearing a contemporary architecttural estate.It was again my task to keep us in line with the concept of thebook and to steer our common work through ditficulties mainly of thegive a report on his work,an architect who,through his personality and thesignificance of his work,truly stands out.The immediate impact and theer the place to thank our generous sponsoremembrance of the event can give a permanent significance either in theform of a personal enrichment or of a deeper understanding of one's ownStittung zur Forderung des Bauwesens.ETH.ZurchUBS Unon Bank of Switzorand.Zurchinmeen paths sem tobe marked and foresabl,whenallactioSIKA Finance Co..Baarappear to be predictablee within the bounds of the habitual,it may well be thatEmst Gohner Foundation.Rischsctedly an orgin comes into sight:that the old.familiar and timelessBSA Bund Schweizer Architekten.Zuncharchitectural elements,such as the wall,column.square.circlepnsm.and cyinder emerge as it formed anew.are seen in a new light,and arefilled with new meaning to demonstrate how a new world can come intowhom we would lke to extend our gratiteostence every momning.And it may be that across the borders of continentsmaorove helplul in the study of the maatnations,race and aged through the veil of languages.new connectionsin Louis I.Kahn's work.We hope it will offer new insights into tho wo3 on the working at something and are stronger thanhis mind as well as into the nature of architecture as a mantostation of man's尚理.ETHoinz Hono CONTENTSINDEXINGComplete Work'means that from about 24 000 drawing items present at theKahn Collection in Philadelphia we selected about 1700 personal and officeFor the purpose of identitication we gave each project a name and each itema number.The numbers follow the natural sequence of development of adrawings(479 more than in the first edition)in order to document the workproject that we have defined.The codes are derived from the project titles andprocess underlying the major projects and buildings of the architect Louisare used for cross-references.There are name and code changes trom theKahn.We omit the work of Kahn the pupil and draftsman and Kahn inassociation with G.Howe or O.Stonorov,although in the latter case it isfirst edition where we know better now.For quick onentation and readyaccess to projects.there is an illustrated Chronological Work Synopsis on ppdifficult to draw the line distinctly.We also leave out the work of Kahn the11-17.and an Alphabetical Index on pp.434-435.painter and Kahn the writer,poet and teacher with the exception that we oftenuse his own words to explain his architectural work as presented in this bookWe worked hard to obtain a uniform density of information on each projectOBJECTIVITYbut there is just not enough matenal around for some projects and.contranlythere is an abundance ot material on certain stages of development andWe tried not to interpret or evaluate but we are fully aware that every kind ofeconsideration for others projectsrecord beers witngss to an aet of selectenis much as possible we followed,sketchesca是7the that hahiSelt haa aiven us.There was also the informationSynopsis pp.11-17)from Anne Tyng.Cartos valhonrat,Davd wisdom.Henry Wilcots and MarshalThere are numerous publications with excellent photographs of the finishedMeyers on which we could rely But throughout the work on the secondouildings of Kahn so we again kept the presentation of the finished buildingsedition we depended primarily on our own judgement and the insight we hado a minimum.Where pictures of a building under construction were available.gained,while working with the first edition.Our personal judgement can bewe included these for documentary reasons.For closer study of Kahn's workfelt in the cases where a purely chronological layout of material did not makewe have included a Biography on p.10 and a Bibliography on pages 430-433sense because the project was too big and had to be broken up into differentsections.As a rule.we start with the development of the site and continuewith a significant sequence of the arrangement ot the parts that can bedistinguished volumetncally.PRINCIPLES FOLLOWEDBut whether chronological or broken up into sectional sequences.the modewas chosen or treated in such a way that the development would illustrate theChronology was among the prime factors govemning the order of the informainearity or more often non-linearity of the 'trace of a creative force'tion included in this volume.Nevertheless we did not end up with a purelychronological record.The very nature of Kahn's work reveals the gradualgrowth of a consciousness of a reality beyond the notion of time.ThereforeIMPORTANT NOTEour work is not purely a record of sedimental layers.Instead of drawing aectonic chart to pursue this imagery.we staked out a claim.Kahn had left with us a number of color sketches.so that we could check theAlso.we did not strictly follow the line of projects given by the Chronologicalcolor in the printed reproductions.In the course of the transfer from ourWork Synopsis (pp.11-17)Instead we favored a grouping -allegonc if youprinter's safe to our offices and back in autumn 1975 these originals wereike-of the work concemed with the city of Philadelphia and its urbanaccidentally lost.All efforts to find them have so far been in vain.During theseenewal problems as an opening,starting with a presentation of the historicalpast years.hundreds of working drawings.onginal sketches.and