Tesis: "Louis Kahn"

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Esenwein, Frederick. "The Organic Imagination and Louis Kahn". Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/32120.

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This thesis investigates the relationship between architecture, Romanticism, American Transcendentalism, myth, and religious mysticism in the ideas of the American architect, Louis Kahn. Part One builds a chronology from Hermeticism and Jewish mysticisms into German Romanticism and how they played a role in the world of Kahnâ s parents shortly before his birth. The first chapter looks at mysticism and how it resonates with Kahnâ s descriptions of silence and light. The second chapter outlines the transition from rational aesthetics during the German Enlightenment into German Romanticism. This exposes the beginning of organicism as a way of seeing the world as a growth from a mythic image towards a physical manifestation made by artists and poets. In chapter three, the ideas from Romanticism inspire a philosophical and political movement for independence and cultural expression in the native region of Kahnâ s parents. Part Two concentrates on the American approach to Romanticism via Transcendentalism and how Transcendentalism influenced Kahnâ s childhood education in Philadelphia. It shows how the ideas of German Romanticism influenced English literature and criticism, especially Coleridgeâ s theories of organicism and literary criticism. Chapter four presents how the American Transcendentalists correlated the mind and imagination to an organism. In chapter five, we see how Transcendentalismâ s aesthetic theory influenced the Public Industrial Arts School of Philadelphiaâ s approach to teaching art. Louis Kahn attended this school. The final chapter deciphers Kahnâ s ideas, such as â form and design,â â material as spent light,â â measurable and unmeasurable,â â law and rule,â â order,â and â nature.â Within the framework of Romanticism and American Transcendentalism, these ideas become intelligible and an enriching approach to understand his architecture.
Master of Science

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2

Rodell, Sam. "The influence of Robert Venturi on Louis Kahn". Online access for everyone, 2008. http://www.dissertations.wsu.edu/Thesis/Spring2008/S_Rodell_042508.pdf.

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3

Senbabaoglu, Bilge. "Understanding lighting in architecture of Louis I. Kahn /". free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422963.

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4

Margalith, Dana. "Louis I. Kahn - Architectural history as mediation". Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121259.

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Louis I. Kahn - Architectural History as Mediation investigates the work of one of the most active architects of the 20th century who has been acknowledged by scholars as a modern thinker and architect, but is also known for his interest in history, and the clear references to historical precedents in his work. In studying Kahn's architectural training, writings, readings, travel experience, personal contacts, the context in which he practiced, and through investigating his personal drawings and two of his design projects, Kahn's layered approach to architectural history is unveiled.In describing the architectural context of Kahn's education and work, this thesis deals with important aspects of architectural thought and making, which Kahn was exposed to, and sheds light on the motivation behind Kahn's unique philosophical quest. When investigating Kahn's drawings done during his travelling experiences, the manner in which he embodied historical sites becomes apparent. Studying archival material it tracks Kahn's studies of architectural references, and analyzing his architectural drawings and designs for the Dominican Motherhouse of St. Catherine de Ricci, Media, Pennsylvania (1965-1969, un-built) and the Hurva Synagogue in the Old City of Jerusalem (1967-1974, un-built) it exemplifies the poetic references made by his projects to historical precedents - all while concentrating on hermeneutic and phenomenological concepts relating to perception, memory and understanding of the past.Thus, through Kahn, this dissertation addresses the contextual debate regarding the use of historical references in modern architecture from the 18th century up until the postmodern era, and deals with the importance of continuity of references in the age of fragmentation. Louis I. Kahn - Architectural History as Mediation reveals the possible intricate potential lying in the consideration of tradition and history in modern architecture, and sheds light on suitable endeavors in architectural thought and making which at once integrate historical references and promote originality and progress - both fundamental for innovative poetic architectural expressions.
Dans Louis I. Kahn – L'histoire de l'architecture comme médiation, on explore le travail de l'un des architectes le plus actifs du 20e siècle. Il a été reconnu par les intellectuels pour son rôle d'architecte et de penseur moderne, ainsi que pour ses recherches en histoire et ses références aux œuvres historiques importantes. En étudiant Kahn et son éducation, sa formation en architecture, ses écrits, lectures, voyages, contacts personnels, le contexte dans lequel il travaillait, en plus d'examiner ses dessins personnels et deux de ses projets de design, on comprend son approche de l'architecture sous plusieurs angles. En décrivant le contexte dans lequel Kahn a été éduqué et dans lequel il a pratiqué son métier, la thèse traite d'importants aspects de la pensée et pratique architecturale auxquels Kahn a été exposé, dévoilant ainsi les motivations derrière sa quête philosophique unique. En examinant les dessins de Kahn, la manière dont il incarne les sites historiques qu'il a vus durant ses voyages devient apparent. À travers l'étude du matériel d'archives, la trace des références architecturales que Kahn a étudiées devient visible. Ainsi, dans ses dessins et la conception architecturale pour le Dominican Motherhouse de St. Catherine de Ricci, Media, Pennsylvanie (1965-1969, jamais construit) et le Hurva Synagogue dans la vieille ville de Jérusalem (1967-1974, jamais construit), les références poétiques aux œuvres historiques que sont ses projets sont clairement illustrées, tout en soulignant des concepts herméneutiques et phénoménologiques en relation avec la perception, la mémoire et la compréhension du passé. Par conséquent, à travers Kahn, cette thèse examinera le débat contextuel concernant l'usage de références historiques dans l'architecture moderne du 18ième siècle jusqu'au postmodernisme, et abordera l'importance de la continuité des références dans l'âge de fragmentation. Louis I. Kahn – L'histoire de l'architecture comme moyen de médiation dévoilera le complexe potentiel dans l'étude de la tradition et l'histoire de l'architecture moderne. Elle éclairera les efforts acceptables dans la pensée et la pratique de l'architecture qui intègrent des références historiques et promeuvent l'authenticité et le progrès – deux éléments fondamentaux de l'expression architecturale poétique et innovatrice.

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5

Lorentz, Rafael de Conti. "A qualidade espacial na obra de Louis I. Kahn". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142992.

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Essa dissertação apresenta um estudo analítico sobre a obra do arquiteto Louis I. Kahn, desde o ponto de vista da sua qualidade espacial, compreendida esta no modo como ocorre a interação entre espaço e usuário. Foram selecionados três edifícios como estudos de caso capazes de representar a síntese evolutiva da concepção de espaço ao longo da obra de Kahn, os quais foram submetidos a uma análise empírica baseada na experiência espacial do observador em movimento, lançando mão de um conjunto de ferramentas no assim denominado método do observador. Os edifícios estudados viabilizam o desenvolvimento de análises que abrangem desde as primeiras obras de Kahn, na década de 1930, até o seu falecimento, em 1974. A análise realizada registra o desempenho dos edifícios em termos de sua legibilidade e funcionalidade, compreendidas como qualidades inerentes ao espaço e ao modo como este condiciona a experiência do usuário, relacionandoas à concepção espacial do edifício. Procura-se ampliar a compreensão dos resultados obtidos à luz da evolução da obra teórica do autor, traçando relações de causa e efeito entre esta e os fenômenos registrados na realidade concreta dos edifícios. O trabalho busca ainda ampliar a compreensão da relação da obra de Kahn com o contexto da produção arquitetônica de sua época, investigando as influências que recebe e as contribuições que oferece, especialmente no que tange à continuidade da arquitetura moderna.
The present dissertation is as an analytical study about the work of architect Louis I. Kahn, focusing on its spatial quality, as funded in the interaction between space and people in motion. Three buildings were selected as case studies in order to capture the evolutionary synthesis of space conception happened during Kahn’s career. Each building was submitted to an empirical scrutiny based upon the spatial experience of a moving observer, using a set of tools named as the “method of the observer”. The buildings investigated are put in relation with other Kahn’s buildings, so allowing the development of an analytical discourse embracing since his first works, in the 1930’s, until his death, in 1974. The analysis registers the performance of the buildings in terms of their legibility and their functionality, both understood as qualities inherent to space and the way they shape the user’s experience, so relating them to the building’s spatial conception. The dissertation intends to enlarge the understanding of the findings by considering the evolution of Kahn’s theoretical work, so bringing cause-effect connections between theory and the registered phenomena in the concrete reality of buildings. Eventually, this study aims to enlarge the understanding of the link between Kahn’s work and the architectural environment of the time, so exploring the influences he received and contributions he gave, especially concerning the evolution of modern architecture.

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6

Ho, Jeffrey Kiat. "The philosophy of Louis I. Kahn and the ethical function of architecture". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0004/MQ43979.pdf.

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Pagliara, Sally F. "The understanding and the application of the "unmeasurables" of Louis I. Kahn". Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23422.

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8

Weber, Bendicht. "La structure, une question d'architecture : Louis I. Kahn 1944-1974". Paris 8, 2002. http://www.theses.fr/2002PA082161.

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La thèse étudie les positions successives de Kahn à l'égard de la question de la structure. Elle analyse ce qui apparaît comme un véritable travail d'investigation développé au cours de trente ans de pratique et d'exercice (1944-1974). Les documents permettant de cerner l'implication de Kahn dans les débats contemporains, les rapports qu'il établit avec l'Histoire, les dessins de projet, les maquettes d'étude et les édifices sont examinés en tant que témoignages d'un travail d'architecture et d'une entreprise intellectuelle. L'étude est centrée sur l'analyse comparative des projets, des variantes et des variations de leurs thèmes, qui vise à faire apparaître les déplacements et l'enrichissement de l'approche théorique de l'architecte par les échanges et débats continus avec les ingénieurs et les collaborateurs. Ainsi la pratique de Louis I. Kahn, étudiée à l'aune de la question de la structure, restitue la démarche intellectuelle de l'architecte
This thesis studies the successive positions of Kahn with regard to the question of structure. It is an analysis of what appears as a true work of investigation, developped over thirty years of pratice and experience (1944-1974). Documents that allow to grasp Kahn's implications in contemporary debates and his attitude toward history, his working drawings, study models and buildings are examined as testimonies of a work of architecture as well as of an intellectual undertaking. Centered on the comparative analysis of designs and of variants or variations of their themes, the research aims to demonstrate how the theoretical approach shifts and is enriched by continuous exchange with engineers and collaborators. Louis I. Kahn's working practice, studied under the light of the question of structure, reveals in this way the intellectual process of the architect

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9

Bhatt, Ritu. "Louis I. Kahn and the organic tradition in American architecture". Kansas State University, 1993. http://hdl.handle.net/2097/36025.

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Morshed, Adnan Zillur. "Dialectics of vision : the voyages of Louis I. Kahn, 1950-59". Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/68769.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1995.
Includes bibliographical references (p. 110-115).
Kahn's genre of travel sketches offers us a visual basis to map his philosophical meandering. This thesis addresses the sketches produced from Kahn's voyages around the Mediterranean in 1950-51 and 1959 with an aim to understanding the premises that underlie them. During the trips, Kahn conjectured in his graphic oeuvre a dialogical method with the built forms of antiquity. On the one hand, he sought answers to his architectural and epistemological questions to these buildings; at another level, he re-contextualized the buildings in an imagined landscape that would in tum inform his imperatives. The sketches also permit an interesting theoretical commentary as they parallel Kahn's emergence into active architectural career in the fifties. At first encounter, some of them seem to be perplexing, but once extended into the context in which Kahn operated, they reveal an interwoven terrain of concepts that would continuously flower. There is no doubt that in his travel sketches Kahn was fighting a protracted battle about his architecture and that he benefited from the buildings of the past--but mostly at an epistemological level. Kahn raised questions on architecture that could have not been addressed by a formal retrieval of history. In that sense Kahn's travel sketches reappraise and re-propose the lessons of history.
by Adnan Zillur Morshed.
M.S.

