louis kahn

1. LOUIS
ISADORE
KAHN
SHISHIR KAULAS (20BAR040)
AADITAY GOYAL (20BAR051)

2. TIMELINE: 1901-1974
Immigration to
USA
Graduated from
UPENN
Career-senior
draftsman from
his graduation to
Ar.John Molitor
1935
1925
1906
Own firm Professor at
yale
1951-53
Yale
University Art
Gallery
The Salk Institute
1959–65
IIMA
1962
AIA AND RIBA
medals
1971-
72
FDR four
freedom
park
1972-74
Career and works

3. LIFE:
• Louis Kahn was born on February 20, 1901, in Estonia, and immigrated with his family to
the United States when he was four years old.
• Kahn attended the University of Pennsylvania, where he studied architecture under Paul
Cret.
• After graduation, he worked for several architects in Philadelphia, and later taught at
Yale University and the Massachusetts Institute of Technology.
• Kahn was known for his meticulous attention to detail, and his ability to create buildings
that were both functional and poetic.
• He often used heavy materials like concrete and brick to create monumental forms and
was known for his expressive use of light.

4. • • AWARDS: AIA Gold Medal
in 1971 and the RIBA Gold
Medal in 1972.
• considered one of the
foremost architects of the
late twentieth century
• Kahn died in 1974 in New
York City, after suffering a
heart attack in a bathroom
at Penn Station.

7. DESIGN
PHILOSOPHY
• Kahn's philosophy emphasized the importance
of creating buildings that were both functional
and poetic.
• He believed that buildings should serve the
needs of their occupants, while also inspiring
them and elevating their spirits.
• He once famously said, "A great building must
begin with the unmeasurable, must go through
measurable means when it is being designed,
and in the end must be unmeasurable.“
• Kahn also believed that architecture should
respond to the surrounding environment, and
that buildings should be designed to enhance
the natural landscape.
• He believed that buildings should be designed in
harmony with nature, rather than dominating it.
• Kahn believed that architecture should be
timeless, and that buildings should be designed
to endure. He believed that a building's value
should be measured not just by its initial cost,
but by its ability to endure and adapt over time.

11. • Simple, platonic forms and
compositions
• Truth to material
• Developed a contemporary
and monumental architecture
that maintained a sympathy
for the site-Influenced by
ancient ruins
• While rooted in the
International Style, Kahn's
architecture was an amalgam
of his Beaux Arts education
and his personal aesthetic
impulse to develop own
architectural forms.
HIS STYLE

12. • YALE UNIVERSITY ART GALLERY,(1951–1953)
• Richards Medical Research Laboratories, UPenn (1957–1965)
• THE SALK INSTITUTE (1959–1965)
• First Unitarian Church(1959–1969)
• Jatiyo Sangshad Bhaban (National Assembly Building (1962–1974)
• INDIAN INSTITUTE of MANAGEMENT AHEMEDABAD(1962)
• National Institute of Cardiovascular Diseases (NICVD)(1963)
• PHILLIPS EXETER ACADEMY LIBRARY, (1965–1972)
• KIMBELL ART MUSEUM(1967–1972)
• Yale Center for British Art, Yale University (1969–1974)
• Franklin D. Roosevelt Four Freedoms Park, (1972–1974)
• Fisher house
LIST OF WORKS

14. JATIYO SANGSHAD
BHABAN
• Type - National Assembly Building
Architectural style - Modern
• Structural system - Reinforced concrete
• Location - Sher-e-Bangla Nagar, Dhaka,
Bangladesh
• Started - 1961
• Completed - 1982
• Total Area - 200 acres (8,00,000 sq.m.)
• It is one of the largest legislative
complexes in the world. It houses all
parliamentary activities of Bangladesh.
• He designed the entire complex, which
includes lawns, lake and residences for
MP’s.