countlessdevelopment of this city.that Kahn loved so much.The work connected withother items have made their way safely from Philadelphia.Venice andthe Bicentennial preparations such as the Exposition concept and theAhmedabad to Zurich and back We still hope that the lost sketches willndependence Mall Area Redevelopment we placed at the end of the bookeventually be found.For identification refer to MDT.7.p.27:JCT.2-4.p.82Thus we start the chronological presentation of the Selected Works with theUPL2.p.104,TRP16.p.113,ESH5,p.153:FAC.46.p.207:TPA45.pAhavath Israel Congregation and end it with the De Menil Foundation Art206:KAM.12,p.342:and BIE.5,p.429.Will any person who comes acrossCenterthem please notity the authors.editors or publishers of this book,or theowners of the sketches?MARGINAL NOTESHeinz Ronner and Sharad JhaverThe marginal notes have been confined explaining the different parts.roomsor volumes represented in a sketch or plan.according to their content andrelation.Also,they indicate the discrete design steps and make reterences toother projects or design problems represented in the book.As much aspossible we have iet Kahn explain his work in his own words,mostly usingtext passages he referred to in our discussions.Whenever possible.Kahn'swntten texts on sketches were deciphered and entered in the marginal notesfall Kahn quotations are indicated by double quotation marks"."Interpreta.tons are present in a few cases but as a rule we preterred to sy nothingwhen no well-tounded supportive information was available:Kahn sometimesmmaned ostensibly silent when lookna at certon oroects or ohases otrojects.At the end of each project a short chronological list of references andpublications we referred to is given.This measure is meant to faciltateresearch work by establishing a network among the ditferent sources.Theabbreviations used are explained at the end of the bibliography (pp 430-434)INTRODUCTION筑素布闯网Z.ET SILENCE AND LIGHI-LOUIS I.KAHN AT ETH1969ZURICH,SWITZERLANDS圆Louis I.Kahn talking to the students at the School of Architecture.ETH.Zurich.February 12.1969.This talk officially opened the exhibition of hiswork (refer to Preface).网I'm going to put on the blackboard here what mayseem at first tp beverydi sands made ter dere beina that auty tat toresoteric.But I believe that I must do it in order to prime myself.Don't forgetunmeasurable force.everything here stems from the unmeasurable.that I'm also listening and I have really no prepared talk except that I put aEverything here promises the measurable.Is there a threshold where theyfew notes down just to get the scaredness out of me because.you know.meet?Can a threshold be thin enough to be called a threshold in the lightthis is like a blank piece of paper on which I've got to make a drawing.Andof these forces:these phenomena?Everything you make is already tooso.the drawing is a talk this time,you see.It is wonderful to consider,youthick.I would even think that a thought is also too thick.But one can say.know.that you must see so well that you hear too.And sometimes it is welllight to silence.silence to light.has to be a kind of ambient threshold andto hear so well that you see too.The senses really can be considered onewhen this is realized.sensed.there is Inspirationthing.It all comes together.It is the reason why I constantly refer to musicin refering to architecture,because to me there is no great difference-Inspiration must already have something of a promise of being able towhen you dig deep enough in the realm of not doing things but simplyexpress that which is only a desire to express.because the evidence of thethinking what you want to do-that all the various ways of expressionmaterial making of light gives already a feeling of inspiration.in thiscome to fore.To me,when I see a plan I must see the plan as though it wereinspiration.beside inspiration.there is a place.the Sanctuary of Art.Arta symphony.of the realm of spaces in the construction and light.I sort ofbeing the language of man before French,you know.or German.It sayscare less.you see,for the moment whether it works or not.Just so I knowthe language of man is art,It stems from something which grows out of thethat the principles are respected which somehow are eternal about theneeding.of the desire to be,to express.and the evidence of the promiseplan.As soon as I see a plan which tries to sell me spaces without light,Iof the material to do it.The means somehow are there.The Sanctuary ofsimply reject it with such ease,as though it were not even thoughtfullyart-sort of the ambience of a man's expressiveness-has an outlet.yourejected.because I know that it is wrong.And so,false prophets.likemight say.It is my belief that we live to express.The whole motivationschools that have no natural light.are definitely un-architectural.Those areof presence is to express.And what nature gives us is the instrument ofwhat I like to call-belong to the marketplace of architecture but not toexpression which we all know as ourselves.which is like giving thearchitecture itselfnstrument upon which the song of the soul can be played.The sanctuaryof art-I'm taking this little lesson to say that it is the treasury of theSo lmust put on the board something which I thought on only recentlyshadowswhich could be a key to my point of view in regard to all works of artincluding architectureI'm sure there is no such separation.I'm sure that everything began at thesame time.There