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11

Boyer, Jean Marie. "Psychanalyse et architecture : un regard insolite sur Louis Kahn et Le Corbusier". Paris 8, 2014. http://www.theses.fr/2014PA084071.

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Toute architecture est effet d’un sujet/architecte. La psychanalyse peut éclairer la dialectique nouée entre œuvres tangibles et sources subjectives, les trajectoires de Louis Kahn 1901-1974 et Le Corbusier 1887-1965, illustrent cette thèse. L’étude des périodes primordiales et de l’entrée en architecture dessinent les contours d’Un sujet/architecte. Comme divisé, il est vecteur de manifestations de l’inconscient perceptibles dans ses Ecrits essentiels et durant ses voyages initiatiques. Avec la psychanalyse sont relevés des indices de traits psychiques, auxquels sont assujetties les praxis, situant L. Kahn au champ de la névrose et Le Corbusier de la psychose, hors considérations cliniques. L’analyse de leurs projets manifeste chez l’un l’insistance de deux signifiants, lumière et masse, et chez l’autre des images de volumes géométriques, repérables depuis leurs petites enfances. La praxis Kahnienne s’origine d’un fantasme - $$<˃a - où l’objet a conjugue lumière et masse. Le Corbusier, quant à lui, soumit à une lourde pulsion scopique fait de l’architecture « le jeu [. . . ] des volumes assemblés sous la lumière ». L’architecture de L. Kahn associe ses objets causes du désir à d’autres recherchés chez l’Autre. L’usage y passe avant le design, elle est in finissable et établie sur le mode de la condensation. Le Corbusier élabore des standarts - objets universels, mortifiés, destinés à un homme type imaginaire sensible à une jouissance scopique universelle créée par l’assemblage des objets qu’il tient « dans sa poche ». A travers deux sujets/architectes, la psychanalyse met en évidence les enjeux de l’architecture entre esthétique, usages, et pertinence dans la culture. Al architecture is produced by a subject/architect. Psychoanalysis can illuminate the dialectic established between tangible works and the subjective sources, trajectories of Lois Kahn and Le Corbusier (1901-1974, 1887-1965) illustrate this thesis. The study of primordial periods and those of entry into architecture draw the contours of the singularity of the subject as architect. As divided he is the place of manifestations of the unconscious noticeable in his essential writings and during his initiatory journeys. With psychoanalysis are indicated some indices of psychological traits. They influence architectural works and allow situating L. Kahn in the field of neurosis - and Le Corbusier in psychosis. The analysis of their projects is showing in Kahn architecture the insistence of two signifiers - the light and the mass - and in the one of Le Corbusier the images of geometric volumes, identifiable since their childhoods. Kahn’s praxis originates a fantasy - [symbole du dollar]<˃a - where the object a combines the light and the mass. Le Corbusier, meanwhile, submits a heavy scopic drive feels architecture as “game […] of volumes brought together under light. ” The architecture of Louis Kahn combines its own cause’s objects of desire with others found in the Other. The use going on before aesthetics. Le Corbusier develops universals objects, mortified, he calls “standarts”. They must satisfied an imagined man, sensitive to universal scopic enjoyment created by assembling of objects he hold “in is pocket”
Al architecture is produced by a subject/architect. Psychoanalysis can illuminate the dialectic established between tangible works and the subjective sources, trajectories of Lois Kahn and Le Corbusier (1901-1974, 1887-1965) illustrate this thesis. The study of primordial periods and those of entry into architecture draw the contours of the singularity of the subject as architect. As divided he is the place of manifestations of the unconscious noticeable in his essential writings and during his initiatory journeys. With psychoanalysis are indicated some indices of psychological traits. They influence architectural works and allow situating L. Kahn in the field of neurosis - and Le Corbusier in psychosis. The analysis of their projects is showing in Kahn architecture the insistence of two signifiers - the light and the mass - and in the one of Le Corbusier the images of geometric volumes, identifiable since their childhoods. Kahn’s praxis originates a fantasy - [dollar sign]<˃a - where the object a combines the light and the mass. Le Corbusier, meanwhile, submits a heavy scopic drive feels architecture as “game […] of volumes brought together under light. ” The architecture of Louis Kahn combines its own cause’s objects of desire with others found in the Other. The use going on before aesthetics. Le Corbusier develops universals objects, mortified, he calls “standarts”. They must satisfied an imagined man, sensitive to universal scopic enjoyment created by assembling of objects he hold “in is pocket”

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12

Islam, A. K. M. Zahidul. "Linear multimedia for form and geometry analysis : a case study of Louis I. Kahn's National Assembly Building /". free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422933.

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13

Villa, Carrero Juan Manuel. "Obra seminal de Anne Griswold Tyng (1951-1953) y su relación con Louis Isadore Kahn : la búsqueda por integrar espacio y estructura a partir de la geometría de la materia". Doctoral thesis, Universitat Politècnica de Catalunya, 2021. http://hdl.handle.net/10803/671508.

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The emergency of complex phenomena in our time has forced creators to reconnect knowledge in design, since at the moment, most of them have fragmentary and hyper specialized inertia. Due to this, nowadays, in architecture the interest for hidden or little-known historic figures, related to science and technology, that for years looked for answers of design within the interconnection of different dimensions of reality, especially in conjunction with models of generative systems. This condition or problem on the daily chore allows us to approach to more general topics around the way man comes into contact with ideas and how it materializes them. In this case, the specific interest lies in how this happens in the architecture of the North American Northeast, or more exactly in the North American derivations of European theories, around the middle of the 20th century. That is, the moment in which there was a traffic of figures of science and technology between Europe and North America, which nurtured the architecture. Specifically, this text is interested in the figure of the architect A. G. Tyng, who maintained a strong professional and personal relationship with L. I. Kahn, one of the most notable figures of twentieth-century architecture. In this way, the initial concern was; how did she reconnect knowledge and how she materialized her seminal work between 1951 and 1953? Then, the objective of this thesis is to decipher the set of norms and rules that make up the practical theoretical world of A. G. Tyng, through the exegesis of his seminal work between 1951 and 1953, and his special relationship with L. I. Kahn. The answer to our research question was constructed from a qualitative descriptive-critical view, in which the inductive inferences, the abduction and methodologic empiricism prevailed. The physical description was privileged in this document, thanks to its presence in the present, what allowed it we face the theory and phenomena manifesto, as well as its comprehension and its internal laws’. Couple with the above, it is important to highlight that this thesis approached a different angle than usual, and at the same time, opened a space of historiographical experimentation where the hypotheses of these great stories were tested. The results of the study indicated how the ideal of progress, coupled with science and technology in the mid-20th century United States, fueled a traffic of ideas between the professional and educational worlds. This generated a readjustment in the reductive and totalizing architectural models, dominant at that time, a fact that guided A. G. Tyng in the process of articulating fragmented knowledge in disciplines or fields of knowledge towards interdisciplinary and transdisciplinary reflexive models close to generative systems. Namely, it helped her in her search for tomorrow's structures. In conclusion, this process contributed to the construction of a new critical path for architecture and provided evidence to rearrange the history of L. I. Kahn, one of the great figures of architecture. He also delegated to us the bases of the visionary theories of A. G. Tyng, which represents an invaluable collection for research interested in the affinity to numbers and their similarity with computer-aided design logics or their similarity with design, close to the scientific paradigm or complex thought.
La emergencia de los fenómenos complejos en nuestro tiempo ha obligado a los creadores a reconectar conocimientos en el diseño, ya que, actualmente, muchos presentan una inercia fragmentaria e hiperespecializada. En razón a esto, en la arquitectura se ha despertado hoy día el interés por las figuras históricas ocultas o poco conocidas, próximas a la ciencia y a la tecnología, que por años buscaron respuestas de diseño en la interconexión de distintas dimensiones de lo real, especialmente en conexión con modelos de sistemas generativos. Esta condición o problemática en el quehacer investigativo nos permite aproximarnos a temas más generales en torno a la forma en que el hombre entra en contacto con las ideas y cómo las materializa. En este caso, el interés específico radica en cómo sucede esto en la arquitectura del noreste norteamericano, más exactamente en las derivaciones norteamericanas de las teorías europeas, alrededor de la mitad del siglo XX; esto es, el momento en el cual sobrevino un tráfico de figuras de la ciencia y la tecnología entre Europa y Norteamérica, que nutrió la arquitectura. De manera puntual, este documento se interesa en la figura de la arquitecta Tyng quien mantuvo una fuerte relación profesional y personal con Kahn, una de las figuras más notables de la arquitectura del siglo XX. De esta manera, la inquietud inicial fue: ¿Cómo reconectó ella conocimientos y cómo materializó su obra seminal entre 1951 y 1953? Luego, el objetivo de esta tesis es descifrar el conjunto de normas y reglas que conforman el mundo teórico práctico de Tyng ¿a través de la exégesis de su obra seminal entre 1951 y 1953¿ y su especial relación con Kahn. La respuesta a esta pregunta de investigación fue construida a partir de una visión cualitativa descriptiva-critica, en la que primaron las inferencias inductivas, la abducción y el empirismo metodológico. La descripción física fue privilegiada en este documento, gracias a su existencia en el presente, lo que permitió enfrentar la teoría y el fenómeno manifiesto, así como su comprensión y la de sus leyes internas. Aunado a lo anterior, es importante resaltar que esta tesis abordó un enfoque distinto al habitual y a la vez abrió un espacio de experimentación historiográfica en el que las hipótesis de esas grandes historias fueron puestas a prueba. Los resultados del estudio indicaron cómo el ideal de progreso, unido a la ciencia y a la tecnología en los Estados Unidos de mediados del siglo XX, alimentaron un tráfico de ideas entre el mundo profesional y educativo. Este generó un reajuste en los modelos arquitectónicos reductivos y totalizantes, dominantes en ese tiempo, hecho que dirigió a Tyng en el proceso de articular los conocimientos fragmentados en disciplinas o campos de saber hacia modelos reflexivos interdisciplinarios y transdisciplinarios cercanos a los sistemas generativos. A saber, la ayudó en su búsqueda de las estructuras del mañana. En conclusión, este proceso contribuyó en la construcción de un camino crítico nuevo para la arquitectura y aportó pruebas para reacomodar la historia de Kahn, una de las grandes figuras de la arquitectura. Así mismo, nos mostró las bases de las visionarias teorías de Tyng, lo que representa un acervo invaluable para las investigaciones interesadas por la afinidad al número y por su similitud con las lógicas de diseño asistido por ordenador o por su semejanza con el diseño, cercano al paradigma científico o al pensamiento complejo.

