2. • Louis Isadore Kahn (February
20, 1901 – March 17, 1974) was
an American architect, based in
Philadelphia, Pennsylvania, U.S.
• After working in various
capacities for several firms in
Philadelphia, he founded his own
atelier in 1935.
• While continuing his private
practice, he served as a design
critic and professor of
architecture at Yale School of
Architecture from 1947 to 1957.
• From 1957 until his death, he • Louis Kahn's works are
was a professor of architecture at considered as
the School of Design at the monumental beyond
University of Pennsylvania. modernism.
2
• Influenced by ancient ruins,

3. IDEOLOGIES &PHILOSOPHIES
• Kahn's architecture is notable • He was also concerned
for its simple, platonic forms with creating strong
and compositions. formal distinctions
• Through the use of brick and between served spaces
poured-in place concrete and servant spaces.
masonry, he developed a • The servant spaces are
contemporary and spaces that serve other
monumental architecture that spaces, such as
maintained a sympathy for the stairwells, corridors,
site; that responded to the restrooms, or any other
Human scale. back-of-house function
• Louis Kahn's work infused the like storage space or
INTERNATIONAL STYLE with mechanical rooms.
a fastidious, highly personal • His palette of materials
taste, a poetry of light. His few tended toward heavily
projects reflect his deep textured brick and bare 3

4. • Another important
connection that
can be derived
from his designs is
his affinity towards
water.
• Most of his
planning projects
are somehow
related to the
peace achieved
In the Salk institute the two laboratory blocks frame
out of a large an exquisite view of the Pacific Ocean, accentuated
stretch of water or by a thin linear fountain that seems to reach for the
the spaces horizon. This view itself gives a divine feeling of
focusing towards peace, endlessness.
a distant stretch of
water.
4

5. MAJOR WORKS
• YALE UNIVERSITY
ART GALLERY, New
Haven, Connecticut
• THE SALK
INSTITUTE, La Jolla,
California
IIM, Ahmedabad • INDIAN INSTITUTE OF
MANAGEMENT,
Ahmedabad, in
Ahmedabad, India
• KIMBELL ART
MUSEUM, Fort Worth,
Texas,
• JATIYO SANGSHAD
Jatiyo Sangshad Bhaban BHABAN (National
constructed as if on a pool of water
Assembly Building) in 5

6. • Kahn reveals his
penchant for
repetitive
geometries, with
a concrete ceiling
cast in a
triangular pattern
and concealing
the lighting and
mechanical
systems above.
Interior of Yale Art Gallery • This motif is
This separation of mechanical functions repeated at a
into their own distinct volume above the grand scale in the
ceiling was just the beginning of Kahn’s building’s
explorations of a building’s served and monumental
servant spaces staircase, which6

7. Interior of the National Assembly
Interior of Exeter Academy Library building in Dhaka, Bangladesh
7

8. YA L E C E N T E R F O R B R I
• The beautifully detailed interior
finishes are travertine marble,
white oak, and Belgian linen.
• The plan is based on a 20-foot-
square grid, which creates a
linear series of rectangular
gallery spaces arranged around
two inner courts which, like the
entire top floor, are naturally lit
from above through a coffered
skylight system.
• One court forms the entrance
foyer and one a main three-
storey high gallery space with
large paintings.
• The interior of the building is a
calm, light-filled space. 8

9. • The transition to the interior
is met by a mix of elemental
spatial and material
evolutions.
• The entrance sequence
proceeds from outdoor
expanse through a covered
exterior space and into an
interior courtyard with
expansive ceilings.
• The warm brushed metal
panels carry to the interior
but are mingled with warm
wooden cladding in a glowing
top-lit space. the Yale center for
Interiors of
British Art
9

10. Interior of the National Parliament
Assembly building (Jatio Shôngshod
Bhôbon) in Dhaka, Bangladesh
Interior of the sanctuary
at First Unitarian Church
10

11. Interior Prayer Hall, Sher-e-Bangla
Nagar, Dhaka, Bangladesh. Fisher House – Interior view
National Assembly Building of Living room
11