wasn't a time when it was good for one thing or another.And so.I put this on the board:Silence and Light.Silence is not very,veryIt was simply something that began at the same time.And I would say thequiet.It is something which you may say is lightless:darkless.These aredesire to be.to express,exists in the flowers,in the tree,in the microbe,inall invented words.Darkless-there is no such a word.But why not?the crocodile.in man.Only we don't know how to fathom the conscious-Lightless:Darkless.Desire to be:to express.Some can say this is theness of a rose.Maybe the consciousness of a tree is its feeling of itsambient soul-if you go back beyond and think of something in which lightbending before the wind.I don't know.But I have definite trust thatand silence were together,and maybe are still together,and separatedeverything that's living has a consciousness of some kind,be it as primi-only for the convenience of argument.tive.I only wish that the first really worthwile discovery of science would bethat it recognizes that the unmeasurable,you see.is what they're reallyI turn to light,the giver of all Presences;by will;by law.You can say thefighting to understand.and the measurable is only a servant of theight.the giver of all presences,is the maker of a material,and the materialunmeasurable;that everything that man makes must be fundamentallywas made to cast a shadow,and the shadow belongs to the light.unmeasurable.理到素衬网Z.Z心.ET Now.of course if you see that,you wonder how you can make a dime-wecall it a dime-but I'll say a franc.It certainly doesn't look to me as thoughthought of this shape personitying a kind of perfection,the shape of whichyou could make a franc out of that,unless you sell it to Zodiac,you knowis not in nature at all,and striving with all this effort.beating people,slaves.Well.maybe you can do it:but it is just part of an inner belief that youto the point of death to make this thing.We see it now with all the cir-cannot evaluate a Giotto painting.It defies any analyzation.it defiescumstances gone,and we see that when the dust is cleared,we see reallymeasurement.because after all,Giotto gave us the prerogatives ofsilence again.So it is with a great work.I see a Giotto painting also with apainting.He said that to a painter,a doorway can be smaller than a personfeeling of silence-as though it came from here.you see-as though itBut the architect must use a doorway that is bigger than a person.Is hedidn't come from any sense of the marketplace.Like.I will make a paintingless in art than the other?No.He just recognizes his realm of expressionthat's worth so much money.you see.or anything of that nature.It camefrom there.The painter can paint people upside down,as Chagall does,as you know.but he has this prerogative because he's a painter.He's representingnothing:he's presenting everything.It's a presentation of the wide realm ofGoing back to the university.then this was a center:it was somethingexpression which exists in man.A sculptor can make square wheels on aabout the humanities that was really the university.Another part of it wascannon to express the futility of war.Unfortunately,the architect must usethat of the professions.This was the engagement of man in the variousround wheels if he wants to bring his stone from place to place.From this.avenues of expression be he a doctor,or a lawyer,or an architect,or abookkeeper,or a nurse because you want to.you have something that tellsyou get the sense of that which tends to be in the marketplace.and thatyou to be a nurse.or something that tells you to be an architect.And thewhich never reaches the marketplace.university position has nothing to do with the marketplace.The marAnd this is,you might say.the crossroad,the place of realization;the placeketplace has to do with the way that which personifies this profession iswhere one sort of senses,how much there,how much here,is the content.practiced by the individual:this is something the university should not beconcerned with,except to inspire him in the nature of his profession.andGiotto vibrates in this area,defies time.No time will ever say it's old-in what way he will.in the end.be the happiest in the oxercise of thistashioned.Tremendous discoveries of expression lie in such a great man.expression.Problems of the marketplace really do not belong there.as it did in other great men.The essential quality which I admire most inbecause no matter how much you teach it.the tendency will be for theEinstein is that he was a fiddler.From this he derived much of his sense ofperson to find his own way,because a man does not really learn anythingthe universal-or rather,you might say universal order was something thatcame to him from his sense of eternity.not from just his mathematicalthat's not part of himself.He might try very hard.He may even passexaminations.but he'll never really be a chemist.even if he studiesknowledge or the knowledge of science.Why didn't it reach the otherchemistry.unless he's a chemist from the very.very start.And so.thereforefellow if knowledge was there,because it filters through everybody?knowledge per se is to me very doubtful.you see.But knowledge taken toKnowledge is available.It just happened to be in him,the knowledge otsomething else,and so it is in every one of us.Knowledge is very specifiprime your way of expression is not:to develop a person's talent is not.Very good.Very wonderful.The place.the realm.within which the talentscally something