Podcasts about Louis Kahn

Myron Goldfinger was an American architect who, during the height of his career in the 1970s and 1980s, devised a distinctive style in trophy homes for the rich powerful seeking to live in contemporary houses. He reinterpreted American vernacular architecture into an entirely new language that responded to the spirit of the time: the Disco Age. Inspired by Louis Kahn, his teacher at the University of Pennsylvania, Goldfinger was an architect of volumes. His houses were composed of bold compositions of cubes, cylinders, and triangular blocks. Like Kahn, he believed that only basic geometry has the power to achieve timelessness. His language was highly influential, with many other architects building in the suburbs around New York and in the Hamptons copying his style. Having grown up in a humble working-class environment in Atlantic City, Goldfinger said that he sought to create the type of glamourous houses that he never had.To remember Myron Goldfinger, who passed away in 2023, and to see how his legacy is preserved in the 21st century through fresh interpretation, I invited interior designer June Goldfinger, his widow and eternal partner, along with Kelvin Dickinson, President of the Paul Rudolph Institute for Modern Architecture.

A pochi metri dalle strade affollatissime di Manhattan, galleggia nel mezzo dell'East River un'isola che racconta storie dimenticate di New York.Roosevelt Island, un tempo luogo di esilio per malati e carcerati, oggi è un affascinante mix di rovine gotiche, architettura moderna e viste mozzafiato sulla città. In questo episodio vi porto alla scoperta di questa striscia di terra lunga appena 3 chilometri, raggiungibile con la funivia urbana più famosa d'America.Esploreremo le suggestive rovine dell'ospedale per il vaiolo, l'ex manicomio dove fu internata la giornalista Nellie Bly, il recente campus tecnologico della Cornell University e il memoriale progettato da Louis Kahn. Dalla sua storia oscura come "isola della sofferenza" alla sua rinascita come moderna comunità residenziale, Roosevelt Island rappresenta uno dei luoghi più insoliti e sorprendenti di New York. Vi svelerò tutti i segreti di questo angolo dimenticato della Grande Mela e vi darò consigli pratici per visitarlo come locals.Leggi la guida su viagginewyork.itQuesto è l'hotel che si trova in Roosevelt Island.

In the eyes of the architecture critic Paul Goldberger, a building is a living, breathing thing, a structure that can have a spirit and even, at its best, a soul. It's this optimistic perspective that has given Goldberger's writing a certain ineffable, captivating quality across his prolific career—first at The New York Times, where he served as the paper's longtime architecture critic, winning a Pulitzer Prize in 1984; then as the architecture critic at The New Yorker from 1997 to 2011; and now, as a contributing editor at Vanity Fair. Goldberger is the author of several books, including Building Art: The Life and Work of Frank Gehry (2015), Why Architecture Matters (2009), and Building Up and Tearing Down: Reflections on the Age of Architecture (2009). He is also the chair of the advisory board of the Glass House in New Canaan, