Louis Kahn Spatial Conguration (Service, Public, Private) Classical Proportion and Geometries Light (born Itze-Leib Schmuilowsky)

(February 20, 1901 March 17, 1974) was an American architect,[1] based in Philadelphia, Pennsylvania, United States. After working in various capacities for several rms in Philadelphia, he founded his own atelier in 1935. While continuing his private practice, he served as a design critic and professor of architecture at Yale School of Architecture from 1947 to 1957. From 1957 until his death, he was a professor of architecture at the School of Design at the University of Pennsylvania. Inuenced by ancient ruins, Kahn's style tends to the monumental and monolithic; his heavy buildings do not hide their weight, their materials, or the way they are assembled. Louis Kahn's works are considered as monumental beyond modernism. Famous for his meticulously built works, his provocative unbuilt proposals, and his teaching, Kahn was one of the most inuential architects of the 20th century. Louis Kahn, whose original name was Itze-Leib (Leiser-Itze) Schmuilowsky (Schmalowski), was born into a poor Jewish family in Prnu and spent the rest of his early childhood in Kuressaare on the Estonian island of Saaremaa, then part of the Russian Empire. At age 3, he saw coals in the stove and was captivated by the light of the coal. He put the coal in his apron which caught on re and seared his face.[2] He carried these scars for the rest of his life.[3] In 1906, his family immigrated to the United States, fearing that his father would be recalled into the military during the Russo-Japanese War. His actual birth year may have been inaccurately recorded in the process of immigration. According to his son's documentary lm in 2003[4] the family could not afford pencils but made their own charcoal sticks from burnt twigs so that Louis could earn a little money from drawings and later by playing piano to accompany silent movies. He became a naturalized citizen on May 15, 1914. His father changed their name in 1915. Career He trained in a rigorous Beaux-Arts tradition, with its emphasis on drawing, at the University of Pennsylvania. After completing his Bachelor of Architecture in 1924, Kahn worked as senior draftsman in the ofce of City Architect John Molitor. In this capacity, he worked on the design for the 1926 Sesquicentennial Exposition.[5]

The Phillips Exeter Academy Library in Exeter, New Hampshire, U.S., with 160,000 volumes on nine levels and a shelf capacity of 250,000 volumes, is the largest secondary school library in the world.[1] It is part of the Phillips Exeter Academy, an independent boarding school. When it became clear in the 1950s that the library had outgrown its existing building, the school initially hired an architect who proposed a traditional design for the new building. Deciding instead to construct a library with a contemporary design, the school gave the commission to Louis Kahn in 1965. In 1997 the library received the Twenty-ve Year Award from the American Institute of Architects, an award that recognizes architecture of enduring signicance that is given to no more than one building per year. Kahn structured the library in three concentric square rings. The outer ring, which is built of load-bearing brick, includes all four exterior walls and the library carrel spaces immediately inside them. The middle ring, which is built of reinforced concrete, holds the heavy book stacks. The inner ring is a dramatic atrium with enormous circular openings in its walls that reveal several oors of book stacks. The library has an almost cubical shape: each of its four sides is 111!feet (33!m) wide and 80!feet (24!m) tall.[8]:309 It is constructed in three concentric areas (Kahn called them "doughnuts").[7]:87 In the words of Robert McCarter, author of Louis I. Kahn, "From the very beginning of the design process, Kahn conceived of the three types of spaces as if they were three buildings constructed of different materials and of different scales buildings-within-buildings".[8]:306 The outer area, which houses the reading carrels, is made of brick. The middle area, which contains the heavy book stacks, is made of reinforced concrete. The inner area is an atrium. The library's heating and cooling needs are supplied by the nearby dining hall, which Kahn built at the same time as the library, but which is considered to be of less architectural signicance.[5]:202 Exterior The building committee's document specied that the new library should be "unpretentious, though in a handsome, inviting contemporary style".[11] Kahn accordingly made the building's exterior relatively undramatic, suitable for a small New England town. Its facade is primarily brick with teak wood panels at most windows marking the location of a pair of wooden carrels. The bricks are loadbearing; that is, the weight of the outer portion of the building is carried by the bricks