that belongs to each individual in his own way.The bookof people can be exercisedof knowledge has never been written.nor will it ever be written for manCertainly nature doesn't need ite alredy writton tor naturSo the to do it memarketplace.It doesn't disdainbe marketplace:but it still doesn'tSo let's talk a little bit about a problem that comes to a inan as an architectteach it.because it's useless to teach it.To prepare you for nature's waysSuppose you were assigned to say-and what a wonderful commission ityes.The laws of nature must be known,because there are three aspectswould be-what is a university.And,instead of being given a program.in the teaching.There is a teaching of the professional position:responsibilsaying that a university should be for so many people:the library mustty to other people which includes the differentiation between science andhave so many books:you have to have so many classrooms:you got totechnology.which are completely different things.And your specifichave a student center:and you have to have schools for the professions:-knowledge that you need in statics or acoustics.those are all verythink in terms of university as though it never happened,as though it isn'tnecessary things and belong definitely in the realm of teaching.to preparehere.You have nothing to refer to.just the sense of a place of learning.anyou for your responsibilities.conducting your office as a responsibility toundeniable need:an undeniable desire on the part of all of us that a placesociety-yes.all these things--but thereis another responsibiity.and thatbe for learning:something which comes specially to someone who isis to teach the man to be himselt.which is delving into the various talentswilling to convey to others what is so special in him.and what becomeswhich can be employed in the profession.not all having to do with design.special in those who learn-in their own way special-as though anot all with specification writing.but it somehow-all belongs to it.You'resingularity taught singularities,because we're all singularities,and ncne ofnot teaching genuises,you're just teaching.you know.actually.the natureus are like the other.So consider a university.I gave this problem to theof the profession.the many facets,you see.among which self-expressionUniversity of Pennsylvania.to my students.Thewas no programcarabout.But themost important thing to teach is to know thatI said,yes.consider the University of Pennsylvania as probably the seat.comearchitecture has no presence.You can't get a hold of architecture.It justbecause somebody has to have something to put their hat on.so that wass no presence,C小y信⊙fk⊙arch/lecture ha9Df5⊙nCand a work otthe only indication.Now one student-he was a German student-who inarchitecture is presented as an offering to architecture.Architecture has noa very halting and most modest way said he believes the core of thefavorites:it has no preferences in design:it has no preferences forUniversity is the library,but a specific library.He said it was the centralmaterials:it has no preferences for technology.It just sits there waiting forlibrary.He said that the library of the university is like the Acropolis.It is thea work to indicate again,to revive the spirit of architecture by its natureoffering of the mind.And he considered that when you go into the library.from which people can live for many years.and you see these books.you judge them as offerings of the mind.A manmotivated not by profit of any kind just a sense of offering--he writes aAnd so the university is a sanction.The lbrary of the sanction place.thenbook,hoping that it will be published.He's trying to-he's motivated by thethe places of the professions.the library of these professions are theresense that he has somewhere in there.whether it is deep.deep in thehooked up because there is also an offering of the mind.and this issilence.or whether it is already on the threshold of inspiration.He must besomehow connected with the unit-with the more objective offering of thethere to write it,and what he draws from here,and what he drawss frommind-which is the offering of the sanctuary.the Acropolis.You might saythere.somehow,he motivates his writing a book.And he gets it also fromobjective or subjective-it doesn't really matter.It's just offering.Now if youanother,beautiful source.and that is through the experience or theconsider this,it must be put in mind differentiations of a wonderful kind.ItOdyssey of a life that goes through the circumstances of living and whabrings in mind the ditference between the garden,the court,and a piazzafalls as important are not the dates or what happened,but in what way heBecause your connections are not going to be just colonnades and thatdiscovered man through the circumstance.It's a golden dust that fallssort of thing.it's going to be mental-the connection You're going to feewhich,if you can put your fingers through,you have the powers ofit in some way.But the consciousness of a planner that there is aranticipation.The artist feels this when he makes something.He knows thatassociation.a kind of inter-respect between the two is already.quides thehe does it now,but he knows also that it has eternal value.He's not takinghand.you know.in saying it should be here,it should be there.it should beI call it.youcircumstances as it happens.Hesextracting circumstancus from whateverthere.you see.Otherwise it becomes merely land-scraping.fell which revealed man to him.Tradition is just mounds of these cirsee.Not landscaping:landscraping.It is really a consciousness.notcumstances,you see.the record of which also is a golden dust from whichdrawing around trees here and there or stamping them on your plan.youyou can extract the nature of man.which is tremendously important if youI hate that-really I do.So.the connection,then.is the realisation ofcan anticipate in your work that which will last-that which has the sensewhat is a garden,what is a court:what is an avenue.what is a plazza.Aof commonness about it.And by commonness,I mean really.the essencegarden is a very private thing.You would say that the landscape architect.of silence is commonness.That's the essence of it.When you see theor the architeor the gardner,who makes a plan for a garden with hispyramids now.what you feel is silence.As though the original inspirationfountains and places to sit.and the trees chosen in relation to porticos andof it may have been whatever it is.but the motivation that started thatso forth.should make the plan as an instruction for something that willwhich made the pyramids.is nothing but simply remarkable.To havegrow into being.and once everything is established that will grow intoSILENCE AND LIGHT-LOUIS I.KAHN AT ETH1969索网.5甲ZERLAND eing and it's full,after that he takes this plan and throws it into theto sense each other's mind.In the Biennale they meet to express someeplace and doesn't keep it as a record,because the next garden hething-actually,tangibly.It is somehow a place of existence.which I mightakes must be completely different.because that garden is very.veryput here.I'll put it here,existence here.and presence.You see presence isivate and belongs to the individual.It's not a place of invitation.it's ahere.existence is here.It exists.You can feel the thought,but it doesn'tace of part of the expression of living.The court is ditferent.The court ishave presence.When you descnbe,when you will say.'Oh!It's marvelouste boy's place.The court is already a place of invitation.I would like to callIt's beautiful!It's terrific!It's-it's immensel'you are saying words which nothe outside-inside space.It is a place which one feels that if he comesuniversity professor understands at all.But when you say.when you see ahe can make a choice as to where he goes from there.And a piazza isthing.you say.'Oh,I don't like stone.I think it should be taller.I think itan's place,much more impersonal,defined like a court.Playing with thisought to be wider,'you are dealing with the measurable,because it iso-called architecture of connection,which happens to have no rules,is amade.So in the work of art there is the measurable and the un-measuraonsciousness of the involvement of the land and the buildings,theirble.When you say.'It's terrific,'you're talking about the unmeasurable andssociation with the library.Now there are many things absent.It wasn'tnobody understands you-and they shouldn't because it is fundamentallyfficient,just the connection.The class was very excited about oneunmeasurablespect which I hinted at,that there must be a place of happening.A placehappening.and you say why can't things happen the way they will.TheyNow.from this grew other things.It wasn't just the university and theon't have to.The Agora,for instance.was a place of happening:Agora.buildings there.which are not yet,have-not been made in the university.e Stoa.The Stoa was made most marvelousty.It was made like this.NoAnd there were other buildings-I don't want to mention the whole story.artitions,just columns.just protection.Things grew in it.Shops becameBut what grew in it:a realisation of the marketplace and the university:andeople met.meet,there.It's shaded.You present a quality.architectural.it so turned out that,the university here,the marketplace,there was placeo purpose.Just a recognition of something which you can't define.butbetween-it happened to be in Philadelphia.the Schuylkill River.City-planust be built.Today,the general unrest among students should call for thisning couldn't be here,because it is too politically infested.City-planningnd of space.You shouldn't try to fight a battle as to who's right and who'scould also not be here because it is too theoretically oriented.So there hadrong.but should create the architectural interpretation of this.which is ato be a place of happening,a place where the marketplace goes to.wherelace without partitions which will form themselves into partitions somethe university goes to.both represented.-but they are not here anday.So it is a recognition of a place where possibly the student.thethey're not particularly here-and this was a place of happening right here.dministration,and the teacher would meet.It's a club of the university.notthat was designed by one of the students as a bridge crossing thehe student center,so to speak,but everybody's center,and it sits probablySchuylkill,and it was a kind of place of auditoria,a place where there werea green area like this without paths whatsoever,because who knowsmany auditoriums.many that would be the proper ones that selected forhere you're going.But that's a definite architectural quality.It has thethe kind of discussion which is a generator of the sense of the institutionsame quality as all religious places,which also just by simple qualitiy ofof man.which a city planner should be most conscious of-not the tratfic:nowing that a stone stands free,that it has something more than justnot housing