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Gill, Sukhtej Singh. "A study of the characteristics of natural light in selected buildings designed by Le Corbusier, Louis I. Kahn and Tadao Ando". [College Station, Tex. : Texas A&M University, 2006. http://hdl.handle.net/1969.1/ETD-TAMU-1727.

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Ali, Zainab Faruqui. "Environmental performance of the buildings designed by the modern masters in the tropics : architecture of Le Corbusier and Louis I. Kahn in India and Bangladesh". Thesis, Open University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340710.

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Layne, Jared Demetrius. "A Market for Barcelona". Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/72955.

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This thesis confronts the possibility of an architecture which limits and reveals, freedom for a way to live, for the activities of man which are vital to a good life. An architecture which is investigated and projected through making. Architecture Separates and makes Distinct, while finding meaningful connection. The work of drawing here attempts to project an architecture which is vital to man, by providing a connection to the activities of Man, in which the spirit of their beginning is recaptured and renewed through a reimagining of the Institutions of Man. Where a sense of Wonder is imperative, and the sense of the eternal in architecture is cultivated. One where a renewal is possible and sense of the cosmos is more evident. On the Threshold of 'Where the desire to express meets the possible' (Kahn) using architectural form. Awareness What is the form? Beginning with the room
Master of Architecture

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17

Dogan, Fehmi. "The role of conceptual diagrams in the architectural design process case studies of the First Unitarian Church by Louis Kahn, the staatsgalerie by Stirling & Wilford Associates, and the Jewish Museum by Daniel Libeskind /". Diss., Georgia Institute of Technology, 2003. http://hdl.handle.net/1853/5398.

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Escorihuela, Vitales Mamen. "Colindancias : estudio de las relaciones de forma entre edificios contiguos". Doctoral thesis, Universitat Politècnica de Catalunya, 2016. http://hdl.handle.net/10803/386571.

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Urban architectural proposals arouse a false dilemma between complying site laws or preserving design autonomy. This thesis studies formal relations of projects wherein urban identity prevails, without compromising design at all. lt focuses on different architects working on sites with demanding adjoining relations for different reasons:adjacent building complexities, urban constraints, the need for connection ... Le Corbusier, Alvar Aalto, Ame Jacobsen, Louis Kahn, and George Bunshaft, authors of analyzed projects, had reached professional maturity when they undertook these works: they had managed to develop its own systems of resources and strategies, continually improved, and printed a distinctive personal stamp on everything what they produced. However, the common feature of the selected works is that they represent a new or somehow abnormal situation, with respect to their usual modus operandi: Dr. Curutchet House, La Plata (1949-53) and the Villa "Le Lac"(1923-24) revised 30 years after the first issue of Les Carnets de la Recherché Patiente discussed in the epilogue; buildings in Kluuvi,Helsinki city center: Rautatalo building (1950-55),the former Nordic Union Bank building (1962-64),and the Stockmann Academic Bookstore (1962-69); Jespersen & Son building, Copenhagen (1952-5); Yale University Art Gallery (1951-3) and Yale Center for British Art (1969-7), New Haven, Connecticut; Albright-Knox Gallery addition (1958-2), Buffalo, New York; Beinecke Rare Book & Manuscript Library, Yale University , New Haven. The research objective has been to understand how each architect is able to reveal site opportunities, invisibles from other approaches,solving in a remartcable way what at first appeared to be severe site limitations,by adapting their working systems, using their own resources in favor of the site where incorporated. The study demonstrates the following hypothesis: -Different projects on the same place reveal different places. The place is known when the project is done. ¿The more universal is a conception system, the higher capacity to assume and sensibly answer to the specificities of a particular location. ¿The more sensitive a proposal is to its urban environment, the better way the building solves its inner problems. -Each project relevance depends on both the project's honesty and adaptation to actual circumstances and permanencies. The thesis questions site approach issues as determinants in architectural projects: the direct and long lasting site experience, the need to visit it- chapter 1-; the strategies specificity adopted for a particular location (Chapters 2 and 3);the use of imitation to preserve the site memory (Chapters 4 and 5);the inevitable change in the architect resources used to respond to particular situations -Chapter 6-, etc. On the contrary, it unveils that truly universal values are the only ones able to serve very different specific solutions.The analysis reveals the real level where the nearby buildings conditions are solved, not only physical contact but simultaneity of perception. lt proves that this formal problem asserts building identity.
Cada propuesta arquitectónica, al ubicarse en el núcleo consolidado de una ciudad, suscita el falso dilema entre la subordinación del nuevo proyecto a las leyes del conjunto o la preservación de su autonomia. La tesis estudia las relaciones de forma concebidas en una serie de casos en los que, sin hacer ninguna concesión estilistica, se confirma, sin embargo, la identidad del conjunto urbano. Se centra, por tanto, en proyectos, de distintos autores, en los que el emplazamiento comportaba exigentes relaciones de colindancia, por razones diversas: el perfil de la parcela, las características del edificio al que adosarse, la alta cualificación de los espacios urbanos, la necesidad de conexión... Los autores de los proyectos analizados -Le Corbusier, Alvar Aalto, Ame Jacobsen, Louis Kahn y Gordon Bunshaft- habían alcanzado la madurez profesional cuando acometieron estas obras: habían logrado desarrollar un sistema propio de recursos y estrategias de proyecto, continuamente perfeccionado, e imprimían un sello personal distintivo en todo lo que producían. Sin embargo, la característica común de las obras seleccionadas es que suponen una situación nueva o, en cierta forma, anómala,respecto a su registro habitual de trabajo: La Casa Dr. Curutchet, La Plata (1949-1953) -y la casa en el Lago Léman, (1923-24), revisada 30 años después en el primer número de Les Carnets de la Recherche Patiente ,tratada en el epílogo-; las intervenciones en Kluuvi, centro de Helsinki [Edificio Rautatalo (1950-1955), Edificio de la Banca Nórdica (1962-1964) y Librería Universitaria Stockmann (1962-1969)]; el Edificio Jespersen&Son (1952-55) en Copenhague; la Yale University Art Gallery (1951-53), Yale Center for Brítish Art (1969-77) en New Haven; la ampliación de la Albright-Knox Gallery (1958-62) en Buffalo y la Beinecke Rare Book&Manuscript Library en Vale. El objetivo de esta investigación ha sido comprender, a partir del estudio de casos concretos, cómo cada arquitecto modulaba su sistema para responder a localizaciones fuertemente condicionadas, sin renunciar a su modus operandi. Pone de manifiesto, que es precisamente gracias a éste, cómo son capaces de desvelar oportunidades del lugar, inasequibles e invisibles desde otras maneras de aproximarse a él, y cómo consiguen la resolución ejemplar de lo que aparentaban ser limitaciones severas, sabiendo utilizar los recursos propios a favor del conjunto al que se incorporan. La tesis demuestra las siguientes hipótesis: -Diferentes proyectos sobre el mismo sitio revelan lugares diferentes. Se conoce el lugar cuando se hace el proyecto. -Cuanto más universal es un sistema de concepción, mayor capacidad tiene de asumir y contestar sensiblemente a las especificidades de un determinado emplazamiento. -Cuanta mayor sensibilidad hacia el entorno urbano de la propuesta mejor supera los problemas particulares. -La vigencia de cada intervención depende de la honestidad con que se conduce en relación a las circunstancias del presente y delreconocimiento de las circunstancias invariables,las permanencias. El trabajo cuestiona los tópicos desde los que se aborda habitualmente el tema del lugar como condicionante del proyecto de arquitectura: la experiencia directa y prolongada del lugar, la necesidad de visitarlo-capítulo 1-; la especificidad de la estrategia adoptada para cada lugar (capítulos 2 y 3); el recurso a la imitación para salvaguardar la memoria del lugar (capítulos 4 y 5); el cambio ineludible de registro y recursos utilizados para responder a la particularidad de la situación concreta -capítulo 6-, etc. Por el contrario, revela que los valores verdaderamente universales son los únicos capaces de servir a resoluciones concretas muy diferentes. Desvela el nivel al que se resuelve verdaderamente la colindancia entre los edificios, no sólo en el contacto físico sino en la simultaneidad de percepción. Demuestra que es un problema de forma que afirmará la identidad de la obra.

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Delpino, Rossana. "De lo inconmensurable a lo mensurable : proceso dialéctico desde el imaginario al proyecto del edificio Richards Medical Research Laboratories 1957-1964". Doctoral thesis, Universitat Politècnica de Catalunya, 2016. http://hdl.handle.net/10803/398914.

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This dissertation analyses Louis Kahn’s independent work until 1957 period in which he designed the Richards Medical Research Laboratories at the University of Pennsylvania. The Richards Medical Research Laboratories marks the creator’s moment par excellence where he discovers the fundamentals that will become trademark of his work and influence as well the architecture of his time. In order to understand the genesis of the Richards Medical Research Laboratories and find the underlying substrates that originate the project I have traced an imaginary section-cut to the timeline until 1957. The present thesis approach comes from two moments: the immeasurable and measurable, that is, from the world of ideas to the world of tangible objects. And from these two moments this thesis tries to open another space for the unsayable to appear in order to comprehend the significance of the Richards Medical Research laboratories in Kahn's work and in his time. Kahn’s creative process follows a path going from the incommensurable (the idea), to the measurable (the building), and goes back to the incommensurable (transcendence departing from the building). Accordingly this thesis is divided in two fundamental parts the first one titled “From the Incommensurable to the Measurable” and a second part titled “From the Measurable to the Incommensurable”. In the first part “From the Incommensurable to the Measurable” the thesis presents the relationships that builds Khan’s “imaginario” establishing connections between his ideas through Kahn’s own writings, professional relationships, trips, and the city and then relating these elements with the same period’s own and referential projects. In this first part of the thesis ideas are the real protagonists therefore texts takes over images. In the second part of the thesis “From the Measurable to the Incommensurable” the main topic centers on the Richard’s Laboratories and the Biology Laboratories. The focus of the second part will be Kahn’s Richard’s laboratories and earlier projects therefore the materiality of the architectural project becomes protagonist. In the Laboratories Kahn identifies, names, and makes clear the empty space as the organizer of architecture, structure, and installations. Through this empty space as organizer it is possible to individualize the service space with the same bluntness as the architectonic spaces through the use of monumental scale and showing how it works as if it were enormous industrial machinery. Departing from the Richards Medical Research Laboratories building Kahn discovered the fundamentals of his own work because through this building he could synthetize in a project the search of years of work and at the same time the architecture could sediment the legacy of history through his travels, relationship with his own time, and his own experience with the city. On the other hand the building works as a manifesto of Kahn’s architecture because with the Laboratories the architect sets the foundations of his work obliterating the legacy of modern architecture. Kahn will work on a solid architecture instead of a fine and diaphanous architecture offering a juxtaposition of walls and then carving them very carefully. Through this organization Kahn operates a series of almost sculptured wall opening in order to create light effect a light that will be sifted and filtered to convert it into a surreal light. The intention of this thesis is to analyze the different levels of the incommensurable and the measurable in its different approximations of the psyche to the matter and vice-versa in order to make them resonate in the incommensurable level which is the one of transcendence; a transcendence achieved through a building and its impact through time making the building itself the embodiment of Louis Kahn legacy to his time and the history of architecture.
El presente trabajo se desarrolla en el periodo inicial de la obra independiente de Louis Kahn hasta el año 1957, cuando realizó el edificio Richards Medical Research Laboratories en la Universidad de Pensilvania. Este edificio marca el momento creador por excelencia, donde descubre ciertos fundamentos que se repetirán luego en su obra posterior y en otros proyectos de su tiempo. Por este motivo se establece un corte en la línea del tiempo hasta el 1957, para entender cómo se gesta la obra y encontrar los substratos subyacentes que conforman el proyecto. La aproximación viene desde dos momentos, que son lo inconmensurable y lo mensurable, es decir desde el mundo de las ideas hasta lo tangible, intentando abrir otro espacio para que lo indecible aparezca y podamos comprender la trascendencia del este edificio en la obra de Kahn y en su tiempo. De esta forma, el trabajo se divide en dos momentos importantes, que se instauran a partir de las palabras de Kahn al referirse al proceso creativo en su trabajo. Este proceso es el paso de lo inconmensurable (la idea), a lo mensurable (el edificio), para volver a ser inconmensurable (trascendencia a partir del edificio). De esta forma abordamos el trabajo en dos partes fundamentales, una denominada de lo ‘inconmensurable a lo mensurable’, y la otra de lo ‘mensurable a lo inconmensurable’. En el primer caso, de lo inconmensurable a lo mensurable, aparecen relaciones que construyen el imaginario de Kahn desarrollando puentes entre sus ideas a través de sus escritos, relaciones profesionales, viajes, la ciudad, relacionándolos con sus proyectos que trabaja en este tiempo y los proyectos que cita como referentes de su obra. En este momento los textos poseen mayor extensión que las imágenes, siendo el ámbito de las ideas las que tendrán protagonismo. Ya en la parte de lo mensurable a lo inconmensurable, tratara principalmente del proyecto de los laboratorios Richards y el laboratorio de Biología que aparecen como extensión del primero. En esta etapa el análisis de los proyectos anteriores, y fundamentalmente del los laboratorios será lo primordial, por este motivo, el proyecto ahora tendrá mayor preeminencia que el texto. En este edificio identifica, nombra y hace explícito el espacio vacío como articulador de la arquitectura, la estructura y las instalaciones. De esta forma, fue posible la individualización de los espacios de servicio con la misma contundencia que aparecen los espacios arquitectónicos, a una escala monumental y mostrando su funcionamiento, como si se tratara de una enorme máquina industrial. Creemos que a partir del edificio Richards, Kahn descubrió el fundamento de su obra, ya que pudo sintetizar en el proyecto, toda la búsqueda de años de trabajo, así como, al mismo tiempo, pudo sedimentar el legado de la historia por medio de sus viajes, las relaciones con su tiempo, y su experiencia con la ciudad. Por otro lado este edificio funciono como un manifiesto de su propia arquitectura, ya que funda las bases de su trabajo, obliterando el aporte de la arquitectura moderna. Kahn va a trabajar una arquitectura solida en vez de una arquitectura diáfana y fina, proponiendo una yuxtaposición de camadas de muros sucesivos, trabajando cuidadosamente la horadación de los mismos. Por medio de esta disposición, opera una serie de procedimientos de apertura del muro de forma casi escultórica, para conseguir efectos de luz, la cual al ser tamizada y filtrada, se convierte en una luz irreal. Lo que se pretende es que del análisis de las esferas de lo inconmensurable y de lo mensurable, en sus diversas aproximaciones de la psique a la materia o vice versa, es que logren resonar la ultima esfera inconmensurable, que es la trascendencia a partir del edificio y sus impactos en su tiempo, siendo este el gran legado de Louis Kahn a su tiempo y a la historia de la arquitectura

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Bongartz, Ute Louise [Verfasser]. "Kann die Lokalisation des Vestibularsyndroms beim Hund klinisch eindeutig erfasst werden? / Ute Louise Bongartz". Hannover : Bibliothek der Tierärztlichen Hochschule Hannover, 2018. http://d-nb.info/1162355786/34.

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Tomassino, Louise y Mona Rahimzadeh. "Den vita fläcken på märknadsförarnas karta : En studie om hur marknadsförarna hos de stora svenska livsmedelsbutikerna kan förbättra sina förutsättningar hos invandrarkonsumenterna". Thesis, Stockholm University, School of Business, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42537.

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Denna studie avser att ur en positivistisk ansats analysera hur marknadsförare bättre kan nå ut till invandrarbefolkningen, inte minst i anslutning till de större utländska högtiderna. Syftet är att försöka få handlarna att förbättra marknadsföringen mot denna målgrupp och nå ut med ett budskap som de kan identifiera sig med. Undersökningen belyser ur ett nytt, innovativt och explorativt perspektiv de faktorer som kan tänkas inverka på marknadsföringen och ägnar särskilt uppmärksamhet åt Parsons teori, Homophily teorin och nischmarknadsföring. Undersökningen är uppdelad i en förstudie där kontakt tagits med reklambyråer för livsmedelskedjor och belyser forskningsproblemet ur deras synvinkel. Huvudstudien genomfördes via en enkätundersökning och syftar till att belysa problemet ur målgruppens synvinkel. Resultatet påvisar att huvuddelen av marknadsförarna saknade tillräckliga kunskaper om invandrargruppen, samtidigt som invandrargruppen visat sig vara mottaglig för olika influenser. Därför föreslår vi att marknadsförarna till större del beaktar invandrarna som målgrupp i sina framtida kampanjer och i större grad försöker tillgodose de behov som de har i egenskap av outnyttjad köpkraft.

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22

Akelev, Evgeny. "Le malfaiteur face à l'état moderne : la criminalité professionnelle et la politique anticriminelle à Moscou et à Paris dans la première moitié du XVIIIème siècle (recherches comparatives)". Paris 4, 2009. http://www.theses.fr/2009PA040024.

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Fondé sur l'étude des archives de deux grandes opérations contre la pègre urbaine, à savoir le procès de L. D. Cartouche à Paris (1721 – 1728) et l'affaire de Van'ka Kain à Moscou (1741 - 1756), cette thèse est consacrée à une recherche comparative sur le monde des criminels professionnels en Europe dans la première moitié du XVIIIe siècle. L'analyse de plusieurs centaines de biographies de malfaiteurs, Français et Russes (leur statut socioprofessionnel à la naissance, les circonstances de leur déracinement et de leur intégration dans le milieu criminel), a permis de révéler et comparer les différents facteurs contribuant à la formation du monde criminel dans ces deux villes. L'étude comparée des relations entre les criminels (les types d’associations criminelles, l'identité de voleurs, les traits de leurs subcultures et de la vie quotidienne), aussi bien que de leurs liens avec les citadins, à Paris ou à Moscou, nous amène à constater les ressemblances dans la structure de ces deux pègres. Enfin, la comparaison de l'expérience de la lutte contre le monde des voleurs professionnels à Paris depuis le début du XVIIIe siècle et à Moscou dans les années 1740 montre que les deux gouvernements, alarmés par l'extension de la pègre, parvinrent à utiliser de nouvelles techniques répressives contre celle-ci qui consistaient à la protection d'une partie du monde criminel pour le contrôler, par cela, dans son ensemble
Based on analysis of the archives of two major operations against the urban underworld (the trial of Louis-Dominique Cartouche in Paris, 1721-1728, and the case of Van'ka Kain in Moscow, 1741-1756), this thesis provides a comparative study into the world of professional criminals in Europe during the first half of the eighteenth century. The centerpiece of this study is the analysis of biographies of two hundred criminals, including their social and occupational status, how they became uprooted from legal society, and their subsequent integration into the criminal world. These data reveal both similarities and differences in the criminal worlds of Moscow and Paris, though the study shows a distinct resemblance between the underworlds of the two cities. The study also analyzes types of criminal association and distinctive features of their subculture, everyday life among criminals, and their links to non-criminal townspeople. Finally, the study shows that both French and Russian authorities were alarmed by the extension of the underworld in the mid-eighteenth century. Officials struggled against professional criminals with similar techniques in both Paris and Moscow, including the protection of some elements of the criminal underworld in order to control it as a whole

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Kallstenius, Marie-Louise. "Läkande rum : - ett examensarbete om arkitektur, psykiatri och läkande miljöer". Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-72634.

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Projektets syfte är att försöka utröna hur en visionär psykiatri skulle kunna se ut i framtiden. Jag frågade mig om man som arkitekt kan komma med en vision som är en lösning på psykiatrins problem. Hur gör man för att maximera de läkande faktorerna så att patienter återhämtar sig så fort och fullständigt som möjligt? Projektet är också ett försök att förmänskliga en av de stora insitutioner vi är beroende av i samhället och har resulterat i en bok i ämnet och ett designprojekt.

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Chardonnet-Darmaillacq, Damien. "Gouverner la scène : le système panoptique du comédien LeKain". Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100089/document.

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Ce travail a pour objet de comprendre les évolutions majeures de la pratique théâtrale au XVIIIe siècle,à travers l’analyse de sources manuscrites inédites du Comédien-Français Henri-Louis LeKain. Figureauto-constituée de « souverain des planches », LeKain n’a eut de cesse de vouloir réformer les modesde production et de fabrication théâtrales de son temps. En quoi le rapport de force qu’il instaure avectoutes les instances de décision et de pouvoir de la Comédie éclaire-t-il justement les mutations encours ? Quelles sont ses revendications ? Comment et pourquoi émergent-elles dans le champ théâtralde l’époque ? Quelles sont les stratégies mises en place par LeKain pour parvenir à ses fins ? En quoiconsiste cette tentative de prise de pouvoir sur l’ensemble du champ théâtral ? Pourquoi et commentcette va-t-elle esthétiquement et politiquement marquer les modes de gouvernance de la scène enFrance ? Le Registre et tout l’appareil écrit qui l’entoure et l’accompagne, procèdent autant, voiremoins, d’une tentative de fixer la « mise en scène » des tragédies retenues par le comédien que d’unevolonté d’arriver à la définition d’un Théâtre idéal dont LeKain se donne pour être tout à la fois leconcepteur et le dépositaire exclusif. En cherchant à se placer au centre d’un dispositif de productiondont il entend surveiller tous les aspects – artistiques, politiques, économiques, moraux – LeKaindéfinit les contours d’un système de contrôle très proche du système panoptique définit par Foucaultdans Surveiller et Punir
The aim of this study is to understand the major changes in theatrical practice in the 18th century,through an analysis of unpublished manuscript sources, written by the French actor Henri-LouisLeKain. Self-appointed « king of the boards », LeKain never ceased in his striving to update anddevelop the practice of theatrical production and presentation. To what extent does the power-strugglehe initiated with the decision makers at the the Comédie-Française, throw light on the changes takingplace ? What were his demands ? How did they emerge in the theatrical world of the time, and why ?What strategies did LeKain pursue to achieve his goals ? What did this attempt to seize power consistof in the wider field of theatre ? And how does it affect the governance of French theatrical productionin the widest political and aesthetic sense ? The Registre and all surrounding and accompanyingwritten material arise from LeKain’s desire to arrive at a definition of a theatrical ideal, of which heconsidered himself both the originator and sole repository, and to a lesser extent, from an attempt toformalise the production of the tragedies that he had commissioned.By attempting to place himself at the heart of an apparatus of production such that he could watchover every aspect – artistic, political, economic and moral – LeKain defined the outlines of a system ofcontrol very similar to the panoptic gaze defined by Foucault in Surveiller et Punir

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Millán, Seráns Manuel Antonio. "Arquitectura doméstica de Louis I. Kahn (1951-1974)". Master's thesis, 2011. http://hdl.handle.net/10400.26/8126.

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Na década de 1940, arquitectos como Louis I. Kahn, juntamente com outros autores seus contemporâneos, introduziram no Movimento Moderno o tema da "monumentalidade" - expressão divergente da do modernismo funcionalista então estabelecido, o qual havia relegado a arquitectura doméstica para planos secundários. A partir do final da 2.a Guerra Mundial, no âmbito de um outro contexto sociopolítico, fica evidente que as bases do Movimento Moderno de pendor funcionalista eram insuficientes enquanto resposta e expressão da sociedade então emergente. O arquitecto Louis I. Kahn (que até então havia focado o seu empenho profissional predominantemente centrado no desenvolvimento de arquitectura residencial funcional) entende que este enquadramento conceptual e de vocabulário arquitectónico não permitia já a cabal expressão de ideias não apenas vinculadas à racionalidade, mas também ao empirismo e ao pragmatismo, que começavam a marcar o contexto teórico de revisionamento do Movimento Moderno. O reconhecimento destas novas circunstâncias fez com Kahn redireccionasse os seus esforços no sentido do desenvolvimento de projectos monumentais e institucionais - obras que acabariam por definir a trajectória projectual deste arquitecto, estabelecendo-o enquanto figura-chave para a História da Arquitectura Moderna. A valorização outorgada à sua carreira centra-se ainda, principalmente, sobre as obras de carácter institucional, educativo, governamental, religioso ou cultural, sendo dado particular protagonismo a edifícios que reúnam aspectos de "lugar de encontro" ou de cariz "monumental". Esta atenção para com projectos de maior escala não implicou, por parte de Kahn, a cessação do desenvolvimento de projectos domésticos - continuou a desenhar esta arquitectura ao mesmo tempo que consolidava uma linguagem própria para as suas obras monumentais. A perspectiva, quase exclusiva, que se centra na consubstanciação dos projectos de grande escala de Kahn, como se verifica comummente até à actualidade por parte da teoria e da crítica da arquitectura, tem limitado percepções mais amplas e plurais do trajecto profissional deste arquitecto, revelando antes uma evolução com múltiplos "saltos" de linguagem e sensibilidade - promovendo-se assim uma percepção fragmentada do percurso trilhado por Kahn ao longo da sua produção teórica e prática. Esta tese propõe estudar a Arquitectura Doméstica de Louis I. Kahn (1951-1974), a partir dos tempos que passou na “American Academy” em Roma, até à sua morte. O estudo põe a questão se se pode considerar os seus projectos domésticos como precursores da linguagem dos seus projectos de maior escala (monumentais e institucionais). A partir deste objectivo central, a dissertação explora as obras domésticas que "preenchem" os vazios da produção teórica e tectónica do arquitecto, com a intenção de se estabelecer um vínculo directo e precursor entre os projectos de menor escala e os de maior escala. Dá-se, assim, resposta à problemática transversal à dissertação, para além de se incrementar o reconhecimento da Arquitectura Doméstica deste autor através da análise crítica dos casos-de-estudo - revalorizando a arquitectura de pendor doméstico de Kahn como chaves para compreender o seu pensamento e percurso projectual.
Abstract: In the decade of the 1940’s, architects like Louis I. Kahn, along with other contemporaries, initiated the Modern Movement based on “monumentality”, a divergent movement form the established functionalist modernism, that relegates residential architecture (that had achieved it maximum impetus during the prewar period) to occupy a second rank. Towards the end of World War II, confronted with a new social-political context, it became evident that the basis of the modern functionalist movement did not lend answers to the necessities of expression of the emerging society. Kahn, who had up to this time dedicated his career predominantly to the development of functional residential architecture, came to realize that this vocabulary was unable to express the transcendent ideas that the new context demanded. This realization caused Kahn to redirect his efforts towards monumental and institutional projects, projects that undoubtedly define his professional career as well as establish his importance as a key figure in the history of modern architecture. In this manner, the main focus, and consequently the value given to Kahn’s works, centers upon projects of institutional, educational, governmental, religious or cultural character; giving particular relevance to projects that include aspects of “place of gathering” or are of “monumental” character. This focus towards large scale projects did not however imply the cease in the designing of domestic projects for the architect, whom continued to develop this architecture while formalizing the vocabulary used for his monumental works. The focus that has centered, almost exclusively, upon the developments of Kahn’s large scale projects, as has been done up until now, limits a perception of his work as an evolution with multiple jumps in language and sensibilities, a fragmented perception of the evolution of this architect. In this context, this thesis proposes a study of the Domestic Architecture of Louis I. Kahn (1951-1974), encompassing Kahn’s domestic projects from the beginning of his mature career, after his fellowship at the American Academy in Rome, until his death. The study proposes to explore if the domestic, smaller scale, projects of the architect can be considered precursors in the language of his large scale, monumental and institutional projects. With this objective, the study will distinguish the domestic projects that fill the voids of the theoretical and tectonic evolution of the architect, with the intent of establishing a direct and precursory link between these works and those of larger scale, and, in so doing, incrementing their visibility and recognition through the critical analysis of each project of this study, revaluing these works as key projects in the comprehension of the architect’s evolution.

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Manaú, Cláudia Castro. "A Lição de Roma: Influências da cidade na arquitetura de Louis Kahn". Master's thesis, 2018. http://hdl.handle.net/10316/81629.

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Dissertação de Mestrado Integrado em Arquitetura apresentada à Faculdade de Ciências e Tecnologia
A influência da viagem tornou-se um fator determinante para o desenvolvimento da arquitetura ao longo dos séculos. Neste contexto, Louis Kahn foi uma figura crucial para a arquitetura do século XX, posicionando-se na transição entre o Movimento Moderno e a situação pós-moderna. Numa altura em que a arquitetura se encontrava em crise, fez do passado um caminho para a sua renovação, proporcionando com os seus edifícios uma experiência arquitetónica única. A nova arquitetura que cria surge dotada de um caráter monumental transmitindo, entre outros aspetos, a imponência das ruínas romanas. A presente dissertação pretende apurar qual a influência da cidade de Roma na arquitetura de Louis Kahn através da análise de dois casos de estudo: a First Unitarian Church and School, em Rochester, New York, e a Phillips Exeter Academy Library, em Exeter, New Hampshire. A investigação passa, em primeiro lugar, por um pequeno enquadramento do arquiteto Louis Kahn de modo a perceber o seu surgimento na área da arquitetura, as suas referências e experiências, tendo sempre como foco central aquela de Roma e, por último, por um estudo mais detalhado do seu contacto com Roma tendo como finalidade perceber a mudança no seu modo de encarar a arquitetura e de que forma a cidade permaneceu inspiradora para as suas obras futuras. Esta investigação surge apoiada no meu conhecimento pessoal a partir da experiência vivenciada in loco em Roma, bem como na minha recente deslocação aos casos de estudo escolhidos, que me proporcionaram uma maior compreensão da relação que proponho. A cidade teve um grande impacto em Louis Kahn sendo possível verificar através dos seus escritos, o fascínio que desenvolve pelas ruínas que desvendam as grandes construções da Antiguidade Clássica como basílicas, coliseus, panteões e termas. A influência surge assim personificada através da reprodução de algumas temáticas que descobre em Roma, podendo estas ser divididas em três grandes grupos: a Monumentalidade, a Materialidade e a importância da Luz. Conclui-se que, nas suas obras, Louis Kahn faz uma síntese entre Modernidade e Tradição tendo na memória a experiência romana.
The influence of travelling has become a determining factor for the development of architecture over the centuries. In this context, Louis Kahn was a crucial figure for the twentieth-century architecture, positioning himself in the transition between the Modern Movement and the postmodern situation. At a time when architecture was in crisis, it made the past a path to its renovation, providing with its buildings a unique architectural experience. The new architecture that creates appears endowed with a monumental character conveying, among other aspects, the imposing Roman ruins. The present dissertation intends to ascertain the influence of the city of Rome in the architecture of Louis Kahn through the analysis of two cases of study: the First Unitarian Church and School in Rochester, New York, and the Phillips Exeter Academy Library in Exeter, New Hampshire. The research is firstly carried out by a small framework of the architect Louis Kahn in order to perceive its emergence in the area of architecture, its references and experiences, always focusing on that of Rome and, finally, a more detailed study account of his contact with Rome in order to perceive the change in his way of facing the architecture and in what way the city remained inspired for his future works. This research is based on my personal knowledge from the experience I had on the ground in Rome, as well as from my recent visit to the chosen case studies, which gave me a better understanding of the relationship I propose. The city had a great impact on Louis Kahn being possible to verify through his writings, the fascination that was developed by the ruins that unravel the great constructions of Classical Antiquity like basilicas, coliseums, pantheons and thermal baths. Influence appears thus personified through the reproduction of some themes that it discovers in Rome, being able to be divided into three great groups: Monumentality, Materiality and importance of the Light. In conclusion, in his works, Louis Kahn makes a synthesis between Modernity and Tradition, bearing in mind the Roman experience.

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27

Ho, Heng-Chung y 何衡重. "Louis I. Kahn Between Architectural Theory and Practice". Thesis, 1999. http://ndltd.ncl.edu.tw/handle/21837968185082376584.

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碩士
國立臺灣科技大學
工程技術研究所建築學程
87
Abstract The purpose of this paper is to clarify the relationship between thinking and doing in architectural design. That is, we want to know what is the relationship between architectural theory and practice. This research focuses on Louis I. Kahn who is a master we can inspire his conception from his works and seeks through a thorough investigation of his writings, speeches, interviews and projects to understand the connection between his theory and practice. Louis I. Kahn usually divides a thing into two parts : spiritual and material, and divides the spiritual into objective and subjective. So this paper takes this view to analyze Kahn''s theory. From this research we know the aim of his theory is to create an objective spiritual discourse and finally to decide what building he can create to express this kind of spirit. This type of theory is different from Funtionalism and Expressionism, which were current in the world during his time. The framework of this paper includes three parts : the antecedents of Kahn''s theory, Kahn''s theory and the analysis of Kahn''s works. From the research we understand that the antecedents of Kahn''s theory include his belief that the man-made grows out of the natural. Louis I. Kahn believes that a natural thing combines the spiritual and the material. So what is the man-made must possess the same character as the natural does. From this view he defines architecture. He believes in studying architecture we must focus on the spiritual level --- architectural spirit, desire and nature. The material level --- building matter, program and shape is to express the spiritual level. Louis I. Kahn creatively uses some keywords to express this special concept in the realm of architecture. The keywords include : "silence" and "light" --- used to comment on the essence of things, "wonder", "realization", "form", "inspiration" and "design" --- used to comment on the process of man-made creation, and "institution", "beginning", "order", "structure", "material" --- used to comment on the discipline of architecture . From the analysis of his works we can discover that because he stresses the idea of "desire to be" and "order" he produces some particular design mode. Through the "desire to be" he produces a design mode of defining the quality of architectural elements and how to expresses this quality. Through "order" all the character elements are put under the same rule to complete a whole. Thus, the material building will have some ability to reveal you what his thinking is.