15. DESIGN
PHILOSOPHY
• Louis I. Kahn designed this building in
modern architectural style.
• Modernist in principle
• Optimizing the use of space while
representing Bangladeshi heritage and
culture.
• Character of the context.
• A symbol of democracy and pride for the
Bengali people.
• People's spirituality .
• Riverine Bangladesh.
• Kahn combined both vernacular and
monumental archetypes of the region.
• Use abstraction and transformation to
a degree
• The core of the composition is the
assembly chamber and the library.

16. • The geometric shapes found on the different faces
of the facade add a dramatic impact to the overall
composition of the building.
• The geometric shapes are abstracted forms found
in traditional Bengali culture and the pattern
called 'kantha' that are meant to create a marriage
of old and new cultural identities as well as serve
as light wells and a natural environmental control
system for the interiors.
Cultural Evidences

18. THE MAIN
BUILDING
• The main building (the Bhaban) is divided into three parts:
I. The Main Plaza : 76,000 m² II. South Plaza : 21,000 m²
III. Presidential Plaza : 6,000 m²
• Consists of 9 individual blocks: the 8 peripheral blocks - height of
33.5m the central octagonal block - height of 47.2m
• All 9 blocks include different groups of functional spaces and have
different levels, inter-linked horizontally and vertically by corridors, lifts,
stairs, and circular areas.
• The entire structure is designed to blend into one single, non-
differentiable unit, that appears from the exterior to be a single story

19. SITE PLAN
Source :- Kahn's light: The measurable and the unmeasurable of the Bangladesh National Assembly Building

20. Source :- Kahn's light: The measurable and the unmeasurable of the Bangladesh National Assembly Building

21. Source :- Kahn's light: The measurable and the unmeasurable of the Bangladesh National Assembly Building

22. Source :- Kahn's light: The measurable and the unmeasurable of the Bangladesh National Assembly Building

23. Source :- Kahn's light: The measurable and the unmeasurable of the Bangladesh National Assembly Building

24. • The most important part of the Main Plaza
is the Parliament Chamber, which can
house up to 354 members.
• There are also two podiums and two
galleries for VIP visitors. The Chamber has
a maximum height of 35.6m with a
parabolic shell roof.
• The roof was designed with a clearance of
a single story to let in daylight.
• Daylight, reflecting from the surrounding
walls and octagonal drum, filters into the
Parliament Chamber.
• The artificial lighting system has been
carefully devised to provide zero
obstruction to the entry of daylight. A
composite chandelier is suspended from
parabolic shell roof. This chandelier in turn
consists of a metallic web, spanning the
entire chamber, that supports the
individual light fixtures.

25. • The artificial lighting system has
been carefully devised to provide zero
obstruction to the entry of daylight. A
composite chandelier is suspended
from parabolic shell roof. This
chandelier in turn consists of a metallic
web, spanning the entire chamber,
that supports the individual light
fixtures.
• Upper levels of the block (that
contains the Chamber) contain the
visitor and press galleries, as well as
communication booths, all of which
overlook the Parliament Chamber. The
block also contains:
➢ at level one, a library;
➢ at level three, MPs’ lounges; and
➢ at the upper level, party rooms.

26. THE SOUTH
PLAZA
• The South Plaza faces the Manik Mia Avenue. It gradually rises to a 6m height
and serves as a beautiful exterior as well as the main entrance to the Parliament
Building.
• It contains:
➢ controlling gates;
➢ a driveway; 00
➢ a main mechanical plant room;
➢ a telephone exchange;
➢ offices of maintenance engineers;
➢ equipment stores;
➢ an open plaza with steps and ramps leading directly to the main building.

27. PRESIDENTIAL
PLAZA
• The Presidential Plaza lies to the North and faces the Lake
Road. It functions as an intimate plaza for the MPs and other
dignitaries. It contains marble steps, a gallery and an open
pavement.
• The Presidential Palace is a smaller structure located to the
south of the Plenary Hall. The palace houses the president's office
and is designed to symbolize the dignity and authority of the
office. The building is set back from the street and is surrounded
by a lush garden that provides a sense of privacy and exclusivity.