particularly:not any of these things-but fundamentally firstimply singing at random or going through a forest and trying to jump.the sense of the institutions of man which yet have not been made andWhat is the feeling?It is something in the way of a mysterious decision tothose which are here.but they're very badly in need of change.From thisnake Stonehenge.It's terrific.It's the beginning of architecture.It isn'tis the true generator of planning.not the other things like tratfic.To me it'snade out of a handbook.you see.It doesn't start from practical issues.childplay.Traffic-we can really put it into a machine and find the answer.tarts from a kind of feeling that there must be a world within a world.TheIn a certain way you can.At least a help.Not the real answer,but at least avorld where man's mind.you see,somehow becomes sharp.Have youtemporary onever said anything significant when you were outside waiting for a bus?Never.You said something significant inside a building.never outside aSo there must be found in every city really.a place free of the marketplace.uilding.Did you ever say anything significant at a picnic?No.Well,youfree of the school,which is.in a sense,the nerve-center of worthiness.youad a hell of a good time-I realize that,but you didn't say anything thatknow:of that which can make a city great,really.because you measure thewas the mind saying.It was really quiet functioning as humans in the mostcity.really.not by the excellence of its traffic system,but whyit has a trafficparkling.beautiful,amusing way.which is definitely a part of our lives,busystem because there is worthiness to serve.And this architecture oft is not necessarily how buildings start.Buildings start as a kind ofconnection between.let's say.of the whole city,takes direction.Theecognition that there must be a place of concentrtioo where.Iuniversity.you see and the other schools take direction by the reason oftheir courts,their garderand thayenues.and so forth.The connectionsomehow,is given play.And I make5 distinetion befween thismight be put here too.because it doesn'i belong here.but put hereis both mental and ptiysical.This institution I think.is necessaryanyway-Mind and Brain.Brain is an instrument given by that fellow overeverywhere,because otherwise.nothing will progress.really.The mar-there.Mind is this and the instrument.Somewhere in here is Mind.Mind isketplace won't progress.nor will this progress.There must be a groundthe instrument and the soul.Brain.Now this is Mind.Brain is-I would sayhere which is a kind of-it's a freedom ground at this point.This came outthe machines we make now.you see.for calculating,for putting into:Iof no program,simply as speculations on the power of architecture to setdon't know what you call them,these computers-these are brains-neverdown that which commands technology:which really writes the programthe mind.The mind makes it but it never will really give you anything thatbecause after all,if an architect gets a program from a client.he gets anbrain can do.And the men who really know the instrument,will tell you thatarea program.He has to change the areas into spaces.because he's notthemselves.It's the men who don't know it will tell you otherwise.It's likedealing only with areas.They're spaces:it isn't just feelings.They areputting a penny in a slot and getting a very wonderful answer worth morefeeling:ambience.They are places where you feel something-differentthan a penny.I'm afraid not.As I said you don't say the same thing in a small space.you see.So aschool must have small spaces as well as large spaces.and all classesSo they discovered that this was a place of meeting of everyone.a veryneed not be the same.There's something like a place of learning.Felt so.necessary thing.From this you recognize also that a school of architectureTaken out of the very essence of your feeling as a person,the various otherprobably starts with a court.surrounded by shops,in which you build andpeople to a sense of commonness.which is a tremendous guide to atear down at will.It's a closed court because nobody really likes to showperson's mind.how badly he does things.so it becomes something which amongst youcontreres is OK.Outside,not.It's not an exhibition place.There is noYou say the institutions of man.I don't mean institutions like the establishadmission set for this thing-it's not this:it's closed.From this grows otherment.I mean.really.institution being that it's an undeniable desire to havethings.spaces high and low,but it is a kind of area undetermined,spacesthe recognition that man cannot proceed in a society of other men withoutundetermined in their light,in various light,in various heights,and that youhaving certain inspirations that they have-be given a place for theirmove around with a sense of discovering the spaces rather than beingexercise.Actually.the institutions of learning stem from the way we werenamed for certain reasons.Actually they're just there and you feel it is amade.Because nature,in what it makes.it records how it was made.In theschool of architecture because of how much concentration you put intorock is the record of the rock.and in man is the record of man.Manthe primitiveness,the fundamentalness with which you made thesethrough his consciousness,senses inside of him all the laws of nature.spaces.These are all.I think.indication of the tremendous opportunitiesexcept that his instrument is usually very poor.which he gets from nature.that