12. Interior of the Kimbell Art Museum - Light
creating illusions of depth of field. It can
create drama, a sense of openness, and a sense
of spirituality
12

13. Interior views of the Esherick house
13

14. Interior views of the
Esherick house
14

15. KENZO TANGE
15

16. • Kenzo Tange (4 September
1913 – 22 March 2005) was a
Japanese architect, and winner
of the 1987 Pritzker Prize for
architecture.
• He was one of the most
significant architects of the 20th
century, combining traditional
Japanese styles with
modernism, and designed major
buildings on five continents. "Architecture must have
• Tange was also an influential something that appeals to the
protagonist of the structuralist human heart, but even then,
basic forms, spaces and
movement. appearances must be logical.
• He said: "It was, I believe, Creative work is expressed in
around 1959 or at the beginning our time as a union of
of the sixties that I began to technology and humanity".
16
think about what I was later to

17. • Tange(1913-2005) was a • Kenzo Tange's work marked
legendary figure in a revived awareness of
modern Japanese Japanese architectural
architecture. traditions expressed through
• Influenced by Le a contemporary interpretation
Corbusier , was a master of architectural form.
in the use of reinforced • Tange demonstrated that a
concrete. unique regionalism could be
• Kenzo Tange, as well as developed, and recognized,
most architects of Tange's within the circumstance of the
generation, was greatly international style.
influenced by the • Kenzo tange was considered
principles of the CIAM and to be the Pioneer in the
the individuals identified movement known as
with that organization “METABOLISM”.
including Le Corbusier, • The movement took that
Walter Gropius, and name because, distancing
17
Siegfried Giedion. away from modernism,

18. • Their vision for cities of the
future inhabited by a mass
society were characterized by
large scale, flexible and
expandable structures that
evoked the processes of
organic growth.
• In their view, the traditional
laws of fixed form and
function were obsolete.
• Metabolism arose in post-
World War II Japan, and
much of the work produced
by the movement is
concerned with housing
issues.
• Besides the architecture and
urbanism, art was deeply 18

19. MAJOR WORKS
• Hiroshima Peace Memorial
Museum, Hiroshima
• Yoyogi National Gymnasium for
the 1964 Summer Olympics,
Tokyo
• St. Mary's Cathedral (Tokyo
Cathedral) , Tokyo
• UOB Plaza in Singapore
• Fuji Television HQ Building,
Odaiba, Tokyo
• Kagawa Prefectural
Gymnasium, Japan
• Tokyo Metropolitan
Government Building.
• Nanyang Technological UOB Plaza in Singapore
University, Singapore, 1986 19
• Hwa Chong Institution Boarding

20. Shinjuku Citizens Plaza
Kagawa Prefectural Gymnasium, Japan
Fuji Television HQ Building, Tokyo
20

21. Mode Gakuen Cocoon Fukuoka Bank’s head Shizuoka Press and
Tower, shinjuku office, Kenzo Tange (1975). Broadcasting Center,
Tokyo
21

22. Hiroshima Peace
Memorial Museum -
The rhythmical
facade
comprises
vertical
elements that
repeat
outwards from
Kenzo Tange’s own the centre.
House - it is fused
with a more
traditional
Japanese design
that uses timber
and paper. The
house is based on
the traditional 22

23. S t . M A RY ’ S C AT H E D R A L , TO K The plan
• YO of the
building is in the
form of a cross,
from which eight
hyperbolic
parabolas rise up.
• These open
upwards to form a
cross of light which
continues vertically
the length of the four
facades.
• To this rhomboid
• Their rectangular volumes contrast with the symbolic character
volume other
of the cathedral. The bell tower is 60 m in height and stands at
secondary
a little distance from the main building of the cathedral.
constructions are
• The exterior surfaces are clad in stainless steel, which gives
added, including the
them a special radiance in keeping with the religious character 23
baptistery and the