28. MATERIALS
• The predominant materials are the concrete
and red brick exterior that give the image of
the complex The great mass of concrete lined
with strips of marble, marked by the outer wall
openings and the predominance of geometric
forms of circular and rectangular concrete offer
a great tribute to the building.

29. STRUCTURE
• One cannot find a column inside the building. The columns have disappeared
inside the divisive elements that have adopted the function of bearing walls.
• It's more like a large mass of concrete that has been digging and sculpting itself
to achieve a perfect functional entity.
• One of the most important considerations to take into account during the
project was protection from the sun and heavy rains and at the same time allow
the free circulation of air. This was achieved by giving the facades at grade
geometric openings in the form of triangles, rectangles, circles and arcs.
• It avoids any conventional method of placing the windows on the outside as
well as the disadvantages of the composition of a typical monument building.

30. INTERIORS
The Mosque-
• Kahn designed the prayer hall of the
building as a mosque.
• Being inspired form spiritual belief.
• He let the light flood in.
• Made it the entrance of the building-
• Square in plan-
• 4 cylinders at each corners, allows
daylight to enter, called light tower-
• He let the light flood into the mosque
• Diffuse light into the prayer hall
creates a much stronger experience of
spirituality.
• Thick exterior walls keep
theconcentration within the prayer hall
and allow any outside destructions.
(a) Mosque, Dhaka. (b) Mosque, section
Dhaka. Source: Louis I. Kahn. Light and Space by
Urs Buttiker.

31. Artificial lighting provide zero obstruction to daylight.A composite chandelier is suspended
from parabolic shell roof.There is a single story clearance after the shell roof

32. The quality of light is
defined from
layered spatial
configuration and material
of construction that
acquires it. Due to the
geometrical juxtaposition
of forms, the space in
between, generates
different scenarios of light
and shadow. As is to say,
the light in the afternoon
would cast the polished
punctured wall of
ambulatory and the form of
projected light and shadow
would reach its sublime
unification on the building
structures
(a) Interior view of Parliament
house. Source: Wikimedia
Commons. (b) Section of Chamber
Hall. Source: Louis I. Kahn. Light
and Space by Urs Buttiker.
(c) Mosque,
Dhaka. Source: mosqpedia.org. (d)
Mosque, section Dhaka. Source: Louis I.
Kahn. Light and Space by Urs Buttiker.
(e) Upper floors of National Assembly
building. Source: Wikimedia
Commons. (f) Section of middle
ring. Source: Louis I. Kahn. Light and
Space by Urs Buttiker.

33. "I sense Light as the
giver of all presences,
and material as spent
Light. What is made
by Light costs a
shadow, and the
shadow belongs to
Light.“
-Louis I. Kahn
The light that penetrates
the spaces of Dhaka
buildings are of different
kinds. From morning to
sunset; direct cast or
indirectly through
intermediate layers of
spaces, and that is
consequently of different
intensities. “Every space
must have natural light,
because it is impossible to
read the configurations of a
space or shape by having
only one or two ways of
lighting it. Natural light
enters the space released by
the choice of construction.”
– (Kahn, “Law and Rule in
Architecture” lecture, 1961)

34. In the interior spaces, street lights are used to give a feel of out side in the inside.

35. Shape of the Large punches on the exterior walls came from the geometrical representation of cultural and traditional
element. Such as - pottery, house, weaving element.These punches also give the building a single story look.