themselves, not by a hidden steel frame. Kahn calls this fact to the viewer's attention by making the brick piers noticeably thicker at the bottom where they have more weight to bear. The windows are correspondingly wider toward the top where the piers are thinner.[8]:309 Kahn said, "The weight of the brick makes it dance like a fairy above and groan below."[12] The corners of the building are chamfered (cut off), allowing the viewers to see the outer parts of the building's structure, the outer "doughnut." The Macmillan Encyclopedia of Architects says, "Kahn sometimes perceived a building as enclosed by 'plate-walls,' and to give emphasis to this structural form, he interrupted the plates at the corner, leaving a gap between them. The Library at Phillips Exeter Academy in Exeter, New Hampshire (19671972) is a classic example".[13]:540 Each of these four brick "plate-walls," which house the library carrels, is 16 feet (4.9!m) deep.[8]:308 At the top of the exterior walls is a row of openings similar to the windows below except that these openings are above the roof and have no glass.[8]:309 Vincent Scully said that Kahn was drawn to architecture based on "solid, almost primitive, masonry masses with voids in them without glass."[14]:4 The bottoms of these window-like openings are 6!feet (1.8!m) above the oor of an arcade that follows the perimeter of the top of building.[8]:320 Another arcade circles the building on the ground oor. Kahn disliked the idea of a building that was dominated by its entrance, so he concealed the main entrance to the library behind this arcade. His original design, however, called for landscaping with a paved forecourt that would have indicated the entrance without disrupting the symmetry of the facade.[5]:191 Architectural historian William Jordy said, "Perverse as the hidden entrance may seem, it emphatically reinforces Kahn's statement that his design begins on the periphery with the circle of individual carrels, each with its separate window."[15] Interior A circular double staircase built from concrete and faced with travertine greets the visitor upon entry into the library. At the top of the stairs the visitor enters a dramatic central hall with enormous circular openings that reveal several oors of book stacks. At the top of the atrium, two massive concrete cross beams diffuse the light entering from the clerestory windows. Carter Wiseman, author of Louis Kahn: Beyond Time and Style, said, "The many comparisons of the experience of entering Exeter's main space to that of entering a cathedral are not accidental. Kahn clearly wanted the students to be humbled by the sense of arrival, and he succeeded."[5]:194 David Rineheart, who

worked as an architect for Kahn, said, "for Lou, every building was a temple. Salk was a temple for science. Dhaka was a temple for government. Exeter was a temple for learning."[5]:180 Because the stacks are visible from the oor of the central hall, the layout of the library is clear to the visitor at a glance, which was one of the goals the Academy's building committee had set for Kahn.[11] The central room is 52 feet (15.8!m) high, as measured from the oor to the beginning of the roof structure, and 32 feet (9.8!m) wide. Those dimensions approximate a ratio known as the Golden Section, which was studied by the ancient Greeks and has been considered the ideal architectural ratio for centuries.[8]:309 The circle and the square that are combined so dramatically in the atrium were considered to be the paradigmatic geometric units by the ancient Roman architect Vitruvius.[3]:129 He also noted that the human body is proportioned so that it can t in both shapes, a concept that was famously expressed with a combined circle and square by Leonardo da Vinci in his drawing Vitruvian Man. The outer part of the building, which houses the carrels, is built of load-bearing brick. Each carrel oor spans two levels of book stacks. The specications of the Academy's building committee called for a large number of carrels (the library has 210[6]) and for the carrels to be placed near windows so they could receive natural light.[3]:390 The latter point matched Kahn's personal inclinations perfectly because he himself strongly preferred natural light: "He is also known to have worked by a window, refusing to switch on an electric light even on the darkest of days."[16] Each pair of carrels has a large window above, and each individual carrel has a small window at desk height with a sliding panel for adjusting the light. The placement of carrel spaces at the periphery was the product of thinking that began years earlier when Kahn submitted proposals for a new library at Washington University. There he dispensed with the traditional arrangement of completely separate library spaces for books and readers, usually with book stacks on the periphery of the library and reading rooms toward the center. Instead he felt that reading spaces should be near the books and also to natural light.[8]:304 For Kahn, the essence of a library was the act of taking a book from a shelf and walking a few steps to a window for a closer look: "A man with a book goes to the light. A library begins that way. He will not go fty feet away to an electric light."[9]:76 Each carrel area is associated with two levels of book stacks, with the upper level

structured as a mezzanine that overlooks the carrels. The book stacks also look out into the atrium. The inherent massiveness of the brick "plate-wall" structure of the outer part of the library helps to create the cloistered atmosphere that Kahn felt was appropriate for library carrels.[8]:305 While explaining his proposal for the library at Washington University, Kahn had used the example of the cloistered carrels at the monastic library at Dunham, England, to explain his "desire to nd a space construction system in which the carrels were inherent in the support which harbored them ... Wallbearing masonry construction with its niches and vaults has the appealing structural order to provide naturally such spaces."[9]:69,70 Architectural interpretations Massive cross beams that diffuse the light at the top of the atrium Architectural experts sometimes differ in their interpretations of Kahn's design. Why, for example, are the cross beams at the clerestory windows above the atrium so massive? Carter Wiseman says, "While they appear to beand indeed are structural, they are far deeper than necessary; their no-less-important role was to diffuse the sunlight coming in from the surrounding clerestory windows and reect it down into the atrium."[5]:198 Sarah Goldhagen thinks there is more to the story, asserting that "the concrete X-shaped cross below the skylit ceiling at the Exeter Library is grossly exaggerated for dramatic effect."[17] Kathleen James-Chakraborty goes even further: "Above, in the most sublime gesture of all, oats a concrete cross brace, illuminated by clerestory windows. Its weight, which appears ready to come crashing down upon the onlooker, revives the sense of threat dissipated elsewhere by the reassuring familiarity of the brick skin and wood details."[7]:87 Kahn similarly oated a massive concrete structure above the sanctuary of the First Unitarian Church of Rochester, which he designed a few years earlier. Another issue is the extent to which Kahn deliberately introduced elements into some of his buildings that give them the ageless atmosphere of ruins. Kahn himself spoke of "wrapping ruins around buildings", although in the context of another project.[14]: 10 In his essay "Louis I. Kahn and the Ruins of Rome," Vincent Scully argues that Kahn followed this practice in several of his buildings, including this library, saying, "And in his library at Phillips Exeter Academy in New Hampshire, Kahn won't even let it become a building; he wants it to remain a ruin. The walls don't connect at the top. They remain like a hollow shell".[14]:12 Romaldo Giurgola, on the other hand, avoids this interpretation in the entry he wrote for Louis Kahn in the Macmillan Encyclopedia of Architects. In it, while discussing the arrangement of exterior components of Kahn's National Assembly Building of Bangladesh, Giurgola wrote,

"This relationship with daylight was the determining element behind this solution, rather than the formal desire to 'create ruins,' as some critics have suggested." In the very next paragraph Guirgola describes the chamfered corners of the library at Phillips Exeter by saying only that Kahn used this device to show that the structural importance of the corner is greatly reduced in buildings like the Exeter library that are constructed with reinforced concrete and other modern materials. The Kimbell Art Museum in Fort Worth, Texas, hosts a small but excellent art collection as well as traveling art exhibitions, educational programs and an extensive research library. Its initial artwork came from the private collection of Kay and Velma Kimbell, who also provided funds for a new building to house it. The building was designed by architect Louis I. Kahn and is widely recognized as one of the most signicant works of architecture of recent times. It is especially noted for the wash of silvery natural light across its vaulted gallery ceilings. Architecture The museum is composed of 16 parallel vaults that are each 100 feet (30.6 m) long, 20 feet (6 m) high and 20 feet (6 m) wide (internal measurements).[13]:398 Intervening low channels separate the vaults. The vaults are grouped into three wings. The north and south wings each have six vaults, with the western one open as a portico. The central space has four vaults, with the western one open as an entry porch facing a courtyard partially enclosed by the two outside wings. The aerial view of the Kimbell Art Museum on Google Maps makes the museum's layout clear.[14] With one exception, the art galleries are located on the upper oor of the museum to allow access to natural light. Service and curatorial spaces as well as an additional gallery occupy the ground oor.[5]:342 Each interior vault has a slot along its apex to allow natural light into the galleries. Air ducts and other mechanical services are located in the at channels between the vaults.[5]:347 Kahn used several techniques to give the galleries an inviting atmosphere. The ends of the vaults, which are made of concrete block, are faced with travertine inside and out.[5]:348 The steel handrails were "blasted" with ground pecan shells to create a matte surface texture.[5]:350 The museum has three glass-walled courtyards that bring natural light to the gallery spaces. One of them penetrates the gallery oor to bring natural light to the conservation studio on the ground oor.[4]:219 Vaults

Kahn's rst design for the galleries called for angular vaults of folded concrete plates with light slots at the top. Brown liked the light slots but rejected this particular design because it had the ceilings 30 feet (9 m) high, too high for the museum he envisioned. Further research by Marshall Meyers, Kahn's project architect for the Kimbell museum, revealed that using a cycloid curve for the gallery vaults would reduce the ceiling height and provide other benets as well. The relatively at cycloid curve would produce elegant galleries that were wide in proportion to their height, allowing the ceiling to be lowered to 20 feet (6 m).[4]:214-216 More importantly, that curve could also be used to produce a beautiful distribution of natural light from a slot in the top of the gallery across the entire gallery ceiling.[16] Kahn was pleased with this development because it allowed him to design the museum with galleries that resembled the ancient Roman vaults he had always admired. The thin, curved shells needed for the roof were challenging to build, however, so Kahn called in a leading authority on concrete construction, August Komendant, with whom he had worked before (and who, like Kahn, was born in Estonia[4]:96). Kahn generally referred to the museum's roof form as a vault, but Komendant explained that it was actually a shell playing the role of a beam.[4]:216 More precisely, as professor Steven Fleming points out, the shells that form the gallery roofs are "post-tensioned curved concrete beams, spanning an incredible 100 feet" (30.5 m), which "happened to have been the maximum distance that concrete walls or vaults could be produced without requiring expansion control joints."[17] Both terms, vault and shell, are used in professional literature describing the museum.

One of the porticos at the front of the museum. This shell, like all the others, is supported only at its four corners, minimizing obstruction at oor level. True vaults, such as the Roman vaults that Kahn admired, will collapse if not supported along the entire lengths of each side. Not fully understanding the capabilities of modern concrete shells, Kahn initially planned to include many more support columns than were necessary for the gallery roofs.[12]:185 Komendant was able to use post-tensioned concrete that was only ve inches thick to create gallery "vaults" that need support columns only at their four corners.[12]:194 The Geren rm, which had been asked to look for ways to keep costs low, objected that the cycloid vaults would be too expensive and urged a at roof instead. Kahn, however, insisted on a vaulted roof, which would enable him to create galleries with a comforting, room-like atmosphere yet with minimal need for columns or other internal structures that would reduce the museum's exibility. Eventually a deal was struck whereby Geren would be responsible for the foundation and basement while

Komendant would be responsible for the upper oors and cycloid shells.[4]:218 Kahn placed one of these shells at the front of each of the three wings as a porch or portico to illustrate how the building was constructed. The effect was, in his words, "like a piece of sculpture outside the building."[12]:204 Thos. S. Byrne, Ltd. was the contractor for the project, with A. T. Seymour as project manager. Virgil Earp and L. G. Shaw, Byrne's project superintendents, designed forms with a cycloid shape that were made from hinged plywood and lined with an oily coating so they could be reused to pour concrete for multiple sections of the vaults, helping to ensure consistency.[12]:204-206 The long, straight channels at the bottoms of the shells were cast rst so they could be used as platforms to support the workmen pouring concrete for the cycloid curves. After all the concrete had been poured and strengthened with internal post-tensioning cables, however, the curved parts of the shells carried the weight of their lower straight edges instead of the other way around.[16] To prevent the shells from collapsing at the long light slots at their apexes, concrete struts were inserted at 10-foot (3 m) intervals. A relatively thick concrete arch was added to each end of the shells to stiffen them further. To make it clear that the curved shells are supported only at their four corners and not by the walls at the ends of the vaults, thin arcs of transparent material were inserted between the curve of the shells and the end walls. Because the stiffening arches of the shells are thicker at the top, the transparent strips are tapered, thinner at the top than at the bottom. In addition, a linear transparent strip was placed between the straight bottoms of the shells and the long exterior walls to show that the shells aren't supported by those walls either. In addition to revealing the building's structure, these features bring additional natural light into the galleries in a way that is safe for the paintings.[4]:217 The vault roofs, which are visible to approaching visitors, were covered with lead sheathing inspired by the lead covering of the complexly curved roofs of the Doge's Palace and St. Mark's Basilica in Venice, Italy.[5]:353 Skylights Reectors spread sunlight across the gallery ceilings. Kahn showed that the curved ceiling shells are supported only at their corners by allowing a thin strip of outside light to enter along the tops of the long gallery walls and a thicker arc of light to enter at the end of each gallery. David Brownlee and David DeLong, authors of Louis I. Kahn: In The Realm of Architecture, declare that "in Fort Worth, Kahn created a skylight system without peer in the history of architecture."[13]:132 Robert McCarter, author of Louis I. Kahn, says

the entry gallery is "one of the most beautiful spaces ever built," with its "astonishing, ethereal, silver-colored light."[5]:355 Carter Wiseman, author of Louis I. Kahn: Beyond Time and Style, said that "the light in the Kimbell gallery assumed an almost ethereal quality, and has been the distinguishing factor in its fame ever since."[4]:222 Creating a natural lighting system that has evoked such acclaim was challenging, and Kahn's ofce and the lighting designer Richard Kelly investigated over 100 approaches in their search for the proper skylight system. The goal was to illuminate the galleries with indirect natural light while excluding all direct sunlight, which would damage the artwork.[12]:184 Richard Kelly, lighting consultant, determined that a reecting screen made of perforated anodized aluminum with a specic curve could be used to distribute natural light evenly across the cycloid curve of the ceiling. He hired a computer expert to determine the exact shape of the reector's curve, making it one of the rst architectural elements ever to be designed with computer technology.[4]:221[12]:209 In areas without art, such as the lobby, cafeteria and library, the entire reector is perforated, making it possible for people standing beneath to glimpse passing clouds. In the gallery spaces, the central part of the reector, which is directly beneath the sun, is solid, while the remainder is perforated.[5]:353 The concrete surfaces of the ceiling were given a high nish to further assist the reection of the light. [4]:221 The end result is that the strong Texas sun enters a narrow slot at the top of each vault and is evenly reected from a curved screen across the entire arc of the polished concrete ceiling, ensuring a beautiful distribution of natural light that had never before been achieved.

Thomas Bosworth For clients privileged enough to own a few acres on coastlines or prairies in the state of Washington, the go-to architect for low-key, woodsy non-McMansions is Thomas L. Bosworth. At age 77, he runs a 40-year-old Seattle practice (since 2004 it has been a partnership with architect Steve Hoedemaker). Although really more of a giant promotional brochure, Building with Light in the Pacic Northwest: The Houses of Thomas L. Bosworth, Architect, explains how the Pacic Northwest designer has resisted the Microsoft-era temptations to overwhelm landscapes. Bosworth has also resisted temptations to be a committed Modernist the career track he set upon in the late 1950s as a star student at Yale's architecture school. An Ohio native of Puritan ancestry, Bosworth came under the Yale spell of Paul Rudolph, Gordon Bunshaft and Louis Kahn. After graduation in 1960, Bosworth took a job

