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Journal articles on the topic 'Louis Kahn'

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Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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1

González-Peña, Nuria. "Louis Kahn en Rochester." Actas de Arquitectura Religiosa Contemporánea 5 (July 25, 2018): 156–71. http://dx.doi.org/10.17979/aarc.2017.5.0.5149.

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El objetivo de esta comunicación es evaluar de modo crítico la influencia del pensamiento unitario en la concepción de la Primera Iglesia Unitaria de Rochester de Louis Kahn. Partiendo de la visita al templo y de la interacción con los feligreses, se recoge información de Louis Kahn y la Primera Iglesia Unitaria de Rochester.Las conexiones se establecen planteando las premisas de la Iglesia Unitaria sobre la revisión de los datos recogidos del arquitecto respecto a la concepción de la idea. Se estudia el proyecto final en relación a estas premisas, lo que aporta una triple lectura que conjuga las intenciones del arquitecto con las necesidades de la Iglesia y la evolución del proyecto.Croquis, dibujos y fotografías representan las distintas fases de la formalización del concepto. El arquitecto aporta una solución que, aunando traslaciones culturales y tecnológicas, el cliente identifica como propia.

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2

Williamson, James F. "Louis I. Kahn, teacher." Architectural Research Quarterly 17, no. 3-4 (December 2013): 313–24. http://dx.doi.org/10.1017/s1359135514000128.

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Louis I. Kahn was not only an architect of powerful buildings; he was also an unconventional teacher and a radical philosopher whose influence on his students was far-reaching. It is through his many former students, especially those in his Master's Class at the University of Pennsylvania, 1960–74, that Kahn's distinctive philosophy of education and unique pedagogy have continued to influence the teaching and making of architecture in the late modern era.Focusing on a neglected area of Kahn scholarship, the author argues that Kahn's legacy as a teacher should be remembered as among his greatest accomplishments. The study examines Kahn's philosophy of education, his unique pedagogy, and his motives for teaching. It draws upon the author's experience as a student in the Master's Class and extensive research at the Louis I. Kahn Collection housed in Penn's Architectural Archives, the comprehensive repository of records relating to Kahn's academic and professional career. It is the first study to be based upon interviews with numerous fellow Master's Class alumni, reflecting the views expressed by Kahn's students about their teacher and the lasting impact of his teaching on their professional lives.

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3

Hoffmann, Jeremie, and Hadas Nevo-Goldberst. "Louis Kahn in Tel-Aviv." Louis I. Kahn – The Permanence, no. 58 (2018): 71–73. http://dx.doi.org/10.52200/58.a.26ufxj56.

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This paper surveys the historical urban infrastructure and architecture of the School of Mechanical Engineering at Tel-Aviv University, designed by one of the greatest architects of the 20th century, Louis I. Kahn. The paper describes the monumental architecture of the building, which hints subtly to the qualities and complexity of the internal spaces. The structure is the only building ever erected in Israel by Kahn, and became an architectural icon, presenting the best in the Brutalist architectural style to be found in Tel-Aviv-Yafo, alongside other outstanding structures from the same period.

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4

Galván, Noelia. "Louis I. Kahn. Parasol Houses." Ra. Revista de Arquitectura 8 (May 11, 2018): 79–86. http://dx.doi.org/10.15581/014.8.25925.

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Con ocasión del reciente centenario de Louis I. Kahn, su figura y trayectoria profesional han vuelto a ser objeto de estudios y análisis. Tal es el caso de la elegante monografía de Robert McCarter publicada por Phaidon en el 2004, o la sorprendente película, My Architect: A Son’s Journey, documental nominado para los Óscar 2004, realizado por su hijo Nathaniel Kahn, en el que intenta indagar en el personaje que apenas llegó a conocer. Poco nuevo se puede decir sobre sus obras construidas, sobre sus edificios para las grandes instituciones o sobre sus viviendas. Sin embargo, el amplio registro gráfico de sus planos y dibujos, publicado en la Garland Architecture Archives, aún permite un acercamiento a su obra intentando indagar en algunos aspectos poco conocidos de su trabajo, como pueden ser los procesos proyectuales de algunos encargos que no llegarían a materializarse. Este artículo aborda uno de esos proyectos, las viviendas conocidas como las Parasol Houses, quizá una de las primeras obras en las que se dejan ver las inquietudes formales –la geometría, el orden, la estructura– acometidas por Kahn a partir de la década de los cincuenta.