37. • If we look at the history of
architecture since its
beginning, say from the time
of the pyramids to modern
times, and make a list of the
most significant buildings, it
is likely that the National
Assembly of Bangladesh will
occupy quite a prominent
position. One could say that
it was the culmination of the
modern period of
architecture and the
beginning of the post-
modern era.
SUMMARY

38. INDIAN
INSTITUTE OF
MANAGEMENT
AHMEDABAD
• Year of Establishment: 1961
• Architects: Louis I. Kahn, B.V. Doshi
• Site Area: 66 Acres
• Soil Type: Alluvial Sandy Loam
• No. of Students: 500No. of
Staff Members: 350
• It began in 1962 and that same year
the architect was commissioned the
National Assembly of Bangladesh.
The commission initially offered to a
local architect B.V.Doshi , but that he
had met Kahn in Philadelphia and
was aware of the importance of their
work and the importance that the
new project would have both Kahn
and for India, recommended that be
given the new project to American
architect.

39. • Louis Kahn's architecture at IIM-A is an example of his imagination, optimism.
CONCEPT
• For Kahn, the design of the institute was more than just efficient spa- tial planning of the
classrooms.His critical view at the methods of the educational system influenced his design to no
longer singularly focus on the classroom as the center of academic thought.The class- room was
just the formal setting for the beginning of learning; the hallways and Kahn's Plaza became new
centers for learning.
• Blend of vernacular traditions and modern architecture
• In much of the same ways that he approached the design of the Na- tional Assembly Building in
Bangladesh, he implemented the same techniques in the Indian IIM such that he incorporated local
materials (brick and concrete) and large geometrical façade extractions as homage to Indian
vernacular architecture. It was Kahn's method of blending modern architecture and Indian tradition
into an architec- ture that could only be applied for the IIM

40. According to him its plan comes from his
feeling of a monastery. He always wanted to
give a solid and formal look his buildings. He
wanted to create a "FORTRESS IN BRICK In
keeping with this some of the features

43. RESIDENCES FOR TEACHERS:
Married teachers or students could enjoy more complete housing units, are actually small
apartments with lounge, kitchen, one or two bedrooms, shower room, bathroom and terrace.
PLAN OF GROUND FLOOR PLAN OF FIRST FLOOR
1.VERANDAH
2.LIVING ROOM
3.KITCHEN
4.BED ROOM
5.TOILET
6.BATHROOM
7.TERRACE

44. STUDENT RESIDENCES PLANS:
• It contains:
I. Ground floor: This floor has a great hall, kitchens and dining rooms.
II. First floor: hall to the dining balcony.
III. Second and Third Floor: hall, bedrooms and bathrooms.
• The provision of student dormitories and the school encourages human contact. The hall
of student dormitories is finished in a sort of triangular apse where you can meet a
group of people.
PLAN OF THE GROUND FLOOR PLAN OF THE FIRST FLOOR PLAN OF THE UPPER FLOORS

46. CORRIDOR AS DISCUSSION AREA
"The school and the dormitories are a unit like a monastry, comidors are avoided by having
deep porches, of all the dormitory rooms, where tea is served and the things are discussed.”
Louis I. Kahn

47. ARCHITECTURE
• The most distinctive
feature of the plan was the
numerous arches and
square brick structures
with circles carved out in
the facade.
• Kahn's architecture is
notable for its simple,
platonic forms and
compositions.
• Through the use of brick
and poured-in place
concrete masonry, he
developed a contemporary
and monumental
architecture that
maintained a sympathy for
the site.

48. • The school is designed around the idea of meetings so the library becomes
the center of the total complex. Huge open spaces depict the freedom of
thought, the principle that this institute stand for.
• Even the classrooms have been designed to facilitate students’
participation in the class.
• The most awe-inspiring and photographed view is that of the main
academic block which is built as a huge monolith.
• The buildings have wide porches and verandah leading from one building
to the other.

49. Blending modern
architecture and Indian
tradition
The IIMA planning, with
walkways and arcades
interconnecting the blocks,
reflects the streets of the old
city of Ahmedabad, while the
use of local materials pay
homage to the Indian
vernacular culture. Kahn was
fascinated with brick as a
building material; while before
he had used brick as a veneer,
in IIMA he used it as a structural
material. Several mock-ups and
test constructions were done to
demonstrate the construction
of brick arches and the bricks
used were hand-molded and
cut to shape at the site.
“You say to a brick, 'What
do you want, brick?" And
brick says to you, 'I like an
arch. And you say to
brick, 'Look, I want one,
too, but arches are
expensive and I can use a
concrete lintel. And then
you say: 'What do you
think of that, brick?' Brick
says: I like an arch."-
Louis I. Kahn

50. Scale : Exploring the building at different scales from different points.

54. • Walls diagonal
• Used as a unifying element between the different
formal types of buildings. Have been used subtly in
the four corners of the school building and is the
main organizing principle within the school buildings,
residence and staff accommodation and service.
• Halls
• Facilities include wide corridors that serve as semi-
cubiertos transitional spaces in the complex
interaction between teachers, students and visitors.
• Other Features
• Distinctive features of these buildings include the
many square arches and brick structures on the walls
with carved circles.

55. • The Salk Institute is a masterpiece of modern
architecture in terms of its structural and
material design.
• The two buildings that make up the facility are
composed of load-bearing concrete walls that
are faced with travertine stone.
• This natural stone was chosen for its durability,
resistance to weathering, and its ability to age
beautifully over time.
• The use of concrete and stone gives the building
a sense of permanence and solidity.
• The walls are 14 inches thick and rise to a
height of three stories.
• They are pierced by narrow slits that allow
natural light to enter the building and provide
views of the surrounding landscape.
• The glass is set into the concrete walls using
bronze frames that were designed to provide a
minimal visual presence.
SALK INSTITUTE (1959–1965)

56. SALK INSTITUTE (1959–1965)

57. Structure and Materials:
• The courtyard was designed to encourage
collaboration and interaction among the
researchers who work at the Salk Institute.
• The shared spaces around the courtyard are
designed to encourage socialization and
exchange of ideas.
• The design of the courtyard was also meant to
harmonize with the natural surroundings.
• It is a 240-foot-long reflecting pool that is
framed by the two symmetrical buildings.
• The pool reflects the sky, creating a sense of
continuity between the building and the natural
environment.

58. • The design of the Salk Institute is based on a
symmetrical plan, with two mirror-image laboratory
buildings flanking a central courtyard.
• The laboratory buildings are connected by a service
core, which houses elevators, stairs, and mechanical
systems, is located beneath the courtyard.
• This design allows for maximum flexibility in the
laboratory floors above, which can be reconfigured
as needed to accommodate different research
activities.
• In the basement of the complex, there are different
coloured cement walls because Kahn was
experimenting with the mixtures and wanted the
wood and the cement to complement each other.
Planning

59. • The interior of the Salk Institute is designed to
be functional and flexible.
• The laboratories are designed to be flexible and
adaptable, with movable walls and modular
furniture that can be rearranged to suit the
changing needs of research teams.
• The design of the Salk Institute also takes into
account the need for privacy and quiet in
scientific research.
• The laboratory buildings are set back from the
main entrance, with a large reflecting pool and
courtyard in front of them.
• This design helps to create a sense of
tranquility and separation from the outside
world, allowing researchers to focus on their
work without distraction.
Planning

60. • There is one floor in the basement, and two
above it on both sides. The lighting fixtures have
been designed to easily slide along rails on the
roof, in tune with the collaborative and open
philosophy of the Salk Institute's science
• Each laboratory block has five study towers, with
each tower containing four offices, except for
those near the entrance to the court, which only
contain two. A diagonal wall allows each of the
thirty-six scientists using the studies to have a
view of the Pacific, and every study is fitted with
a combination of operable sliding and fixed glass
panels in teak wood frames.
• Originally the design also included living
quarters and a conference building, but they
were never actually built.
Planning

