Louis I. Kahn: Unbuilt Masterworks 9781580930147
American architect Louis I. Kahn left behind a legacy of great buildings: the Salk Institute in La Jolla, California; th
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English Pages 224 [114] Year 2000
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158093014X, 9781580930147](https://ebin.pub/img/200x200/louis-ikahn-unbuilt-masterworks-1nbsped-158093014x-9781580930147.jpg)
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- Kent Larson
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For Beth and Olivia
BIBLIOTECA CENTRALE
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Contents
Foreword Vincent Scully
First published 1n the Urnled States of America m 2000 by The Monacelh Press. Inc 10 East 92nd Street, New York, New York 10128
10
Unbuilt Ruins
Copyright C 2000 The Monacelh Press, Inc., and Kent Larson
18
U.S. Consulate, Luanda
48
Meeting House of the Salk Institute
78
Mikveh Israel Synagogue
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All rights reserved under International and Pan-Americat Copyright Conventions. No part of this book may be repro duced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission In wnl!ng from the publisher Inquiries should be sent to The Monacelh Press, Inc Library of Congress Catalog1ng-m-Publicat1on Data Larson, Kent. Lou,s I. Kahn unbuilt masteiworks I Kent Larson ; foreword by Vincent Scully , afterword by Wilham J. Mitchell p cm Includes b1bhographical references ISBN 1·58093-014-X 1. Kahn, Louis I., 1901-1974-Cnt1c1sm and interpretation 2. Architectural drawing-20th century-United States I. Kahn, LOUIS I., 1901-1974. II. Title NA737.K32L37 1999 720' 22'22-dc21 98-52140 Printed and bound 1n Chma Designed by Fahrenheit
Biblioteca Centrale di Architettura BCA 720.92 KAHNLI 005 44484
110
Memorial to Six Million Jewish Martyrs
124
Hurva Synagogue, First Proposal
158
Hurva Synagogue, Second Proposal
178
Hurva Synagogue. Third Proposal
198
Palazzo dei Congressi
225
Afterword: Contenders
William J Mitchell
229
Acknowledgments
230
Notes
232
Illustration Credits
Foreword
Vincent Scully
t seems a long time since Louis Kahn died. A lot has happened in architecture since I then, some of it very good, some of it appalling-and each of us has a different idea about which is which. But all of it makes Kahn 's work look better than ever on its own terms, better in its solid1ty, its gravity. Above all. I suppose, in its timeless air. Kahn always said he was interested in "beginnings," and it is something like that we feel in his architecture, some solemn archaic presence, some paternal power, as if he was familiar with the work of the father of us all,
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