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5

Montes Serrano, Carlos, and Noelia Galván Desvaux. "Las litografías de Louis Lozowick y su influencia en Louis Kahn." EGA. Revista de expresión gráfica arquitectónica 21, no. 28 (September 29, 2016): 92. http://dx.doi.org/10.4995/ega.2016.6301.

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Las pinturas y dibujos del arquitecto Louis Kahn fueron catalogados en el libro de Jan Hochstim (1991), permitiendo a los interesados por la obra gráfica de Kahn estudiarlos en mayor profundidad en posteriores publicaciones. En este ensayo pretendemos mostrar la posible influencia en algunos dibujos de Kahn de las litografías de Louis Lozowick, un artista muy celebrado a comienzos de los años treinta por sus dibujos de la American Scene.

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6

Yegul, Fikret K. "Review: Louis I. Kahn: In the Realm of Architecture by David B. Brownlee, David G. de Long; Louis I. Kahn: Writings, Lectures, Interviews by Alessandra Latour, Louis I. Kahn; The Paintings and Sketches of Louis I. Kahn by Jan Hochstim, Louis I. Kahn." Journal of the Society of Architectural Historians 52, no. 1 (March 1, 1993): 115–18. http://dx.doi.org/10.2307/990773.

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7

Tostões, Ana. "William Whitaker interviewed by Ana Tostões." Louis I. Kahn – The Permanence, no. 58 (2018): 63–65. http://dx.doi.org/10.52200/58.a.epx0x9pt.

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In February 2018, Ana Tostões interviewed William Whitaker, curator and collections manager of the Architectural Archives of the University of Pennsylvania School of Design, where the Louis I. Kahn Collection is hosted, in order to debate the importance of documentation for the preservation of Kahn’s legacy. William Whitaker was curatorial consultant of the exhibition Louis Kahn: The Power of Architecture (Vitra Design Museum, 2012) and is the co-author of The Houses of Louis I. Kahn (with George Marcus, 2013), the first comprehensive publication on the architect’s house designs. The management of the Louis I. Kahn Collection has been having a fundamental role, not only in the documentation and interpretation of Kahn’s life and work, but also in the success of the contemporary rehabilitation projects undertaken in his buildings.

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8

Fleming, Stephen. "LOUIS KAHN AND PLATONIC MIMESIS: Kahn as Artist or Craftsman?" Architectural Theory Review 3, no. 1 (April 1998): 88–103. http://dx.doi.org/10.1080/13264829809478334.

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9

Marcus, G. H. "Louis Kahn and the Architectural Barbecue." Journal of Design History 26, no. 2 (October 16, 2012): 168–81. http://dx.doi.org/10.1093/jdh/eps045.

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10

Tostões, Ana. "David B. Brownlee interviewed by Ana Tostões." Louis I. Kahn – The Permanence, no. 58 (2018): 60–62. http://dx.doi.org/10.52200/58.a.2rykcqpi.

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In February 2018, Ana Tostões interviewed David Brownlee, pioneer researcher on Louis I. Kahn and an historian of modern architecture and professor of the history of art at the University of Pennsylvania, in order to debate Kahn’s realm of ideas and their contemporary significance. David Brownlee was guest curator of the exhibition Louis I. Kahn: In the Realm of Architecture (Museum of Modern Art, New York, 1992), and is co-author of the homonymous book (with David G. De Long, New York, 1991, translated into four other languages) that stands as the first worldwide comprehensive publication on Louis I. Kahn.