61. • The Salk Institute’s open environment
teeming with empty space is symbolic of an
open environment for creation, the
symmetry stands for scientific precision,
and submerging crevasses allow warm,
natural light to enter the buildings like the
intellectual light that leads to discovery
• Overall, the planning of the Salk Institute
was guided by the idea that the physical
environment can play a critical role in
promoting scientific research and discovery.
• The design of the Institute is a testament to
the importance of creating functional,
beautiful spaces that inspire creativity and
collaboration.
Planning

62. • The concept for the Kimbell Art Museum was based on
the idea of creating a museum that would be a work of
art, and that would provide an ideal environment for
the display of art.
• Kahn's design for the museum is a striking example of
modernist architecture, use of natural materials, and
harmonious proportions.
• One of the key features of the Kimbell Art Museum is
its use of natural light.
• Kahn designed a system of skylights and light diffusers
that allow natural light to enter the galleries in a
controlled way, creating a sense of tranquility and a
connection with the natural world.
• The use of natural light also helps to enhance the
colors and textures of the artwork on display.
• Overall, the concept for the Kimbell Art Museum was
to create a building that would be a work of art, while
also providing an ideal environment for the display of
art.
Concept

63. • One of the most striking features of the Kimbell Art
Museum's structure is its use of concrete.
• Kahn chose to use concrete as the primary building
material for the museum because of its strength,
durability, and ability to create a sense of solidity
and timelessness.
• The museum's exterior is clad in travertine stone, a
natural material that complements the concrete
and provides a beautiful backdrop for the art on
display.
• The roof of the Kimbell Art Museum is also a
notable feature of its structure. The roof is
composed of shallow concrete vaults that create a
sense of weightlessness and provide a visual
counterpoint to the museum's solid walls.
• The vaults are covered with a layer of gravel and
soil, which helps to insulate the museum and
regulate the temperature and humidity inside.
Structure and Materials

67. • In addition to the galleries for exhibitions,
installations include the museum’s library, an
auditorium with capacity for 180 spectators, an art
library, a laboratory for conservation of works of art
and a restaurant.
• The museum is composed of 16 parallel vaults that
are each 100 feet Usage of cycloid curve for the
gallery vaults would reduce the ceiling height and
provide other benefits as well.
• The relatively flat cycloid curve would produce
elegant galleries that were wide in proportion to
their height, allowing the ceiling to be lowered to
20 feet with a slot on top
• Kahn worked to develop a program that would
showcase the museum's collection of art in the best
possible way, while also providing space for
temporary exhibitions and public events.
Planning

68. • The museum's program called for a series of
galleries arranged in a linear fashion, with a
central courtyard that would serve as both a
gathering space and an outdoor sculpture
garden.
• The planning of the Kimbell Art Museum also
involved careful consideration of the building's
form and materials.
• Kahn designed the museum to be a low,
horizontal structure that would blend in with
the surrounding landscape.
• Inside the museum, the galleries are organized
around a central courtyard, which serves as a
gathering space and an outdoor sculpture
garden.
Planning

69. • The galleries are arranged in a linear fashion,
with one gallery leading to the next in a logical
sequence.
• This arrangement allows visitors to explore the
museum's collection in a natural and intuitive
way.
• The building is punctuated by three courtyards,
allowing for more light, air flow and
relationships between interior and exterior
spaces.
• Three 100-foot bays that are each fronted by a
barrel-vaulted portico comprise the main facade
to the west, where the central entrance is
marked by it's glazing and recession from the
rest of the facade.
Planning

70. SKETCHES BY
LOUIS I KAHN

71. Influence of LIK
works on other
architects

72. REFRENCES
• Kahn's light: The measurable and the
unmeasurable of the Bangladesh National
Assembly Building
• Steel Like Straw: Louis I. Kahn and the
Indian Institute of Management in
Ahmedabad
• https://www.iima.ac.in/node/1035
• https://www.re-thinkingthefuture.com/