exist today in architecture.The discovery of the elements of ourin the way of a brain.and when he mixes it up with his sense.you see,andinstitutions which need revival,which need to be bolstered up.which needdesire,he finds that there are plenty of obstructions.and he takes yearsto be re-defined.before he senses this himself.But regardless,the quality which heinherited,that part which I say is the golden dust which he does inherit.Now,in the Congress Building in Venice I built,I am thinking of building athat which is the nature of man.he inherits.just like his physical being.inthis he senses the desire to learn to express.So all learning.you see.place which is the meeting of the mind and a place where expressions otthe meeting of the mind can take place.It is also a place of happening.stems from the way we were made,only to tind out the laws of the universedon't believe in inviting shows for the Biennale.saying.You come with youbecause it's in you.And so it is with other inspirations which are in us.Theexhibit,bring your big packages:bring the things you've done,but rathersense ofphysical well-being comes from the desire to live forever:tosay.Come here meet other people.and by meeting them something willexpress.The highest form of expression is art because it's the leasthappen to you!-and it will.Here in the Palazzo dei Congressi they meetdetinable筑素前网ZZC.ET Desire to live-to express.The institutions,therefore.are establishedNow,I have some other things here.but I cannot speak enough about lightbecause there is this sense of wanting to learn,and the wanting to learnbecause light is so important,because.actually structure is the maker ofmakes you pay a tax to see that a school is established.Nobody resistslight.When you decide on the structure.you're deciding on light.In the oldthis tax because it is in the nature of man that he wants to learn.Sometimesbuildings,the columns were an expression of light.no light.light,no lighthe's beaten out of it because of certain things,like he's scared of,to be inlight,no light,light,you see.The module is also light-no light.The vaultfront of a class.he looses his courage because he's slower in becomingstems from it.The dome stems from it,and the same realization that youfree of this thing.That's why I believe that no marking should exist at anyare releasing light.The orders which you think about when you are.in aschool because it's destructive of man.And it's very difficult.well I say.Isense.determining the elements of design-that is to say.the elementsknow it is.but really,if you didn't mark anybody.I think you'd find that yourand how you are considering them in design to be perfected.There is inclass would become brighter.Actually.it is so because people don't growthe design the consideration of the difference between the order ofequally.I have good experience in this because I was a very poor student.structure and the order of construction.They're two different things.Thereand I somehow managed to get past:but I only learned the things thatis an order to construction which brings in the orders of time.They're verywere taught to me atter I got out of school and not during the time.much married to each other.The order of structure can make consciousbecause I was naturally bashful.I didn't want to assert myself,and also Ithe crane.The crane that can lift twenty-five tons should appear in amade my lessons three days afterward instead of the day I should.So allspecification of present-day architecture which does not appear now.Thethese things are just part of the personarchitect says "Oh!They're using a crane on my building.Isn't that niceso they can pick it up more easily."never realizing that the crane is aNow another example.let's say,of searching for the nature of the problemdesigner:that you can make something that's twenty-five tons coming toa boy's club.I gave one time as a problem.And the speculation was:whatsomething that's twenty-five tons.and you can make a joint that's sowould be the first room that one would make.which would present a boy'smagnificent.because that joint is no little thing.In fact,if you'd put goldclub.If I were to take the programs issued by the Association of Boy'sinto it.you wouldn't be spending too much money.because it's so big.SoClubs,which has a standard program,or what it is,I would meet this kindthe realization that joint-making.which is the beginning of ornament-of a situation:I would come to the entraoce.and then there would be abecause I do believe that the joint is the beginning of ornament-comessupervisior who would see to it that you're a boy or a girl.Then you wouldinto being again.you see.What you can lift as one thing should bego through,you see,and then you would be hit by a room that is ping pongsomething that motivates the whole idea of making a single thing which-noise-absolute stress and strain.because it is good to feel,as theycomes together with another single thing.So in the order of structure yousaid,that the boy must feel that he's now amongst others.you see.Andmake this decision like I did in Ahmedabad when I said that a beam needsthen there are some quidance rooms.so to speak,and also where thea column.A beam needs a column:a column needs a beam.There is noolder boys can be.Well,it just continues.There is.of course.a swimmingsuch thing as a beam on a wall.And if you make the decision which I made.pool:there is a gymnasium.But I tell you that many people would neversaying that the