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28

Magusteiro, Flávia Marina dos Santos 1988. "Espaço e forma : entre Louis Kahn e Steven Holl". Master's thesis, 2017. http://hdl.handle.net/11067/2777.

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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2014
Exame público realizado em 23 de Abril de 2014
A presente dissertação propõe assimilar questões para nós fundamentais da arquitectura. Interessa-nos assim questionar como esta se constitui e se desenvolve a partir de dois sistemas: espacial e formal. A forma e o espaço são temas gerais e complexos na arquitectura, pelo que fazemos a sua distinção através da referência a dois arquitectos: Louis Kahn e Steven Holl. Para melhor compreensão dos processos arquitectónicos inerentes a cada arquitecto, optou-se por um enquadramento histórico no âmbito de um sistema espacial na época da arquitectura do Modernismo, e um sistema formal compreendido no Pós-Modernismo. Em que respectivamente se enquadram Kahn e Holl. É conhecida a concretização espacial de Kahn pelo método ordenador dos espaços que servem e os servidos. Steven Holl compõe uma organização formal por intermédio de um moldar dos espaços direccionados para a sensibilidade da experiência de um indivíduo no lugar e na própria arquitectura. O interesse particular em entender estas estratégias é resumido nas intervenções do artista plástico Gordon Matta-Clark, onde o mesmo demonstra a obtenção de espaço e forma pela supressão de matéria de edifícios pré-existentes.

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Gomes, Cristiana Barroso Lourenço. "What will be has always been : Louis I. Kahn". Master's thesis, 2013. http://hdl.handle.net/11067/3152.

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Dissertação de mestrado em Arquitectura.
Exame público realizado em 20 de Dezembro de 2013.
Louis I. Kahn foi um dos arquitectos mais importantes do século XX, deixando um legado escrito, desenhado e construído de interesse irrefutável. O seu percurso é, pode dizer-se, angustiado, mas completo - ele inicialmente aceita, depois concebe e, por fim, deixa o movimento moderno para se dedicar à procura de conhecimentos incontestáveis na Antiguidade Clássica. Desta procura, surge uma das suas ideias fundamentais - I Love Beginnings, Assim, esta investigação tem como objectivo perceber de que modo Louis I. Kahn aplicou todo o seu conhecimento e herança que aprendeu do passado na concretização das suas obras de arquitectura. Estes ensinamentos surgem numa altura em que é urgente pensar a arquitectura e, sobretudo, saber fazer arquitectura. A estrutura geral da dissertação baseia-se quatro partes fundamentais. A primeira parte corresponde à Introdução, na qual se revela o método adoptado e se introduz o tema, tendo em conta a vida de Louis I. Kahn. No Capítulo I, analisa-se a vida do arquitecto, com o intuito de conhecer as influências que teve, as viagens que fez e os ideais que defendeu. No Capítulo II, houve a necessidade de analisar duas grandes obras de Louis I. Kahn, com o propósito de perceber a importância do que anteriormente foi estudado. As obras analisadas foram o Instituto Salk para Estudos Biológicos, em La Jolla, e o Instituto Indiano de Gestão, em Ahmedabad. No fim desta dissertação, é possível concluir que Louis I. Kahn criou bases sólidas e firmes, tanto pelo seu conhecimento como pelos seus ideais, conseguindo criar obras arquitectónicas de enorme valor.
Louis I. Kahn was one of the most important architects of the twentieth century, leaving a written, designed and built legacy of irrefutable interest. His journey is, it can be said, distressed but complete - initially he accepts, then conceives and finally leaves the modern movement to devote himself in the search of incontestable knowledge in Classical Antiquity. From this search arises one of his fundamental ideas - I Love Beginnings. Thus, this research aims to understand how Louis I. Kahn has applied all his knowledge and heritage leamed from the past in achieving its architectural works. This lessons take place at a time when its urgent to think of architecture and mainly to know how to make architecture. The general structure of the dissertation is based on four main parts. The first part corresponds to the Introduction, in which it is revealed the adopted process and introduced the subject, taking into account the life of Louis I. Kahn. In Chapter I, it is analyzed the life of the architect, in order to know the influences he had, the trips he made and the ideals he defended. ln Chapter II, there was the need to analyze two major works of Louis I. Kahn, in order to realize the importance of what was previously studied. The analyzed works were the Salk institute for Biological Studies in La Jolla and the Indian Institute of Management in Ahmedabad. At the end of this dissertation it’s possible to conclude that Louis I. Kahn created solid and firm bases, both by his knowledge and by bis ideals, managing to create architectural works of great value.

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30

田榮瑜. "The Dialectic Of Humanism In Louis I. Kahn''s Architecture". Thesis, 1997. http://ndltd.ncl.edu.tw/handle/41593136384489572275.

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碩士
中原大學
室內設計學系
85
This dissertation seeks to illustrate the evolution of humanism between modernism and postmodernism through discussion of Louis I. Kahn and the humanist qualities in his architecture. Through its prevalence of Marxist social movements and mechanization, modernism has complicated our reference points for studying the development of humanism. By heralding new technology and democracy, it has also introduced a type of purism in design, the chief purpose of which is to destroy bourgeois humanism and thus pave the way for humanism''s integration with society. The diligence of modernist architects to change the destiny of architecture has not, however, succeeded in resolving mankind''s perennial conflict between thought and emotion. 　　The humaism in Kahn''s work symbolizes a personal reflection on modern architecture. It has confronted modernists with their fundamental defeat and initiated change in the chaos brought by their mechanical and industrial values. To achieve this, Kahn applies the Beaux Arts tradition in his work, reconstructing a classical, static, and stable architectural order in which rationality serves as a conduit.But just as reflections on modemism have led Kahn back to the Beaux Arts tradition, they have also allowed him to transcend that tradition. In this sense, his form of humanism is a unique aesthetic concept that resolves the contradictions between modemism and Beaux Arts. adding new aspects to both schools in the process. Since the 1960s, however, philosophical critique of the concept of subjectivity has engendered a type of "post-humanism." This trend has shifted the course of architectural development by giving rise to deconstructuralist architecture. From a dialectical point of view, it is still too early to announce the death of traditional humanism at the hand of its radical counterpart, or to suggest that Kahn''s architectural concepts have lost currency under strong critique. What we are witnessing rather is a new architectural concept in the making, even as the inherent logical crises of that concept become more apparent. If these crises cannot be effectively overcome, designs to eradicate the concept of subject from architecture will likely remain nothing more than a protective amulet for achieving self-satisfaction in architectural creation. 　　One of the unmistakable traits of deconstructuralist architecture is its incongruity between architectural creation and philosophical discourse. This disparity compels us to reexamine the relation between philosophical interpretation and architecture in the postmodern world. It also demands further creative speculation on the position of subjectivity in architecture. The framework for such speculation must not only vertically cohere with historical change, but also horizontally consider the complex relation between humanity and environment as well as the social orders ungovernable by mankind. Only in this manner can we conceive a third subjective position beyond modernism and post-modernism.

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Oliveira, Pedro Freire. "A questão do espaço central na obra de Louis Kahn". Master's thesis, 2014. https://repositorio-aberto.up.pt/handle/10216/76987.

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O arquitecto norte americano Louis I. Kahn (1901-1974) identifica-se como uma dasfigura essenciais na época de questionamento da arquitectura da segunda metade doséculo XX. A tardia maturação de Kahn revelaria um trabalho arquitectónico único,com uma postura muito particular desenvolvida nas áreas da teoria, metodologiaarquitectónica, pedagogia, construção e desenho, algo que resultou em obrasiconográficas e espacialidades plenas de características poéticas. A presentedissertação centra-se na dimensão compositiva que enriquece toda a sua obra,especialmente nos motivos de centralidade e concentricidade que, principalmente apóso projecto da Bath House em 1951, se tornam constantes. Juntamente com essaqualidade, a sua arquitectura explora as características plásticas e simbólicas de formasgeométricas, como o quadrado e o círculo, utilizando-as para desenvolver espaçoscentralizados regulados por princípios de proporção e ordem. As análises a oitoprojectos de Louis Kahn pretendem entender a exploração do espaço central na suaarquitectura e a maneira como articula processos compositivos e formas geométricaspara criar tais espacialidades.
The north american architect Louis I. Kahn (1901-1974) is identified as one of theessential figures of the transient architectural time of the second half of the 20thcentury. Kahn's late architectural maturation would reveal a unique work, with aparticular point of view in the fields of theory, architectural methodology, pedagogy,construction and drawing, designing iconographic buildings and spatialities full ofpoetic character. The present thesis focuses on the compositive dimension thatenlightens all his work, specially the centrality and concentricity motifs that becomeconstant in his work, mainly after the Bath House, in 1951. Along with this quality, hisarchitecture explores the symbolic and plastic characteristics of geometrical forms,like the square and the circle, utilizing/using them to develop centralized spacesconditioned by proportional and order principles. The eight Louis Kahn's projectanalyses intend to understand the central space exploration in his architecture and theway the compositive processes and geometric forms are articulated to create thosespaces.

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32

Oliveira, Pedro Freire. "A questão do espaço central na obra de Louis Kahn". Dissertação, 2014. https://repositorio-aberto.up.pt/handle/10216/76987.

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O arquitecto norte americano Louis I. Kahn (1901-1974) identifica-se como uma dasfigura essenciais na época de questionamento da arquitectura da segunda metade doséculo XX. A tardia maturação de Kahn revelaria um trabalho arquitectónico único,com uma postura muito particular desenvolvida nas áreas da teoria, metodologiaarquitectónica, pedagogia, construção e desenho, algo que resultou em obrasiconográficas e espacialidades plenas de características poéticas. A presentedissertação centra-se na dimensão compositiva que enriquece toda a sua obra,especialmente nos motivos de centralidade e concentricidade que, principalmente apóso projecto da Bath House em 1951, se tornam constantes. Juntamente com essaqualidade, a sua arquitectura explora as características plásticas e simbólicas de formasgeométricas, como o quadrado e o círculo, utilizando-as para desenvolver espaçoscentralizados regulados por princípios de proporção e ordem. As análises a oitoprojectos de Louis Kahn pretendem entender a exploração do espaço central na suaarquitectura e a maneira como articula processos compositivos e formas geométricaspara criar tais espacialidades.
The north american architect Louis I. Kahn (1901-1974) is identified as one of theessential figures of the transient architectural time of the second half of the 20thcentury. Kahn's late architectural maturation would reveal a unique work, with aparticular point of view in the fields of theory, architectural methodology, pedagogy,construction and drawing, designing iconographic buildings and spatialities full ofpoetic character. The present thesis focuses on the compositive dimension thatenlightens all his work, specially the centrality and concentricity motifs that becomeconstant in his work, mainly after the Bath House, in 1951. Along with this quality, hisarchitecture explores the symbolic and plastic characteristics of geometrical forms,like the square and the circle, utilizing/using them to develop centralized spacesconditioned by proportional and order principles. The eight Louis Kahn's projectanalyses intend to understand the central space exploration in his architecture and theway the compositive processes and geometric forms are articulated to create thosespaces.

