Louis Kahn's Richards Medical Research Laboratory at the University of Pennsylvania, once deemed "the most consequential building constructed in the United States" since World War II by MoMA, has been notoriously hated by its users; scientists claim the building lacks privacy, has too much exposure to sunlight and is not suitable for lab experiments. Thus, the University's architect has just completed a full renovation of Richards' four brick towers, converting them into offices and computer labs for researchers, while, as Philly.com reports, restoring the structure to its original essence.
"The renovation has pared Kahn's spaces down to their essence, restoring a Zenlike calm, and revealing the muscular concrete structure that made the design such a revelation in the early 1960s, when International Style glass towers were all the rage," says Philly.com. Read the complete article here.
Watching the sunrise over Louis Kahn's Salk Institute for Biological Sciences is arguably one of architecture's most transformative experiences. The famous building has become an emblem of tranquility in architecture thanks to its tremendous location in San Diego, California, a quality enhanced by the carefully planned symmetrical vistas overlooking the Pacific Ocean. Built in 1962 and declared a national historic landmark in 1991, Kahn designed the complex to express an underlying sense of spiritualism, fusing influences from both the International Style and Brutalism anchored by a gently flowing river through the center of the design. Filmmaker-photographer Chang Kim explored the Salk Institute as a part of his series on influential Californian architecture, providing an opportunity to virtually experience the iconic institute.
From the publisher. July 2015 issue of a+u is a special issue focused on the collection of drawings of Kimbell Art Museum in Fort Worth, Texas.
Kimbell Art Museum, completed in 1972, is one of Louis I. Kahn's later works. The issue features a set of construction drawings from the collection of Preston M. Geren's office who was the associate architect of the project.
The issue is composed of the drawings, photographs taken by our own photographers, two essays and an interview with two architects from Geren's office who worked on the project.
Piano’s main task was to respond appropriately to Kahn’s building which he achieved through alignments in plan and elevation and by dividing his project into two major bodies: a concrete walled, glass roofed pavilion facing Kahn and a separate, sod-roofed structure behind that should integrate a significant portion of the project with the landscape and thereby lessen its overall impact. Still, the loss of the open lawn that existed in front of the Kimbell where Piano’s building now stands is regrettable. Kahn’s Kimbell was conceived as a large house or a villa in a park, and unlike much of the abundant open and green space in the Fort Worth Cultural District, that park was actually used. Piano’s new outdoor space is more like a courtyard – more contained and more formal. It is more urban in its design, yet less public in its use.
Aside from lamenting the loss of the open lawn, how might we judge the addition?
Louis Kahn, (February 20th 1901 - March 17th 1974) was born Itze-Leib Schmuilowsky in Pärnu, in what is now Estonia. His family emigrated to Philadelphia when he was just a child, where Kahn would remain for the rest of his life, completing many of his later works there. Though he did not arrive at his distinctive style until his early 50s, and despite his death at the age of just 73, Kahn became known for combining Modernism with the weight and dignity of ancient monuments, and in a span of just two decades came to be considered by many as part of the pantheon of modernist architects which included Le Corbusier and Mies van der Rohe.
When Sheila O'Donnell and John Tuomey, who practice in partnership as O'Donnell + Tuomey, were named as this year's recipients of the RIBA Royal Gold Medal, a palpable collective satisfaction appeared to spread throughout the profession. No one could find criticism in Joseph Rykwert and Níall McLaughlin's nomination, nor the ultimate choice of the RIBA Honours Committee, to bestow the award upon the Irish team. Their astonishingly rigourous body of work, compiled and constructed over the last twenty five years, has an appeal which extends beyond Irish and British shores. A robust stock of cultural, community and educational projects, alongside family homes and social housing projects, leaves little doubt about the quality, depth and breadth of their mutual capabilities and the skill of those that they choose to collaborate with.
Read the conversation with the Gold Medallists after the break.
New Republic has presented a list of 100 great thinkers from the past 100 years. The list, as the magazine puts it, honors “people we believe have made the greatest intellectual contributions to the fields and causes that this magazine holds dear.” One of these fields is architecture, and New Republic’s honoree for that category is the illustrious Louis Kahn. Kahn is famous for projects such as the Kimbell Museum and the Salk Institute. His work displays what architecture critic Sarah Williams Goldhagen describes as a “cognitively rich, metaphorically complex, multi-sensorial approach.” Curious to see who else made the list? See the full roster here!