beam of brick is an arch.therefore,since I did not want toioin because of that shock,you see,of being supervised from the startuse any concrete beams,and since I was not going to use any columns,itand they go into a place where you're likely to be pushed.When a boy isbecame so natural to use an arch,because it was only part of the walldelicate and frail and not a fighting sort of person hewalks into a gangconstruction which is characteristic of brick,and I placed everythingenemies.So.the problem was given:what is thefirstrosupported under arghes.and invented many things about arches,like bigthat it should be a room with a one wthngarches which stroteh as much as fwenty feet.let us say.with a very lowaround it,and one can take a seat.hopefully that someone would come.thing using restraining members in concrete like this to take the thrustyou see.and sit by him.or that he had at least a choice not with any strainaway.bringing the wall very close together,giving a space with that muchattached to it.But during the course of the development of the problem,itopening because I made a composite order in which the concrete and thewas found that the best place was a court.You open the door and you'rebrick will work together.This is a composite order.A sort of sense ofin a court with an arcade around it,but the promise of the kind of room thatstructure,a sense of the order of brick,sense of the order of structure.you'd want to got to all around it.So the man chooses-the boy chooseswhich made this possible.The design goes on and on:speculation of thewhat room he wants to go into because he's just entering life.so to speak.ways you can do this thing in the most characteristic fantastic ways.you see,with others,and the sensitiveness of this is certainly far greaterbecause you recognize that structure has an order;that the material hasthan knowing exactly how a boy's club works.You don't know.And so youan order;that the construction has an order:the space has an order in themake a plan which you don't know,and it's a far superior plan.way of the servant spaces and the spaces served:that the light has anorder because it has an order in the sense that it is given by structure.andI'll now talk about functionalism.I think you can talk about machines beingthat the consciousness of the orders be felt.functional:bicycles being functional:beer plants being functional,but notall buildings are functional.Now,they must function,but they functionI just remind you in closing.the story of Birumi,a very famous Persianpsychologically.There is a psychological function which is a paramountpoet.who lived in twelve hundred or so.who writes of a poet:I'm not goingfunction whether it's a factory or otherwise.Just so people are involvedto write the poetic language.because I don't read Persian,and also,it's farthere must be a place for people.Even an atom-cracking plant mustfrom me.the words that I read.There was a Priestess who was goingconsider that there are people involved in this thing,and there are placesthrough her garden in spring,and of course it was a glorious day.As shefor everything.but there is something which has to do with the associationwent through her garden.observing everything.and came to the thresholdof people with it.And that sense.I think.brings about a new era inof her house.and there she stopped in admiration-standing at thearchitecture which doesn't try to make everything be accountable.Sothreshold.looking within.And her servant-in-waiting.came over to her.when you are given.as I said.a program by a client in which he gives yousaying'Mistress,Mistress.Look without,and see the wonders that godhow much square-foot area he needs,let's say,for a lobby which hehas created'.And the mistress said.'Yes.yes,but look within and seemeasures by square-foot area,you usually won't have more than three orGod'.In other words,what man has made is very.very manifestation offour people at a time.or maybe ten or twenty.That's where the elevatorsGod.Thank you very much.are,where the stairways are,from which you go upstairs.Now measure.ifthis were also an entry for a school of architecture.you see how it wouldfail.But the program reads just the same for a school of architecture as itdoes for an office building-pretty much the same.It's measured by somany square feet per person:three and a half people per acre-that kindof thing.But actually,you translate the lobby into a place of entrance,andit becomes a very different thing.It is a space of entrance,not a lobby.Youchange it.You change corridors into gallenes because you know theirvalue,you know their tremendous association value when they are agallery instead of a corridor,and the first thing that must be done of greaimportance,is to make the budget economical,which means worthwhile:which means,that you may spend the same amount of money,but theattitude shouldn't be that the money rules what you do.You must tind thatwhich is worthy within what is considered for the moment to be a limit,butyour duty is also to portray what may increase this limit.in order to bring aworthwhile thing to the clientdepending on just how you armadewhether you give in to certain things.But the going through this exerciseof portraying what seems to be the nature of something is a very essentialthing.I feel,to your eventual powers,which will bring about a newarchitecture.SILENCE AND LIGHT LOUIS I.KAHN AT ETH1969典向螺网H,.G/N面ZERLAND
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