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11

Jové Sandoval, José María. "LOUIS I. KAHN, EL PAISAJE TELÚRICO Y LAS MAQUETAS DE ARCILLA." Proyecto, Progreso, Arquitectura, no. 15 (2016): 84–99. http://dx.doi.org/10.12795/ppa.2016.i15.06.

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12

Eugene J. Johnson and Ranana Dine. "Mikveh Israel and Louis Kahn: New Information." Pennsylvania Magazine of History and Biography 140, no. 2 (2016): 211. http://dx.doi.org/10.5215/pennmaghistbio.140.2.0211.

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13

Michelson, Alan. "LOUIS I. KAHN: UNBUILT MASTERWORKS. Kent Larson." Art Documentation: Journal of the Art Libraries Society of North America 21, no. 1 (April 2002): 47–48. http://dx.doi.org/10.1086/adx.21.1.27949184.

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14

Lewis, Michael J. "Louis I. Kahn and His Lenin Memorial." Journal of the Society of Architectural Historians 69, no. 1 (March 1, 2010): 7–11. http://dx.doi.org/10.1525/jsah.2010.69.1.7.

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15

Wilcken, Franziska. "Review: Louis Kahn: The Power of Architecture." Journal of the Society of Architectural Historians 73, no. 2 (June 1, 2014): 300–302. http://dx.doi.org/10.1525/jsah.2014.73.2.300.

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16

DesBrisay, Lloyd L. "Yale University Art Gallery: Louis I. Kahn." Journal of Architectural Conservation 13, no. 2 (January 2007): 69–86. http://dx.doi.org/10.1080/13556207.2007.10784996.

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17

Montes Serrano, Carlos. "Louis Kahn en la costa de Amalfi (1929)." Ra. Revista de Arquitectura 7 (May 11, 2018): 19–30. http://dx.doi.org/10.15581/014.7.25928.

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En 1929, durante su primer viaje a Italia, Louis Kahn visitó varias localidades de la Costiera Amalfitana: Positano, Ravello, Atrani y Amalfi; realizando un amplio conjunto de acuarelas y dibujos. Aunque todos ellos fueron recogidos en 1991 en el catálogo de Jan Hochstim, no se logró entonces identificar las localidades y lugares concretos en que fueron realizados estos apuntes. En 1996, con ocasión de una exposición realizada en Chicago y Nueva York sobre los dibujos de viaje de Kahn, se ofreció información exacta sobre el lugar en el que fueron realizados diez de estos dibujos. En el presente artículo se identifican otros siete apuntes más y se ofrece información más precisa sobre los anteriores. Junto con estos datos, se analizan las intenciones de Kahn al realizar estos dibujos, su estilo gráfico, las influencias concretas de las técnicas y modos de representación popularizados en la segunda mitad de los años veinte en los Estados Unidos, y la posible repercusión de estos dibujos de viaje en los proyectos que desarrollaría en su madurez.

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18

Kornblatt, Izzy. "Louis I. Kahn and the Frank Furness Connection." Pennsylvania Magazine of History and Biography 145, no. 3 (2021): 266–304. http://dx.doi.org/10.1353/pmh.2021.0012.

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19

Hartoonian, Gevork. "Louis I Kahn @ 40s: Architecture in the 1950s." Architectural Theory Review 13, no. 1 (April 2008): 3–28. http://dx.doi.org/10.1080/13264820801915096.

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20

Ashraf, Kazi K. "Louis I. Kahn: The Making of a Room." Journal of Architectural Education 63, no. 1 (October 2009): 141–42. http://dx.doi.org/10.1111/j.1531-314x.2009.01037.x.

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21

Golinelli, Paola. "Different Architectures of Creativity: Louis and Nathaniel Kahn." Psychoanalytic Quarterly 83, no. 2 (April 2014): 441–64. http://dx.doi.org/10.1002/j.2167-4086.2014.00098.x.

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22

James, Stephen. "The Menil Connection: Louis Kahn and the Rice University Art Center." Journal of the Society of Architectural Historians 69, no. 4 (December 1, 2010): 556–77. http://dx.doi.org/10.1525/jsah.2010.69.4.556.

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Stephen James tells the story of a great unrealized project in The Menil Connection: Louis Kahn and the Rice University Art Center. Kahn, Rice, and the art collectors John and Dominique de Menil collaborated in this unusual venture, which, among other things, would have housed the de Menil art collection on the Rice campus. The project embodied Kahn's approach to designing an institutional landscape, interwoven with the smaller spaces that he judged were essential for teaching and learning. Its abandonment was the genesis of the independent Menil Collection, for which Kahn also prepared a design, but which was ultimately built by Renzo Piano.

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23

Brownlee, David B. "Review: The Louis I. Kahn Archive Personal Drawings: The Completely Illustrated Catalogue of the Drawings in the Louis I. Kahn Collection, University of Pennsylvania and Pennsylvania Historical and Museum Commission by Louis I. Kahn." Journal of the Society of Architectural Historians 49, no. 2 (June 1, 1990): 227–28. http://dx.doi.org/10.2307/990488.

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24

Zanni, Fabrizio. "Kahn e i suoi archetipi." TERRITORIO, no. 60 (March 2012): 117–19. http://dx.doi.org/10.3280/tr2012-060021.

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The inclusive principle, and the wall principle in particular, constitute one of the foundations of Louis Kahn's theoretical and construction work. From the primordial meaning of delimitation and the separation of different regions of space, the "wall' in Kahn's works acquires further and more sophisticated qualities, becoming a diaphragm, consisting of sequences of different wall principles: an ‘inhabited' or inhabitable wall, a spatial interspace. In other cases the wall principle is a device which determines the "poetic" relationship between "light" and "silence". In other works and theoretical thinking, the wall principle is deformed to the point where it accommodates inhabitable spaces within it, genuine "rooms", with or without roofs, based on the original idea of a column which expands to include space. For Kahn, a column, a sequence of columns, and a wall all belong to the same device and principle.

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25

Galván Desvaux, Noelia. "Louis I. Kahn y la Casa Solar. 1945-1947." EGA Revista de expresión gráfica arquitectónica 14, no. 14 (May 5, 2009): 222. http://dx.doi.org/10.4995/ega.2009.10259.

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26

Burton, Joseph A. "The Aesthetic Education of Louis I. Kahn, 1912-1924." Perspecta 28 (1997): 204. http://dx.doi.org/10.2307/1567205.

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27

Alba Dorado, María Isabel. "La habitación imaginaria de Louis I. Kahn: aproximaciones a su proceso creativo." Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, no. 7 (May 1, 2019): 19–31. http://dx.doi.org/10.31921/constelaciones.n7a1.

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Existe un lugar imaginario que precede y en el que se asienta la actividad creativa de Louis I. Kahn. Éste, en su deseo de infundir realidad sensible a todo lo imaginario, dejó constancia de este lugar a través de un dibujo que tituló The Room. Kahn pensó en esta habitación imaginaria como ese lugar en el que desarrollar los ajustes entre pensamiento y realidad, entre idea y materia. En ella hizo emerger, desde el fondo oscuro de su pensamiento, ese mundo de las ideas para acercarlas a la luz de una realidad constructiva y material que las convirtiese en algo tangible y real. En el desarrollo de este artículo nos proponemos desvelar este complejo universo imaginario de Kahn con el objetivo, no solo de conocer más en relación a su pensamiento arquitectónico, sino sobre todo, de desvelar aspectos acerca de su proceso creativo.

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28

Shih, Chih-Ming, Fang-Jar Liou, and Robert E. Johanson. "The Tectonic Integration of Louis I. Kahn′s Exeter Library." Journal of Asian Architecture and Building Engineering 9, no. 1 (May 2010): 31–37. http://dx.doi.org/10.3130/jaabe.9.31.

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29

García Rubio, Rubén. "(Ancient) Modern Architectural Theory: The Work of Louis I. Kahn." Linguistics and Literature Studies 5, no. 2 (March 2017): 105–13. http://dx.doi.org/10.13189/lls.2017.050206.