with Eero Saarinen and helped design the TWA Terminal at New York City's JFK Airport. In 1968, he moved to Seattle to head the architecture department at the University of Washington while designing a timber-columned, wood-clad campus for Pilchuck Glass School. Once settled in Washington, Bosworth seems to have never again put up a curtain wall where shingles or clapboard would do. He credits this permanent shift toward traditionalism partly to his father and grandfather, who had been professors and Classical scholars at Oberlin College in Ohio. As architectural theorist Max Jacobson (a co-author of Christopher Alexander's 1977 A Pattern Language) points out in this volume's introduction, Bosworth had grown up in an 1855 Greek Revival in Oberlin while "spending happy hours alone" in his family's "library-storehouse of ancient art, architecture, and texts." In the 1970s and '80s, along with East Coast Postmodernist counterparts like Robert Venturi and Robert A.M. Stern, Bosworth helped reintroduce gables, porches and bays to avant-garde patrons of country houses. Unlike Venturi and Stern, whose styles have kept evolving (and, arguably, sometimes veered into blandness or kitsch), Bosworth has kept his palette extraordinarily narrow. Since the 1990s, he has designed almost nothing but houses more than 60 so far. All but a handful are in Washington. They are typically gabled with incomplete cornice returns, dormered, fronted-in porches with capital-less square piers, and bilaterally symmetrical along spines or crisscrossing axes. (The book is plentifully stocked with site and oor plans, elevations and sections.) Windows generally reach the oors and supplementing that ood of natural light are clerestories, transoms, skylights and monitors. Bosworth's commissions range greatly in scale, from cottages to compounds. His subtle variations on recurring themes make this book a page-turner. He sometimes stretches porch steps the width of the house, and lets the stair edges trail off into the beach grass. He points room axes toward water views, of course, or more surprisingly toward hip-roofed folly outbuildings/guesthouses shaped like silos or lighthouses. To stimulate quick patinas on his structures, he applies weathering stain over cedar siding, and he's been known to leave gaps between concrete paving slabs so that weeds can root. Clients have returned to his ofce again and again for additions, but even at multi-structure estates, Bosworth keeps interiors cozy. His cedar-lined or whitewashed rooms resemble thrifty ship cabins; he tucks bookcases under loft beds, transoms over closet doors and window seats beside replaces. His architecture, as Jacobson writes, is "free of any trace of fussiness, coyness, or the overweening presence of an egocentric personality." Bosworth's own summations of his work, however, are less straightforward and illuminating than Jacobson's. Bosworth sounds a little like a cryptic Zen master:

"Architectural design involves a creative tension between the metaphoric and the literal, between image and reality." In the volume's detailed descriptions of 17 houses, lling up to two-dozen pages apiece, Rosenfeld herself tends toward fuzziness. "His houses emerge from and fulll his understanding of what architecture is and what it is for," she writes, and reports that one Puget Sound cottage's axis "serves as a metaphor for the mediating and translating role of design and human habitation." Sea Ranch Sea Ranch is noted for its distinctive architecture, which consists of simple timberframe structures clad in wooden siding or shingles. The building typology of the Sea Ranch draws on the local agricultural buildings for inspiration, in the way that those buildings are designed to deal with prevailing weather and topography. Originally, the Sea Ranch had local lumber mills to draw on for the Douglas Fir and Redwood used in the homes. The majority of the 1800 or so homes currently nished are smaller second homes, though there is also a small contingent of about 300 full-time residents. Approximately half the homes are rented as weekend rentals. The eventual build out will consist approximately 2400 homes- the number varies as some current owners purchase adjacent vacant lots and merge the two, to preserve open space. The buildings could be considered as a hybrid of modern and vernacular architecture, also known as the "Third Bay Tradition" also referred to as "Sea Ranch" style. The original design guidelines suggest that buildings have a site specic relationship with the landscape, although this is more difcult as the development approaches build out, and a lot of the newer homes are actually in-ll between already developed lots. Sea Ranch specic design review requirements include various design guidelines so that the buildings become part of the landscape, not subordinate to it, but do not dominate either. Details such as exteriors of unpainted wood or muted stains, a lack of overhanging eaves, and bafes on exterior lighting subdue the appearance of the buildings in the landscape. Lighting is also bafed to minimize nighttime "light pollution"; there are no street lights, and the night sky is dazzling. The lack of roof overhangs is also intended to allow the near-constant strong breezes to pass over the buildings without the turbulence the overhangs would create. The Sea Ranch design review process has no impact on the interiors of the buildings, but all construction is subject to Sonoma County Permit and Resource Management oversight. Landscaping in The Sea Ranch is regulated by a design manual which prohibits perimeter fences and limits non-indigenous plants to screened courtyards.[9] A herd of sheep is used to keep grass cut low to the ground to reduce the threat of re during the summer months.

