Over 100 years ago, a French banker named Albert Kahn undertook a massive photography project that became known as The Archives of the Planet. Sending
Magnifiques autochromes des archives de la planète d'Albert Kahn...
Albert Kahn’s photographic archive is a mesmerizing record of human history.
Over 100 years ago, a French banker named Albert Kahn undertook a massive photography project that became known as The Archives of the Planet. Sending
The Fisher House, also known as the Norman Fisher House, was designed by the architect Louis Kahn in 1967 in Hatboro, Pennsylvania.
Albert Kahn’s photographic archive is a mesmerizing record of human history.
The last major work by the maestro of a new global monumentality, the government buildings for the capital of contemporary Bangladesh, was completed years after his death in 1974. While the works were in full development, two of Kahn’s friends and collaborators discussed it with Domus.
© louis kahn - fisher house - hatboro, pennsylvania, US - 1967 (project)
Wow, some incredible captures of buildings designed by the great architect Louis Kahn, photographed by Naquib Hossain. In fact Naquib has a small website dedicated to Louis Kahn which he has coined a “Visual Archive”, quite fitting for this particular series. If you’ve not seen it before I’d recommend having a browse here, it’s basically a homage to Louis Kahn and his works through a collection of photographs. Interestingly enough ...
Appreciation a projectual 3D rendering, with the inclusion of its sources of inspiration, by Mariano Akerman Subtle digital interpretation by Cerbella & Caponi in Florence Magnificenza nella configurazione architettonica. Remarkable computarized graphic reconstructions of American architect Louis I. Kahn's Hurva Synagogue Project (first proposal, 1967-68). Digital animation work developed by Francesco Cerbella and Federico Caponi, University of Florence, November 2013 (Giorgio Verdiani, Seminario "Comunicare l'architettura e il design", Università degli Studi di Firenze). Computarized graphic reconstruction of the Hurva Synagogue after Kahn (phase 1, 1967-68). Digital animation by Francesco Cerbella and Federico Caponi, University of Florence, November 2013 (Giorgio Verdiani, Seminario "Comunicare l'architettura e il design", Università degli Studi di Firenze; piano: Ludovico Einaudi - Ancora). Abstract. "The video proposed here consists in the reconstruction of the Louis I. Kahn’s first proposal for Hurva Synagogue in Jerusalem (the project was developed between 1968 and 1974). Kahn was used to incorporate elements [reminiscent] of […] ruins into most of his architecture, in 1967 he received a commission to [design] the [then] destroyed synagogue [popularly known as the] Hurva, […] Hebrew [term that means] "ruin". For Kahn, this project presented an extraordinary opportunity to express his most deeply felt ideas about architecture. It was his chance to build [a] great Jewish monument at the religious center of the new Jewish state, in the region where the three major Western religions were born. As the world's leading Jewish architect, Kahn was conscious of the huge responsibility of this commission. In this project it is possible to find [several traits] that characterize Kahn’s architecture: a configuration of space as discrete volumes, complex ambient light and shadow, a celebration of mass and structure, the use of materials with both modernist and archaic qualities. [In this project,] Kahn also expresses his concept of wrapping ruins around buildings: "The new building should itself consist of two buildings, an outer one which would absorb the light and heat of the sun, and an inner one, giving the effect of a separate but related building…". The outer building of synagogue recalls some ancient monumental ruin, perhaps from Egypt, or even [another one] from some more [a] remote past now lost to history. The video shows […] the whole [of Kahn's] composition, [… including its] relationship with [some] ancient ruins, [… understood as sources of] inspiration for the project" (Cerbella-Caponi, Contemporary Architecture and Ancient Suggestions - The Louis Kahn's Hurva Synagogue Project, Conference on Cultural Heritage and New Technologies, CHNT 19, Vienna, November 2014). Sources of inspiration: renderings of Kahn's project • Francis D.K. Ching, Form, Space and Order, 1979. Plan of the Hurva Synagogue, by Ching • Kent Larson, "A Virtual Landmark", Progressive Architecture, September 1993, pp. 80-87 Computarized graphic section of the Hurva Synagogue, by Larson, MIT Computarized graphic perspective, by Larson Sources of inspiration: History of Architecture • David Bruce Brownlee y David Gilson De Long, Louis I. Kahn: In the Realm of Architecture, Nueva York and Los Ángeles, 1991, pp. 88-89. Plans of Kahn's Hurva Synagogue and Fergusson's rendering of Solomon's Temple; comparison by Akerman after Brownlee y De Long. • Mariano Akerman, "The Evocative Character of Louis Kahn's Hurva Synagogue Project, 1967-1974" (1996), in: The Real and Ideal Jerusalem in Jewish, Christian and Islamic Art, ed. Bianca Kühnel, CFJA, 1997-98, pp. 245-53. Kanh's Hurva Synagogue model compared with the pylons of the Egyptian Temple of Horus in Edfu; compared by Akerman in 1996. Resources • Enciclopedia Italiana Treccani 1936: Sinagoga • WKP: Hurva_Synagogue • Louis Kahn, Order Is, 1960 • Kent Larson, Louis I. Kahn: Unbuilt Masterworks, 2000 • Mariano Akerman, "The Evocative Character of Louis Kahn's Hurva Synagogue Project, 1967-1974" (1996), en: The Real and Ideal Jerusalem in Jewish, Christian and Islamic Art, ed. Bianca Kühnel, CFJA, 1997-98, pp. 245-53. • _____. Louis I. Kahn: dimensión poética para la Sinagoga Hurva en Jerusalén Copyright © 2013 All Rights Reserved
It's hard to believe, but colour images of the early 1900s do exist...and it's spooky how modern looking and vivid they are. Many thanks to Musée Albert-Kahn and the National Media Museum for granting permission to use some of their images.
Design is form-making in order Form emerges out of a system of construction Growth is a construction – In order is creative force In design is the means – where with what when with how much The nature of space reflects what it wants to be Is the auditorium a Stradivarius or an ear Is the auditorium a creative instrument keyed to Bach or Bartók played by the conductor or is it a conventional hall In the nature of space is the spirit and the will to exist in a certain way Design must follow closely that will Therefore a stripe-painted horse is not a zebra Before a railroad station is a building it wants to be a street it grows out of the needs of the street out of the order of movement A meeting of contours englazed. Through the nature – why Through the order – what Through the design – how A form emerges from the structural elements inherent in the form. A dome is not conceived when questions arise how to build it. Nervi grows an arch Fuller grows a dome Mozart’s compositions are designs They are exercises of order – intuitive Design encourages more designs Designs derive their imagery from order Imagery is the memory – the form Style is an adopted order The same order created the elephant and created man They are different designs Begun from different aspirations Shaped from different circumstances Order does not imply Beauty The same order created the dwarf and Adonis Design is not making beauty Beauty emerges from selection affinities integration love Art is a form-making life in order – psychic Order is intangible It is a level of creative consciousness forever becoming higher in level The higher the order the more diversity in design Order supports integration From what the space wants to be the unfamiliar way may be revealed to the architect. From order he will derive creative force and power of self-criticism to give form to this unfamiliar. Beauty will evolve. Image. Louis Kahn’s unbuilt Hurva Synagogue, as rendered by Kent Larson for the book Unbuilt Masterworks, a collection of digital constructions of Kahn’s proposals (Amazon). American architect Louis I. Kahn left behind a legacy of great buildings: the Salk Institute in La Jolla, California; the Kimbell Art Museum in Fort Worth, Texas; and the Indian Institute for Management in Ahmedabad. Yet he also left behind an equally important legacy of designs that were never realized. This exceptional volume unites those unbuilt projects with the most advanced computer-graphics technology—the first fundamentally new tool for studying space since the development of perspective in the Renaissance—to create a beautiful and poignant vision of what might have been. Author Kent Larson has delved deep into Kahn's extensive archives to construct faithful computer models of a series of proposals the architect was not able to build: the U.S. Consulate in Luanda, Angola; the Meeting House of the Salk Institute in La Jolla; the Mikveh Israel Synagogue in Philadelphia; the Memorial to Six Million Jewish Martyrs in New York City; three proposals for the Hurva Synagogue in Jerusalem; and the Palazzo dei Congressi in Venice. The resulting computer-generated images present striking views of real buildings in real sites. Each detail is exquisitely rendered, from complex concrete textures to subtle interreflections and patterns of sunlight and shadow. Kahn's famous statement—"I thought of wrapping ruins around buildings"—is borne out by the views of his unbuilt works; his rigorous exploration of tactility and sensation, light and form, is equally evident. Complementing the new computer images is extensive archival material—rough preliminary drawings, finely delineated plans, and beautiful travel sketches. Larson also presents fascinating documentation of each project, often including correspondence with the clients that shows not only the deep respect accorded the architect but the complicated circumstances that sometimes made it impossible to bring a design to fruition. Not only a historical study of Kahn's unbuilt works, this volume is in itself an intriguing alternative history of architecture. A stunning act of digital cyber-architecture by architect Larson. Uncannily realistic. —Time Magazine. Kent Larson used virtual reality to produce strikingly lifelike ... pictures. The product is a luminous representation of daylight. —The Chicago Tribune Of applications to which the computer has been put in architecture, none is more intriguing. Startlingly convincing. —The New York Times Book Review Rigorous scholarship, ... an important contribution to the history of architecture in general, and a deeper understanding of Louis Kahn's genius. —Architectural Record, December 2000 The Hurva simulations are astonishing and utterly convincing. —The New York Times, A Spiritual Quest Realized, but Not in Stone, Paul Goldberger, Sunday, Arts and Leisure. The poetry in Larson’s images comes from his artistic interpretation of Kahn. —OPEN: The Electronic Magazine, Redefining Creativity in the Digital