24. • The cathedral is based, as
many ancient Christian
churches, in a cross layout.
• The arms of the cross
measure 55.5 and 40 meters
respectively.
• However, contrary to what is
seen in the West, Tange
depressed the cruise raising
each of the arms of the cross
to a height of 39.4 m.
Simplicity & elegance in the exterior
surface coating.
24

25. 25

26. Interior of St Mary's Cathedral, Tokyo
Stained Glass behind the Altar The Nave
26

27. • The exposed concrete also
symbolizes a biblical concept:
"The Lord is my rock and my
fortress in whom I take refuge”
....
• Hence, the architect wants to
express strength in its proposal,
which at the same time seems
Light, volume and texture, masterfully to levitate through its sculptural
dominated by Tange. form.
• While the exterior facade
catches the eye due to its metal
tones, especially glaring on a
sunny day, the interior
captivates with its grim tones
The grim concrete texture evokes the
Japanese concept of wabi sabi. just like
and unfinished texture,
the Japanese concept of wabi
sabi , that is the aesthetic 27

28. TO K Y O M E T R O P O L I TA N G O V E R N M E N T B U I
• Looking more like the home • This building has a
of a global corporate giant unique superstructure
than the local city council, this that disperses the
office complex reflects the energy inflicted on it by
modern Asian architectural violent natural acts.
sensibility. • Instead of swaying with
• In some ways its twin 48- a quake or wind, the
story towers even mirror the building twists, allowing
famed PETRONAS Towers in more energy to be
Malaysia. absorbed and expended
• The building's towering height while at the same time
is the result of Japan's late minimizing actual linear
20th century economic boom movement.
when land values soared and
it seemed like the money
would never stop flowing.
28
• Tokyo wanted to demonstrate

29. TO K Y O M E T R O P O L I TA N G O V E R N M E N T B U I
29

30. Y O Y O G I N AT I O N A L G Y M N A S I U M , TO K Y O
• The Yoyogi National
Gymnasium in Tokyo,
built for the Olympics in
1964, is the most
famous work by the
Japanese architect
Kenzo Tange.
• Its aerodynamic,
monumental and
suggestive design
became an icon of the
Japanese capital and a
benchmark in the
Metabolist Movement
distancing himself from
the International Style.
30
• When it was completed,

31. • The complex consists of 2
buildings, and both stand out by
their quality of their structures as
well as the innovation of their
design, by using high technology in
a country constantly shaken by
strong winds and earthquakes.
• The two gyms are placed in a
landscaped platform. In fact,
despite their monumental size,
• they givecapacity for 10,000 the
With a the impression that people, the main gym can
accommodates the park itself,
roofs are bornswimming events, but also basketball and
hockey games.
emphasizing its relationship with
• the surrounding environment.roofs of the two gyms use a
CONCEPT : The elegant
contemporary language and a similar structural logic: they are
suspended by two large steel cables. Both axes are arranged
in an east-west, which is also the predominant direction of
31
plot.

32. • The structural concept is
based on a main spine that
consists of two steel cables 13
" in diameter, anchored to two
large slabs of concrete on
either end of the building and
to two structural towers.
• Cables describe a parabolic
curve (technically, it is called
catenary) from which smaller
wires are placed
perpendicularly, to form a tent-
like roof.
• The roof over stands, having a
different curvature from that of
the cables, generates an
elegant and graceful roofing
32
structure, whose surface,

33. • Kenzo Tange takes advantage of
the gap between the two curves
to propose an imposing triangular
access, which, despite having a
monumental scale, seem to be
born of the earth, giving the
building a feeling of lightness.
• Both accesses are preceded by
concourses or squares, which are
distinguished from the rest of the • Another detail that
park by a small atrium. provides visual lightness
to the structure is the
graceful cantilevers
containing the stands
that give the impression
that the building would
increase. 33
• These stands also

34. Kenzo Tange designed these
four elements to be used
together or separately as
determined by need. Each
piece can be turned on edge or
on end and utilzed as stools,
tables or shelves.
34