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30

Robert Twombly. "And I Also Saw the Movie: Looking at Louis Kahn." Reviews in American History 36, no. 3 (2008): 421–25. http://dx.doi.org/10.1353/rah.0.0029.

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31

Giacomini, Lorenzo. "The Room: la meraviglia dell'inizio. Architettura e archetipo in Louis I. Kahn." TERRITORIO, no. 60 (March 2012): 129–37. http://dx.doi.org/10.3280/tr2012-060023.

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Like a shining shadow, Louis Kahn's poetry is found in all his works, both built or just designed. In his conferences, Kahn formulates thoughts that often touch on notes of poetry, the sacred, or a mystic science of cosmos where the architect becomes a narrator of our origins. It is not, however, a question of simple cultural ornament, or a search for consensus, but a free inner necessity which produces expression, creation and design, and which translates into categories that literally materialise as architectural forms. ‘The Room', a 1971 sketch which shows the mind of this great ‘Philosopher by nature' like a stage, is an emblem of the original node that joins matter and spirit, which binds architecture and thought, architecture and archetype, well beyond the limits of Louis Kahn's personal experience.

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32

Saraiva, Alexandra. "HESTNES FERREIRA’S PROPOSAL FOR AMSTERDAM CITY HALL COMPETITION − ANALYZED IN CONTINUITY WITH LOUIS KAHN." JOURNAL OF ARCHITECTURE AND URBANISM 44, no. 2 (October 13, 2020): 138–44. http://dx.doi.org/10.3846/jau.2020.12713.

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The end of the modern movement and the definitive realization of postmodernism installed a period of transition, full and diverse interpretations that overlap with new rationalities and build new ways of problematizing architecture, in the late 1960s. In 1967, the municipality of Amsterdam organized an international competition for its new City Hall. This competition corresponds to a critical moment for the internationalization of Portuguese architects during the period of the Portuguese dictatorship. The analysis focuses only on the proposal of the architect Hestnes Ferreira, who studied and worked with Louis Kahn. The analysis carried out on the project highlights the formal links between the two architects: the interpretation of the concept of Institution; the large central space and the entrance; the order or hierarchy of spaces; served spaces, servant spaces; materiality; natural light; and, finally, monumentality. The objective of this article is to show how Hestnes Ferreira’s proposal projects in continuity with Louis Kahn. This article is part of the ongoing Postdoctoral research (2015−2021).

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33

Salamonowicz, Michał. "MIKROBIOLOGICZNE KOMPLEKSY NAUKOWE WEDŁUG LOUISA KAHNA." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 7, no. 1 (December 20, 2011): 177–82. http://dx.doi.org/10.35784/teka.2487.

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Louis Kahn, jeden z najwybitniejszych architektów XX w., uznawany jest za ojca współczesnych mikrobiologicznych kompleksów naukowych. Jego realizacje z końca lat 50. i 60. ubiegłego wieku stały się wzorcem dla późniejszych projektów laboratoriów mikrobiologicznych. Kahn w swoich realizacjach wprowadził dwie zasady: zasadę podzielenia funkcji na powierzchnie obsługujące i obsługiwane oraz zastosowanie otwartego planu w laboratoriach. Równocześnie wydzielił poziomy techniczne w celu łatwiejszego dostępu do instalacji technicznych. Jego obiekty są pełne symboliki, a zastosowanie surowych materiałów nawiązaniem do dialogu pomiędzy masą budynku i dynamiczną grą światła.

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34

Goldhagen, Sarah W. "Review: Louis Kahn: The Importance of Drawing and Our Days Are Like Full Years: A Memoir with Letters from Louis Kahn." Journal of the Society of Architectural Historians 81, no. 3 (September 1, 2022): 382–84. http://dx.doi.org/10.1525/jsah.2022.81.3.382.

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35

MAEDA, TADANAO. "THE MEANING OF LIGHT IN LOUIS I. KAHN'S THINKING." Journal of Architecture, Planning and Environmental Engineering (Transactions of AIJ) 377 (1987): 129–39. http://dx.doi.org/10.3130/aijax.377.0_129.