Architecture in English II
Lecture 12: Modern Vernacular Fall 2012

Saturday, December 22, 2012

Vernacular Architecture is:

Based on Local Building Traditions Local Materials A Built Response to the Environment
and Light

Uses Available Technology

Saturday, December 22, 2012

Exeter Library Kimball Art Museum Pilchuck School Sea Ranch

Saturday, December 22, 2012

Vernacular Building

Saturday, December 22, 2012

Vernacular Building

Saturday, December 22, 2012

Vernacular Building

Saturday, December 22, 2012

Vernacular Building

Saturday, December 22, 2012

Vernacular Building

Saturday, December 22, 2012

Vernacular Building

Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Phillips Exeter Academy Library - Exeter, New Hampshire

Date: 1967 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Kimball Art Museum - Fort Worth, Texas

Date: 1966 -72 Architect: Louis Kahn
Saturday, December 22, 2012

Salk Institute - La Jolla, California

Date: 1967 Architect: Louis Kahn
Saturday, December 22, 2012

Salk Institute - La Jolla, California

Date: 1967 Architect: Louis Kahn
Saturday, December 22, 2012

Salk Institute - La Jolla, California

Date: 1967 Architect: Louis Kahn
Saturday, December 22, 2012

Salk Institute - La Jolla, California

Date: 1967 Architect: Louis Kahn
Saturday, December 22, 2012

Salk Institute - La Jolla, California

Date: 1967 Architect: Louis Kahn
Saturday, December 22, 2012

Salk Institute - La Jolla, California

Date: 1967 Architect: Louis Kahn
Saturday, December 22, 2012

National Assembly Building - Dhaka, Bangladesh

Date: 1962 -74 Architect: Louis Kahn
Saturday, December 22, 2012

National Assembly Building - Dhaka, Bangladesh

Date: 1962 -74 Architect: Louis Kahn
Saturday, December 22, 2012

National Assembly Building - Dhaka, Bangladesh

Date: 1962 -74 Architect: Louis Kahn
Saturday, December 22, 2012

Pilchuck School - Stanwood, Washington

Date: 1973 - 77 Architect: Thomas Bosworth
Saturday, December 22, 2012

Pilchuck School - Stanwood, Washington

Date: 1973 - 77 Architect: Thomas Bosworth
Saturday, December 22, 2012

Pilchuck School - Stanwood, Washington

Date: 1973 - 77 Architect: Thomas Bosworth
Saturday, December 22, 2012

Pilchuck School - Stanwood, Washington

Date: 1973 - 77 Architect: Thomas Bosworth
Saturday, December 22, 2012

Pilchuck School - Stanwood, Washington

Date: 1973 - 77 Architect: Thomas Bosworth
Saturday, December 22, 2012

Pilchuck School - Stanwood, Washington

Date: 1973 - 77 Architect: Thomas Bosworth
Saturday, December 22, 2012

Pilchuck School - Stanwood, Washington

Date: 1973 - 77 Architect: Thomas Bosworth
Saturday, December 22, 2012

Pilchuck School - Stanwood, Washington

Date: 1973 - 77 Architect: Thomas Bosworth
Saturday, December 22, 2012

Pilchuck School - Stanwood, Washington

Date: 1973 - 77 Architect: Thomas Bosworth
Saturday, December 22, 2012

Pilchuck School - Stanwood, Washington

Date: 1973 - 77 Architect: Thomas Bosworth
Saturday, December 22, 2012

Private Residence - Bainbridge Island, Washington

Date: 1987 Architect: Thomas Bosworth
Saturday, December 22, 2012

Private Residence - Bainbridge Island, Washington

Date: 1987 Architect: Thomas Bosworth
Saturday, December 22, 2012

Private Residence - Bainbridge Island, Washington

Date: 1987 Architect: Thomas Bosworth
Saturday, December 22, 2012

Sea Ranch - Sonoma Country, California

Date: 1963 ~ Architect: Charles Moore, William Turnbull, Joesph Escherick
Saturday, December 22, 2012