The Getty Conservation Institute (GCI) is partnering with the Salk Institute to help develop techniques for conserving one of Louis Kahn’s finest works. Overlooking the Pacific coast in La Jolla, California, Kahn took advantage of the peaceful surroundings and natural light when he designed the Salk Institute site. However, these same marine elements also provide unique conservation challenges for the concrete and wood structure, particularly for its teak window walls, the Getty Trust reports.
Part of the GCI’s Conserving Modern Architecture Initiative, the project will determine the condition of the teak and develop recommendations for its treatment and long-term conservation. “Partnering with the Salk Institute on this conservation challenge will assist in developing new approaches for practitioners in conserving other icons of modern architecture, which makes it a terrific project for us,” said Susan Macdonald, Head of Field Projects at the GCI.
Read on after the break to learn more about the conservation initiative.
Built four decades after Louis Kahn's death, New York City'sFour Freedoms Park - the architect's posthumous memorial to Franklin D. Roosevelt and his policies - is becoming one of the architect's most popular urban spaces. In a recent article for the Guardian, Oliver Wainwright investigates what he describes as perhaps Kahn's "best project". Wainwright's spatial description of the monument is interweaved by fragments of Kahn's personal history, building up a picture of a space with "the feel of an ancient temple precinct" and "a finely nuanced landscape". Although Gina Pollara, who ultimately realised the plans in 2005, argues that Four Freedoms Park "stands as a memorial not only to FDR and the New Deal, but to Kahn himself", can a posthumous project ever be considered as an architect's best? Read the article in full here.
Arthur Andersson of Andersson-Wise Architects wants to build ruins. He wants things to be timeless - to look good now and 2000 years from now. He wants buildings to fit within a place and time. To do that he has a various set of philosophies, processes and some great influences. Read our full in-depth interview with Mr. Andersson, another revolutionary "Material Mind," after the break.
In Kengo Kuma’s work you may see influences of light, transparency and materiality. But when visiting the Woodbury School of Architecture in San Diego, Kengo Kuma shared a few of his not so apparent influences, from Frank Lloyd Wright and Louis Kahn to jazz music. Make sure to view “Knowing Kuma” to see the architect’s definition of architecture, materials and more.
Where do you receive inspiration? Nalina Moses asked the question to nine contemporary residential architects, asking each to choose one residence that had left an impression on them. The following answers were first published on the AIA’s website in the article “Homing Instinct."
When nine accomplished residential architects were asked to pick a house—any house—that has left the greatest impression on them as designers, most of their choices ran succinctly along the canon of American or European Modern architecture. Two—Alvar Aalto’s Villa Mairea and Pierre Chareau’s La Maison de Verre—were even tapped twice.
If the houses these designers chose weren’t surprising, the reasons they chose them were. Rather than groundbreaking style or technologies, what they cited were the moments of comfort, excitement, and refinement they offered: the restful proportions of a bedroom, the feel of a crafted wood handrail, an ocean view unfolding beyond an outdoor stair.
To celebrate the launch of ArchDaily Materials, our new product catalog, we've rounded up 10 awesome projects from around the world that were inspired by one material: concrete. Check out the projects after the break...
For architects, Louis Kahn's Kimbell Museum has long been hallowed ground. For Renzo Piano, who designed the museum's first major expansion, it was also an enormous difficulty to overcome. His addition to the museum could be neither too close to Kahn's building, nor too far. It had to solve a parking problem, yet respect Kahn's distaste for cars. It had to respond to Kahn's stately progression of spaces—and that silvery natural light that make architects' knees go wobbly. And yet it could not merely borrow from Kahn's revolutionary bag of tricks.
UPDATE: Congrats to Lukas Binder of Austria, the winner of The Houses of Louis Kahn giveaway! Thank you to all those who participated. Keep your eyes peeled for two more fantastic giveaways in the coming weeks.
Deemed by American Art and Architecture author Michael J. Lewis to be “quite simply the most important book on Kahn” published in over two decades, The Houses of Louis Kahn examines the architect’s nine major residential commissions in detail, offering an overview of Kahn’s relationship with his projects’ patrons and his active involvement with the design of interiors and furniture. The 280-page book features all new photography of the homes, alongside period photographs and original drawings, and previously unpublished materials from personal interviews, archives, and Kahn’s own writings.
To participate, all you have to do is answer the following question in the comment section below: “Which Kahn project do you find most inspiring and why?”
You have until Monday, November 18th to submit your answers. The winner will be contacted the following day. Good luck!