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36

Damaceno, Andre, Thais Espolador, Leonardo Santos, Yohan Turi, and Korina Ap Teixeira Ferreira da Costa. "LOUIS KAHN E A GALERIA DE ARTES DA UNIVERSIDADE DE YALE." COLLOQUIUM HUMANARUM 12, Especial (October 20, 2015): 280–86. http://dx.doi.org/10.5747/ch.2015.v12.nesp.000626.

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37

Johnson, Eugene J. "A Drawing of the Cathedral of Albi by Louis I. Kahn." Gesta 25, no. 1 (January 1986): 159–65. http://dx.doi.org/10.2307/766911.

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38

Jorge Camacho, Cristina. "Conexiones entre las infraestructuras de Louis I. Kahn y el diseño paramétrico." Designia 4, no. 1 (July 24, 2016): 79. http://dx.doi.org/10.24267/22564004.189.

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Este artículo de reflexión es un análisis del artículo Toward a Plan for Midtown Philadelphia, publicado en 1953 por Louis I. Kahn en Perspecta 2, revista de la Universidad de Yale, para estudiar la forma de la ciudad en función de sus flujos a través de siete campos de investigación, con el objetivo de encontrar conexiones con los razonamientos actuales del diseño paramétrico. Independientemente de la planificación urbana, Kahn centra su atención en la velocidad de tráfico, definida como la distancia cubierta por unidad de tiempo, y estudia cómo unificar la etimología de los términos ‘translación’, ‘transferencia’, ‘movimiento’ y ‘metáfora’ mediante técnicas gráficas (los colores, el tamaño de las letras o los signos) e igualmente a través del estudio de la mecánica de fluidos. Utiliza el signo de la flecha para dar presencia a parámetros imposibles de percibir a simple vista a causa de la velocidad y desplaza el tema de la resistencia dedicada a los efectos que una corriente fluida ejerce sobre un cuerpo (un automóvil circulando dentro de un medio fluido, el aire), hacia el tema de la descarga que examina la distribución de los fluidos por tubos (una red de canales que desembocan en otro medio fluido, el agua). Kahn emplea herramientas específicas para analizar y simular la complejidad observada en la naturaleza y después la aplica en las formas estructurales de los edificios y en los patrones de organización urbana, en conexión con el diseño paramétrico cuya búsqueda formal intenta optimizar los objetivos de partida mediante ciertas restricciones en el diseño. Finalmente, en relación con la propuesta de Kahn, Aranda y Lasch publican el libro Tooling, de la serie Pamphlet Architecture, en el cual se incluye el proyecto 10 Miles Spiral, una infraestructura urbana en las Vegas que construye un servicio de descongestión del tráfico y un compacto centro comercial cuya forma helicoidal se generó con algoritmos y puede ser recorrido a 90 km/h. Ambos proyectos proponen nuevas vías de acercamiento a la forma fluida de la ciudad con propósitos sociales y con esta intención, el Plan for Midtown Philadelphia anticipó la visión del contexto como un medio continuo que desmaterializa la forma urbana y libera sus flujos.

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39

Aziza, Melati Rahmi. "Kritik: Masih Relevankah Metode Analogi Bentuk Bagi Arsitektur Sekarang ?" Sinektika: Jurnal Arsitektur 18, no. 1 (January 14, 2021): 7–19. http://dx.doi.org/10.23917/sinektika.v18i1.13292.