Sea Ranch - Sonoma Country, California

Date: 1963 ~ Architect: Charles Moore, William Turnbull, Joesph Escherick
Saturday, December 22, 2012

Sea Ranch - Sonoma Country, California

Date: 1963 ~ Architect: Charles Moore, William Turnbull, Joesph Escherick
Saturday, December 22, 2012

Sea Ranch - Sonoma Country, California

Date: 1963 ~ Architect: Charles Moore, William Turnbull, Joesph Escherick
Saturday, December 22, 2012

Sea Ranch - Sonoma Country, California

Date: 1963 ~ Architect: Charles Moore, William Turnbull, Joesph Escherick
Saturday, December 22, 2012

Sea Ranch - Sonoma Country, California

Date: 1963 ~ Architect: Charles Moore, William Turnbull, Joesph Escherick
Saturday, December 22, 2012

Sea Ranch - Sonoma Country, California

Date: 1963 ~ Architect: Charles Moore, William Turnbull, Joesph Escherick
Saturday, December 22, 2012

Sea Ranch - Sonoma Country, California

Date: 1963 ~ Architect: Charles Moore, William Turnbull, Joesph Escherick
Saturday, December 22, 2012

Sea Ranch - Sonoma Country, California

Date: 1963 ~ Architect: Charles Moore, William Turnbull, Joesph Escherick
Saturday, December 22, 2012

Burton Barr Central Library - Phoenix, Arizona

Date: 1995 Architect: Will Bruder
Saturday, December 22, 2012

Burton Barr Central Library - Phoenix, Arizona

Date: 1995 Architect: Will Bruder
Saturday, December 22, 2012

Burton Barr Central Library - Phoenix, Arizona

Date: 1995 Architect: Will Bruder
Saturday, December 22, 2012

Burton Barr Central Library - Phoenix, Arizona

Date: 1995 Architect: Will Bruder
Saturday, December 22, 2012

Burton Barr Central Library - Phoenix, Arizona

Date: 1995 Architect: Will Bruder
Saturday, December 22, 2012

Gareld Community Center - Seattle, Washington

Date: 1995 Architect: Miller + Hull Architects
Saturday, December 22, 2012

Gareld Community Center - Seattle, Washington

Date: 1995 Architect: Miller + Hull Architects
Saturday, December 22, 2012

Gareld Community Center - Seattle, Washington

Date: 1995 Architect: Miller + Hull Architects
Saturday, December 22, 2012

1310 E. Union Live/Work Lofts - Seattle, Washington

Date: 2002 Architect: Miller + Hull Architects
Saturday, December 22, 2012

1310 E. Union Live/Work Lofts - Seattle, Washington

Date: 2002 Architect: Miller + Hull Architects
Saturday, December 22, 2012

1310 E. Union Live/Work Lofts - Seattle, Washington

Date: 2002 Architect: Miller + Hull Architects
Saturday, December 22, 2012

Ofce Building - Monterrey, Mexico

Date: 1993 - 95 Architect: Legorreta Arquitectos
Saturday, December 22, 2012

Ofce Building - Monterrey, Mexico

Date: 1993 - 95 Architect: Legorreta Arquitectos
Saturday, December 22, 2012

Ofce Building - Monterrey, Mexico

Date: 1993 - 95 Architect: Legorreta Arquitectos
Saturday, December 22, 2012

Ofce Building - Monterrey, Mexico

Date: 1993 - 95 Architect: Legorreta Arquitectos
Saturday, December 22, 2012