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Kahn, Louis Isadore
(redirected from Louis Kahn)

   Also found in: Wikipedia, Hutchinson 0.04 sec.
Kahn, Louis Isadore (kän, ĭz`ədôr'), 1901–74, American architect, b. Estonia. He and his family moved to Philadelphia in 1905, and he later studied at the Univ. of Pennsylvania. From the 1920s through World War II, Kahn worked on numerous housing projects including Carver Court (1944), in Coatesville, Pa. He also planned the Yale Univ. Art Gallery (1953) and the American Federation of Labor Medical Building, Philadelphia. Kahn was widely acclaimed for his design of the Richards Medical Research Laboratories at the Univ. of Pennsylvania (1958–60). In this building he arrived at a new and dynamic integration of formal and functional elements, ingeniously relating mechanical services to the total architecture. Kahn eschewed the seemingly weightless International Style International style, in architecture, the phase of the modern movement that emerged in Europe and the United States during the 1920s. The term was first used by Philip Johnson in connection with a 1932 architectural exhibition held at the Museum of Modern Art, New
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 glass boxes of his time and created bold, dignified, and sometimes brooding or harsh structures of massed stone and concrete. His notable later designs include the Salk Institute (1965) in La Jolla, Calif., the Olivetti-Underwood Corp. factory (1969) at Harrisburg, Pa., the Kimbell Art Museum (1972), Fort Worth, Tex., and the monumental posthumously completed government complex (1983) in Dhaka, Bangladesh. One of the major architects of his time, he also exerted wide influence over the next generations of American architects as a professor at Yale (1947–57) and the Univ. of Pennsylvania (1957-74).

Bibliography

See his notebooks and drawings, ed. by R. S. Wurman and E. Feldman (1962), Louis I. Kahn: Writings, Lectures, Interviews (1991), ed. by A. Latour; studies by V. Scully (1962), R. Giurgola (1975), P. C. Loud (1989), D. B. Brownlee and D. G. De Long (1991 and 1997), U. Buttiker (1994), K.-P. Gast (1999), K. Larson (2000), and S. W. Goldhagen (2001).



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Faced with a Carlo Scarpa or a Louis Kahn we appreciate the struggle for expression as the one manifests an idea through carefully laid layers of plaster, the other through skeins of translucent marble, and how both of them crave to conquer the impassiveness of in-situ concrete.
In another, incorporated into the installation Monument to Penn Station, he sketches the lonely death of Louis Kahn in a bathroom in the doomed Penn Station, a spectacle of a more pathetic kind.
In the film My Architect, the recent documentary about the late, great Louis Kahn, Johnson tells Kahn's son, "Lou wasn't much to look at.
 
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