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Sebuah kritik atas metode rancang analogi bentuk, terkait konteks yang hendak dicapai dalam perancangan arsitektur. Apakah sensasi yang hendak dikejar? bentuk yang berbeda dan ‘unik’? Ataukah ada pendekatan yang lebih kontekstual? Untuk menjawabya, perlu upaya menilik kembali sejarah, utamanya terkait perkembangan arsitektur yang menggunakan pendekatan analogi bentuk. Studi kasus yang dipilih dari masa Arsitektur Tradisional dan Klasik, hingga periode setelah Gerakan Modern sebagai pembanding, ditelusuri perihal penerapan analogi di masanya. Merujuk pada pemikiran Louis I. Khan bahwa arsitektur muncul tidak hanya untuk kebutuhan praktis dan estetika saja, tetapi juga kebutuhan humanisme bagi masyarakat sekitarnya, sehingga tujuan dari tulisan ini untuk mengkaji kembali bagaimana proses analogi baiknya dapat diaplikasikan ke dalam rancang arsitektur. Artikel ini bertujuan sebagai refleksi diri, apakah dibenarkan penganalogian bentuk bangunan serupa dengan bentuk lemari, telur, mahkota (siger), yang berorientasi sekedar pada tiruan bentuk? Tulisan ini pada akhirnya akan menjawab definisi “analogi” yang lebih sesuai dengan perkembangan dan kebutuhan metode perancangan arsitektur di masa sekarang, dengan meminjam definisi dari Prinsip Louis I. Kahn yang menekankan perwujudan konsep Realization of Form dan Realization of Design menuju tatanan order struktur, order konstruksi, order waktu dan order ruang. Prinsip Kahn dipilih karena penganalogian Kahn yang mengaitkan arsitektur dengan puisi bukanlah sebagai perumpamaan, namun untuk mewakili konsep teoretis. Yang menjadi acuan dapat mewakili konsep teoritis adalah pada kriteria membuat perihal yang tersirat (implicit) menjadi jelas (explicit).

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Searing, Helen. "Review: The Art Museums of Louis I. Kahn by Patricia Cummings Loud." Journal of the Society of Architectural Historians 51, no. 1 (March 1, 1992): 109–10. http://dx.doi.org/10.2307/990658.

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Bravo de Laguna Socorro, Alberto. "Árboles, rostros y arquitectura, convergencias en el dibujo de Louis I. Kahn." EGA. Revista de expresión gráfica arquitectónica 21, no. 28 (September 29, 2016): 168. http://dx.doi.org/10.4995/ega.2016.6086.

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Kahn a lo largo de su vida dibujará arquitectura, paisajes, objetos y otros temas, si recopilamos algunos de estos dibujos diversos y los observamos conjuntamente, en una secuencia ordenada por el tiempo de su ejecución, podemos apreciar a través de ellos evoluciones, períodos y variaciones al dibujarlos. Se observan en ellos coincidencias en técnicas y formas, determinadas por sus referentes plásticos, sus circunstancias personales y fundamentalmente por su concepción de la arquitectura.<br />Para constatar estas relaciones, seleccionamos dos motivos recurrentes en sus dibujos, los árboles y sus autorretratos, en la búsqueda de convergencias gráficas, su presencia constante deja evidencias de una evolución gráfica compartida con su dibujo para la arquitectura.

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Park, Jin-Ho, and Ganzorig Baldanchoijil. "The Superimposition of Circles Cut into Louis I. Kahn′s Building Façades." Journal of Asian Architecture and Building Engineering 13, no. 2 (May 2014): 389–96. http://dx.doi.org/10.3130/jaabe.13.389.

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Ksiazek, Sarah Williams. "Review: Drawn from the Source: The Travel Sketches of Louis I. Kahn." Journal of the Society of Architectural Historians 56, no. 1 (March 1, 1997): 93–95. http://dx.doi.org/10.2307/991218.

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de Arce, Rodrigo Pérez. "On charcoal stains and black shadows: l'architecture d'aujourd'hui and Louis I. Kahn." Architectural Research Quarterly 2, no. 2 (1996): 96–98. http://dx.doi.org/10.1017/s1359135500001329.

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McCarter, Robert. "Aldo van Eyck and Louis I. Kahn: Parallels in the Other Tradition of Modern Architecture." ZARCH, no. 10 (July 19, 2018): 44–61. http://dx.doi.org/10.26754/ojs_zarch/zarch.2018102929.