Age, Inside Virtual Walls. See also: 1, 2, 3, 4, 5, 6, 7, 8 Louis Kahn Kahn's Hurva Plans Rova Yehudi Unbuilt Ruins Unbuilt Masterworks Hurva Synagogue, 2000-10 "So therefore I thought of the beauty of ruins... of things which nothing lives behind... and so I thought of wrapping ruins around buildings; you might say encasing a building in a ruin so that you look through the wall which has its apertures as if by accident... I felt this would be an answer to the glare problem." -Kahn, interview, Perspecta 7, 1961, 9-18. Louis Kahn was born in Saarama, Estonia in 1901. His family emigrated to the U.S. in 1905. He graduated from the University of Pennsylvania with a thorough grounding the the Beaux Art school of architecture. During the 1920s and 1930s he worked as a draughtsman and, later, as a head designer for several Philadelphia-based firms. In 1925-26 Kahn acted as the Chief of Design for the Sesquincettennial Exhibition. During the Depression, he was active in the design of public assisted housing. Beginning in 1935 Kahn worked with a series of partners, but from 1948 until his death in 1974, Kahn worked alone. From 1947 to 1957 he was Design Critic and Professor of Architecture at Yale University, after which he was Dean at the University of Pennsylvania. Among his many notable buildings are the Salk Institute (La Jolla, CA), the Phillips Exeter Academy Library, the Yale Center for British Art, the Kimbell Art Museum, Indian Institute of Management in Ahmedabad, India, and the National Capital of Bangladesh. Two of his unbuilt designs have also garnered considerable praise: the Franklin Delano Roosevelt Memorial and the Hurva Synagogue in Jerusalem, Israel. Kahn's architecture is notable for its simple, platonic forms and compositions. Through the use of brick and poured-in place concrete masonry, he developed a contemporary and monumental architecture that maintained a sympathy for the site. While rooted in the International Style, Kahn's architecture was an amalgam of his Beaux Arts education and a personal aesthetic impulse to develop his own architectural forms. Kahn wrote an essay entitled "Monumentality" already in 1944. Considered one of the foremost architects of the late twentieth century, Kahn received the AIA Gold Medal in 1971 and the RIBA Gold Medal in 1972. He was elected a member of the American Academy of Arts and Letters in 1971. Resources • Reinventing [?] Jerusalem, Documenta, 14.7.11 • Hurva Synagogue: Kahn vs Meltzer?, Documenta, 21.7.2011 • Tradition and Innovation The Nature and Evolution of Art and Architecture as Structures of Consciousness, by Mariano Akerman Counterpoint. For a series of remarkable images relating to memory poetically, while conveying notions such as ruin and reconstruction, see: Painter of Opportune Questions Why? Because "A good question is greater that the most brilliant answer." —Kahn, while teaching.
Lucky chances brought together an international couple and a Louis Kahn-designed house.
Over 100 years ago, a French banker named Albert Kahn undertook a massive photography project that became known as The Archives of the Planet. Sending
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An architect celebrated for his breathtaking studies of light and materiality in the creation of memorable architecture, Louis Kahn did not fail to...
Over 100 years ago, a French banker named Albert Kahn undertook a massive photography project that became known as The Archives of the Planet. Sending
Albert Kahn’s photographic archive is a mesmerizing record of human history.
Over 100 years ago, a French banker named Albert Kahn undertook a massive photography project that became known as The Archives of the Planet. Sending
Over 100 years ago, a French banker named Albert Kahn undertook a massive photography project that became known as The Archives of the Planet. Sending
Louis Kahn, Fisher House, 1960-1967, Pennsylvania, USA
Image 4 of 10 from gallery of AD Classics: Indian Institute of Management / Louis Kahn.
Over 100 years ago, a French banker named Albert Kahn undertook a massive photography project that became known as The Archives of the Planet. Sending
Over 100 years ago, a French banker named Albert Kahn undertook a massive photography project that became known as The Archives of the Planet. Sending
Over 100 years ago, a French banker named Albert Kahn undertook a massive photography project that became known as The Archives of the Planet. Sending
Albert Kahn’s photographic archive is a mesmerizing record of human history.
In "The Ruins of Detroit," photographers Yves Marchand and Romain Meffre capture the broken facades of a once-brash metropolis built on the sudden wealth of industrialization.
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How an early-twentieth-century French banker shaped your favorite Instagram filters.
Over 100 years ago, a French banker named Albert Kahn undertook a massive photography project that became known as The Archives of the Planet. Sending