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33

Gomes, Ana Rita Rodrigues. "A materialização de um instante o limiar entre o silêncio e a luz na obra de Louis I. Kahn". Master's thesis, 2016. http://hdl.handle.net/10316/98917.

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Dissertação de Mestrado Integrado em Arquitetura apresentada à Faculdade de Ciências e Tecnologia da Universidade de Coimbra.
Silêncio e Luz, apresentam-se como termos recorrentes na construção do discurso arquitetónico. No entanto, ambos os vocábulos surgem associados ao seu sentido quotidiano: o silêncio como ausência de ruído e a luz como fonte de iluminação. Contudo, entre 1960 e 1970, o arquiteto americano Louis Kahn, reflete sobre a possível ‘origem’ da Arquitetura, problematizando silêncio e luz, como termos que traduzem as premissas de existência e presença, respetivamente. Kahn introduz ainda, à medida que vai aprofundando a sua teoria, as questões de imensurabilidade e mensurabilidade, que definirão os planos nos quais os vocábulos: silêncio, luz, existência e presença se vão desenvolvendo. A presente tese explora, numa primeira fase, seguindo as declarações de Kahn, o que significa a questão da existência na obra construída e qual o papel do arquiteto face à origem da sua obra. Posteriormente, problematiza-se a questão da presença em Arquitetura, compreendendo como pode o corpo construído, tornar-se mais do que um simples objeto. Por fim, compreende-se o que, para Kahn, se apresenta como o resultado da relação que se estabelece entre existência e presença: o ‘Tesouro da Arte’, surge como o último conceito introduzido pelo arquiteto no desenvolvimento das suas reflexões. O processo utilizado na compreensão da teoria de Kahn, surge de forma homónima às suas declarações, nas quais o arquiteto refere que a obra surge, primeiro, no plano Imensurável (no qual deve ser questionada qual a origem da mesma), seguindo para o plano Mensurável (no qual o corpo arquitetónico se torna palpável) para, finalmente, regressar ao plano Imensurável (no qual a obra passa a ser percecionada pelos sentidos físicos e psíquicos do utilizador). O discurso metafórico e, muitas vezes, poético de Kahn, surge como base fundamental no desenvolvimento do presente trabalho, destacando-se a conferência de 1969 (Zurique), intitulada Silence and Light, como suporte principal na presente compreensão da importância da integração da história da Arquitetura como a ‘origem’ da própria Arquitetura.
Silence and light are presented as frequent terms regarding the architectonic speech. Nonetheless, both words appear affiliated in their daily meaning: silence as the lack of noise, and light as the source of lighting. However, between the 60’s and 70’s the American architect Louis Kahn, questions the possible ‘origin’ of Architecture by questioning silence and light as terms that could translate assumptions of existence and presence, accordingly. Kahn also introduces, while going deeper in his theory, questions about Immeasurable and Measurable dimensions that will define the plans where the words: silence, light, existence and presence are developed. Following Kahn’s thoughts, this thesis explores, on the first stage, the meaning of existence in constructed architecture buildings, and what is the architect’s role towards the origin of his work. Later on, it focuses on the meaning of presence in Architecture, understanding how a built volumetry becomes more than a simple architectural object. Last but not least, this thesis reflects what is to Kahn the result of the relationship established between existence and presence: ‘The Treasury of Art’, – is the last concept introduced by the architect towards the development of his reflections. The process used to understand Kahn’s theory emerges as a homonymous form of his own words, where he refers that the construction begins, firstly from the Immeasurable (where the origin of the Architecture should be questioned), moving to the Measurable (where the architectonic body becomes palpable), returning to the Immeasurable (where the construction is perceived through the physical and the psychical senses of the user). Kahn’s metaphorical and perhaps poetic speech emerges as a crucial base towards this thesis. His words were specially emphasized at the 1969’s conference (Zurich) themed Silence and Light. This conference worked as the main support to understand the relevance of Architecture’s historical integration as the ‘origin’ of itself.

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Stuart, Kristopher Mark. "On architecture, nature, and man (Frank Lloyd Wright, Louis I. Kahn)". Thesis, 1993. http://hdl.handle.net/1911/13790.

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Mircea Eliade suggests that man's impulse to build stems from the need to physically distinguish the world of culture from the world of nature. Man builds in an attempt to perfect the natural world. It is Henry David Thoreau's assertion that nature, of which man is only a part, is already perfect. In Loren Eiseley's view, man must balance his culture with his irrevocable attachment to nature. Architecture, as an expression of culture, mediates between nature and man. Architecture's creation is inspired through man, and informed by nature. From the earliest civilization this has been true. Thus we may compare the work of Frank Lloyd Wright and Louis I. Kahn, finding that, while their work differs considerably in appearance, in spirit it is remarkably the same. From the work of Wright and Kahn we may conclude that Architecture is indebted to nature as well as to the spirit of man.

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35

Marques, Inês Alexandra Ferreira. "O sistema construtivo como factor determinante da luz natural : na arquitectura de Louis I. Kahn". Master's thesis, 2016. http://hdl.handle.net/10316/31548.

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Dissertação de Mestrado Integrado em Arquitectura, apresentada ao Departamento de Arquitectura da Faculdade de Ciências e Tecnologia da Universidade de Coimbra.
Louis Kahn foi dos arquitectos mais marcantes do século XX. Os seus edifícios são de escala monumental, quase monstruosa, de uma presença enorme no espaço. A sua obra é, desde uma análise mais geral até ao pormenor, perfeita, como se cada elemento, cada parede, cada forma geométrica, mesmo até cada sombra projectada ao longo do dia tivesse sido pensada e pertencesse ali desde sempre. São cerca de 200 as obras que Louis Kahn completou. Nesta dissertação são analisados quatro casos de estudo dentro delas: a primeira Igreja Unitária, a Assembleia Nacional de Bangladesh, a Biblioteca e Academia de Philips Exeter e o Museu de Arte Kimbell. Estas obras são a prática das suas teorias e conceitos defendidos sobre a arquitectura. São eles a importância que Kahn dá à cultura do local de implantação do edifício, muitas vezes através dos materiais utilizados, o facto de remeter às origens, as formas geométricas simples por que opta, a definição de cada programa, a ideia de reinventar cada projecto, etc. A teoria mais importante nesta dissertação é a que ele mais destaca na sua arquitectura, a luz natural. O próprio arquitecto explica que um determinado espaço só é espaço quando recebe luz natural. Para além disso, e indo mais longe, a luz natural está associada à escolha do sistema construtivo, onde a luz destaca a construção, as paredes e os ângulos, e a construção dá origem a entradas de luz. Para Kahn, a estrutura é quem dá resposta à ordem geomérica do edifício e, vice-versa, refere também que a geometria é a única orientação para a construção (Citado por Moneo, A&V, em Paricio, 1994, p. 78). A estrutura expressa-se claramente em todos os seus projectos, convertendo-se num dos elementos que dá ordem e que explica a maneira como se organizam o projecto e o edifício. A luz natural é o elemento que determina a nossa percepção da arquitectura. É pela sua presença que conseguimos apreciar diversas qualidades dos espaços: o tamanho, a geometria da forma, a textura, a cor... É talvez o elemento com a maior influência sobre a atmosfera de um lugar. A iluminação correcta intensifica o impacto poético e emocional de um projecto. A iluminação natural de edifícios e de espaços interiores tem possibilidades de manipular a luz praticamente intermináveis, e é o estudo dessas possibilidades que esta tese trata, associado ao sistema construtivo da obra, segundo o pensamento e as teorias do arquitecto Louis Kahn.
Louis Kahn was one of the most important architects of the XX century. His buildings are of a monumental scale, almoust a monstrous scale, with a big presence in the space. His work, from a general analysis till the detail, is perfect, as each element, each wall, each geometric shape, even every shadow projected throughout the day had been thought and belonged there since allways. There are about 200 works that Louis Kahn was completed. In this dissertation are analysed four study cases between them : the Primary Unitary Church, the Nacional Assembly of Bangladesh, the Library oh Philips Exeter and the Kimbell Art Museum. These buildings are the practice of his theorys and concepts that he defend about architecture. For example, the importance that Kahn gives to the culture where the building will be implanted, the most of times through the choice of the materials, the fact of referring the origins, the simple geometrical shapes for wich he opts, the definition of wich program, the ideia of reinventing wich project, etc. The most important theory in this dissertation is the one that he most shows in his architecture, the natural light. The architect explains that a space is only a space when recieves natural light. Futhermore, the natural light is associated to the choice of the constructif system, when light give importance to the construction, to the walls and angles, and the construction gives origin to the enters of light. For Kahn, the structure is “who” gives an answer to the geometric order of the building and, vise versa, he says that geometry is the only orientation to conctruction. Structure expresses herself clearly in all of his projects, converting in one of the elements that provide order and explain the way how the project and building are organized. Natutal ligh is the element that defines our perception of architecture. Because of his presence we can apreciate different space qualities : the size, the geometry of the form, texture, colour, etc. Light is the element with more influence about the atmosphere of a place. The correct illumination intensifies the poethic and emotional impact of a project. The natural illumination of the buildings and interior spaces have interminable possibilities of manipulating light and is the study of these possibilities that this dissertation talk about, in association with the constructif system of the building, in the thinking and theories of the architect Louis Kahn.

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Merrill, Michael [Verfasser]. "Louis Kahn and the Dominican Motherhouse : problems of space / von Michael Merrill". 2007. http://d-nb.info/1009589601/34.

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Liou, Fang-jia y 劉芳嘉. "Integration of construction and piping distribution in Louis I. Kahn`s buildings". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/72912317193558448639.

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碩士
國立臺灣科技大學
建築系
96
Building technology and environment control had been innovated since new energy source and new building materials were discovered after decade 40`s. The environmental control equipments were invented so building space had to integrate the piping system, the air-conditioning systems and fluorescent lamp. The integration of the piping system has two different ways: one is to cover equipment pipes with hung-up metal ceiling in international style building; another is to use practical building-construction to integrate equipment pipes. Louis I. Kahn’s work is a model which better integrates building equipment systems in the construction elements. The thesis attempts to research Louis I. Kahn’s five public works awarded in Twenty-five Year Award founded in 1969 by AIA. These works are: the Yale University Art Gallery, the Salk Institute, the Exeter University Library, the Kimbell Museum and the Yale University British Art Center plus Richard Institute. Also above these research cases, we analyze and conclude how Louis I. Kahn operates the integration of pipes in the process of space shaping through articles, papers, architecture designs. Besides these research techniques I had also made 3d model to fathom Louis I. Kahn’s building equipment systems integration. Moreover, I explore the detail that combines with construction elements and equipment pipes. Based on the construction logic which reflects what the desire of space is and how the space is constructed, we could know that Louis I. Kahn thought of elaborating the essence of material and the ways of rational construction to integrate the equipment pipes. Further, Louis I. Kahn explain the space features of different types of building by applying different construction and structural forms to realize the desire of the space in rational construction form.