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In September 1959, at the invitation of Alison and Peter Smithson, the American architect Louis I. Kahn (1901-1974) attended the 11th and last Congrés Internationaux d’Architecture Moderne (CIAM) conference held at Henry van de Velde’s Kroller-Muller Museum in Otterlo, the Netherlands. There he met the Dutch architect Aldo van Eyck (1918-1999), founding member of Team 10, the successor of CIAM that emerged at the end of this conference. The paths of these two architects – the Second-Generation modernist Kahn, then 58 years old, and the Third-Generation modernist Van Eyck, then 40 years old – parallel in so astonishingly many ways, crossed here for the first time, deeply affecting them both at a time of critical transition in their respective practices and thought.

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Leatherbarrow, David. "The Beginning of the Beginning: Kahn and Architectural Education in Philadelphia." For an Architect’s Training, no. 49 (2013): 58–63. http://dx.doi.org/10.52200/49.a.4qo5psv5.

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Paul Philippe Cret was one of Penn’s greatest teachers and one of the city’s greatest architects. Louis I. Kahn, the University’s most well–known teacher, was one of Cret’s students. Holmes Perkins, educated at Harvard under Walter Gropius, reshaped the School and changed its orientation. The key task of the three architects was to articulate a new understanding of what is specific to the discipline, recreating its professional and intellectual center and orientation. This would not require the replacement or elimination of what had been developed in the preceding years; instead the task was to augment it with a more focused sense of what architecture itself is all about.

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Tyng, Anne Griswold. "In Response on Topology and Organicism in the Work of Louis I. Kahn." Perspecta 31 (2000): 81. http://dx.doi.org/10.2307/1567255.

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Choudhury, Bayezid Ismail. "Jatio Sangsad Bhaban or National Assembly Building and Sustainability." Journal of Engineering Science 11, no. 2 (December 22, 2020): 127–32. http://dx.doi.org/10.3329/jes.v11i2.50904.

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Designed by American architect, Louis I. Kahn, the Jatio Sangsad Bhaban (JSB) or National Assembly Building of Bangladesh is a world-renowned iconic building situated in Bangladesh. Louis I. Khan was commissioned to design the JSB during the period before the term ‘sustainable’ was coined. In sustainable term it has controversial standing due to its cost, social and participatory aspects. However, it still stands as one of the masterpieces that represent hope and aspiration of the people of Bangladesh. This paper intends to look at the JSB through the lens of ‘sustainability’ to ascertain the degree of sustainability it has or has not achieved considering three tenets of sustainability, namely environmental, social and economic. Journal of Engineering Science 11(2), 2020, 127-132

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Binkowski, Kraig. "Light and wood: An intimate and human space within the art libraries of Louis I. Kahn." Art Libraries Journal 43, no. 1 (December 8, 2017): 16–23. http://dx.doi.org/10.1017/alj.2017.43.

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In the libraries of the Yale Center for British Art and the Kimbell Art Museum, Louis I. Kahn created spaces and atmospheres that are particularly conducive to reading about and viewing art. In these rooms, natural light combines with sympathetic materials and forms a timeless dance with thought and contemplation. This paper focusses on the unique library carrels which form the physical bridge between light and dark, inside and outside, and constitute a microcosm of Kahn's thoughts about reading, libraries and museums.

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Ksiazek, Sarah. "Architectural Culture in the Fifties: Louis Kahn and the National Assembly Complex in Dhaka." Journal of the Society of Architectural Historians 52, no. 4 (December 1, 1993): 416–35. http://dx.doi.org/10.2307/990866.

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This article explores the architectural culture of the fifties and analyzes Louis Kahn's responses, as reflected in his project for the National Assembly complex, now called Sher-e-Bangla Nagar in Dhaka, Bangladesh. After World War II, architects and social critics became increasingly distressed by the apparent erosion of community and rise of mass culture. Major architectural trends such as the new monumentality, humanism, and regionalism, were attempts to arrest this erosion and to facilitate the reconstruction of communal life. Analysis of Kahn's intellectual development from the mid-fifties to the early sixties demonstrates that he was influenced by these movements and shared these concerns. This is reflected in his design for the National Assembly complex, which became a forum in which Kahn addressed these particularly western dilemmas.

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