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38

Fleming, Steven Peter. "The bed maker's model a thematic study of Louis I. Kahn's 1961 article "Form and design" in terms of Plato's theory of forms as treated in The Republic". Diss., 2003. http://www.newcastle.edu.au/services/library/adt/public/adt-NNCU20040329.192248/index.html.

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39

Peters, Patrick A. "An analysis of daylighting in the works of Alvar Aalto and Louis I. Kahn". Thesis, 1989. http://hdl.handle.net/1911/13384.

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This thesis focuses on the manner in which two contemporaries, Alvar Aalto and Louis I. Kahn, each recognized the potential for and developed techniques toward the realization of daylighting's efficacy for the clarification of the architect's spatial concept. Although the architectural responses of these two architects differed greatly, common tendencies may be found to underlie the work of both. While in Aalto's case, the architect's interest in daylighting initiated with an investigation of functional illumination, and in Kahn's case, began with an investigation of spatial characterization, the interest of each matured toward the pursuit of a compound daylighting program dependent upon both the techniques of chiaroscuro for the emphasis of texture and mass and of silhouetting for the emphasis of profile and spatial layering. In the work of both a commitment to a compound, rather than a singular manner of integrating daylighting contributed to the fragmentation of mass and the merging of the artifact with the landscape.

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40

Srivastava, Amit. "Encountering materials in architectural production: the case of Kahn and brick at IIM". Thesis, 2009. http://hdl.handle.net/2440/63373.

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The architectural discourse on materials frequently engages the legendary dialogue between architect Louis Kahn and the brick that wanted to be an arch to alert us to the role played by materials in the process of architectural production. However, over the four decades in which this anecdote has come to rule the collective memory of our profession very little has been done to examine the actual circumstances behind such an encounter. It is the contention of this thesis that the disregard for historical conditions surrounding this event stems from a historiographical tradition that employs the subject-object dichotomy to negate the very possibility of such an event, forcing the dialogue to be regarded as just a metaphor for the mentality of the architect. In order to question the monopoly of such a theoretical stance, which inadvertently limits the understanding of the role played by materials in the process, the thesis posits the dialogue between Kahn and brick as a subject of historical inquiry outside the confines of this subject-object paradigm – deconstructed in the recent works of Bruno Latour as the “Modern Paradox.” By historically reconstructing the event of this dialogue, the thesis exposes the neglected realm of action where the encounter between the architect and the material takes place, and thereby helps to reveal a new and more complex picture of the process of architectural production. At the outset the thesis conducts a thematic survey of twentieth century architectural theory exposing an epistemological bias in the approach to architectural materials. It then employs the philosophical works of Martin Heidegger on the nature of “things” and the current sociological debate on the shift from actors to “actants” in the works of Bruno Latour to construct a framework where the architectural experience of an active and symmetric exchange with materials can be argued. Theoretically, then, the thesis invokes arguments for a “social life of things” to situate the discourse of materials in architecture within a larger framework of the social, and thereby offers an alternate way of both understanding and representing materials in architectural practice. As an interpretive historical study, the second part of the thesis then employs its adopted theoretical framework to situate new historical information regarding both Louis Kahn (as an architect) and brick (as an architectural material in India) during the critical decade of the 1960s. Using the historiographical method of a micronarrative, it focuses its gaze on the design and construction of the Indian Institute of Management (IIM) campus in Ahmedabad, the site of the fabled encounter, and incorporates the narrative of the material actant (brick) in parallel to the narrative of the human actant (Kahn). The alternative account of the architectural production of the IIM that emerges offers a much more detailed picture of the historical conditions and conjunctions that might explain one of the most influential anecdotes in the architectural discourse of the past century. Through this case study the thesis generates an enriched understanding of the encounter between architects and materials, wherein materials may be recognized beyond just their physical properties as active contributors to the process of architectural production.
Thesis (Ph.D.) -- University of Adelaide, School of Architecture, Landscape Architecture and Urban Design, 2009.

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41

Fleming, Steven Peter. "The Bed Maker’s Model: A Thematic Study of Louis I. Kahn’s 1961 Article “Form and Design” in Terms of Plato’s Theory of Forms as Treated in The Republic". Thesis, 2003. http://hdl.handle.net/1959.13/24826.

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In 1960 Louis Kahn’s theoretical concerns began to focus on a concept which he called “form”, not meaning a building’s three dimensional shape, but the essence of its underlying type. The current study considers Kahn’s post-1960 concept of “form”, as espoused in his 1961 article, “Form and Design”, in relation to Plato’s theory of Forms, as that theory is presented in The Republic. A deeper appreciation of Kahn’s text is achieved through an examination of the hypothesis that the word “form”, as it is defined in Kahn’s article, is congruous with Plato’s famous concept, whereby Forms are said to be independent of humans and particulars. This leads to a related hypothesis, that Kahn’s shift in emphasis towards transcendent types is reflected in his development of what could be called Platonising architectural strategies, because they reflect parallel aims between Plato and Kahn. While Kahn and Plato are quite different figures, separated by time, profession and intentions, consideration of Plato’s treatment of the Forms in The Republic illuminates a new interpretation of “Form and Design” and the building which is most closely associated with that text, Kahn’s First Unitarian Church and School in Rochester. The thesis identifies ideas within Kahn’s text which resonate with Plato’s philosophy, suggesting that Kahn’s theory can be interpreted through notions stemming from the early moments of the Western philosophical tradition. It also identifies inconsistencies between Kahn’s text and Plato’s and between various statements made by Kahn, highlighting the fact that Kahn’s philosophical musings are not those of a trained philosopher.
PhD Doctorate

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42

Fleming, Steven Peter. "The Bed Maker’s Model: A Thematic Study of Louis I. Kahn’s 1961 Article “Form and Design” in Terms of Plato’s Theory of Forms as Treated in The Republic". 2003. http://hdl.handle.net/1959.13/24826.

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In 1960 Louis Kahn’s theoretical concerns began to focus on a concept which he called “form”, not meaning a building’s three dimensional shape, but the essence of its underlying type. The current study considers Kahn’s post-1960 concept of “form”, as espoused in his 1961 article, “Form and Design”, in relation to Plato’s theory of Forms, as that theory is presented in The Republic. A deeper appreciation of Kahn’s text is achieved through an examination of the hypothesis that the word “form”, as it is defined in Kahn’s article, is congruous with Plato’s famous concept, whereby Forms are said to be independent of humans and particulars. This leads to a related hypothesis, that Kahn’s shift in emphasis towards transcendent types is reflected in his development of what could be called Platonising architectural strategies, because they reflect parallel aims between Plato and Kahn. While Kahn and Plato are quite different figures, separated by time, profession and intentions, consideration of Plato’s treatment of the Forms in The Republic illuminates a new interpretation of “Form and Design” and the building which is most closely associated with that text, Kahn’s First Unitarian Church and School in Rochester. The thesis identifies ideas within Kahn’s text which resonate with Plato’s philosophy, suggesting that Kahn’s theory can be interpreted through notions stemming from the early moments of the Western philosophical tradition. It also identifies inconsistencies between Kahn’s text and Plato’s and between various statements made by Kahn, highlighting the fact that Kahn’s philosophical musings are not those of a trained philosopher.
PhD Doctorate

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43

Alves, Bruno Miguel Gonçalves 1969. "A obra de Manuel Vicente : leitura crítica pelos ex-colaboradores". Master's thesis, 2019. http://hdl.handle.net/11067/4666.

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Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2019
Exame público realizado em 25 de Julho de 2019
Esta dissertação, tem como objectivo, o estudo da obra e da metodologia do arquitecto Manuel Vicente. Assenta em dois casos de estudo, representativos de escalas diferentes, bem como assim, de tipologias diferentes. Metodologicamente, vamos estudar e ler criticamente as obras a que equivalem diferentes fases e modus operandi do arquitecto. O contributo dos ex-colaboradores de Manuel Vicente, através das entrevistas concedidas, são pedra basilar, adquirindo as suas citações, durante o estudo, um carácter omnipresente. No primeiro grande capítulo, estudamos o Posto Operacional dos Bombeiros da Areia Preta, ou POBAP, analisando os pressupostos do seu desenho, desde o momento da definição dos planos urbanísticos da zona onde se insere; a Areia Preta, em Macau; passando pela malha da implantação, geometria, luz, e culminando nos elementos de forte génese Pop e de grande componente comunicativa da cidade. Dentro do mesmo capítulo, há uma abordagem ao tema da luz, como elemento definidor de espaço. Criamos um paralelismo entre a obra de Manuel Vicente e a de Louis I. Kahn; incluindo questões fenomenológicas e Poéticas do Espaço, presentes na obra de Gaston Bachelard. No segundo capítulo, o caso de estudo, é o Bairro Social do Fai Chi Kei, localizado na Bacia do Patane, também em Macau. Na consequência da ausência do elemento fisico, fruto da sua demolição em 2010, não existiu estudo in loco. Centramo-nos assim, nos testemunhos dos ex-colaboradores de Manuel Vicente, nas memórias das gentes de Macau e críticas do panorama internacional. O principal objectivo, é invocar a memória vivencial e a dimensão afectiva daquele edifício e daqueles espaços, destrinçando também a sua dimensão física. Procura-se ainda o enquadramento no tempo, ou seja, do passado ao presente.
This dissertation has as its objective the study of the work and methodology of the Architect Manuel Vicente. It rests on two case studies, representatives of different scales, as well as, different typologies. Methodologically, we will study and read critically the works that match different phases and different modus operandi of the Architect. The contribution of his former collaborators, through the interviews ceded, are the cornerstone of this work. Their quotes, during the study, acquire an omnipresent character. In the first major chapter, we will study the POBAP, or, Posto Operacional dos Bombeiros da Areia Preta, and explore the particulars of its design. Since the moment of the urban planning of the area where its implanted; the Areia Preta area, in Macau; until the implantation grid, geometry, light, and culminating in the elements of strong Pop genesis and of great communicative component of the city. In the same chapter, there is an approach to the theme of Light, as defining element of space. We create a parallel beetween Manuel Vicente´s and Kahn´s work, including space phenomenological and poetic matters, present in the work of Gaston Bachelard. In the second chapter, the case study referes to the Fai Chi Kei social housing, located in the Patane Basin, also in Macau. In the absence of the physical element, as the result of its demolition in 2010, there was no in loco study. We focus thus, on the testimonies of Manuel Vicent´s former collaborators, but also on the memories of the Macao people and criticism of the international scene. The main objective is to invoke the experiential memory and the affective dimension of that building and of those spaces, untying too, its physical dimension. We also seek to place it in a timespan, or in other words, from the past to the present.

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Tesis sobre el tema "Louis Kahn"

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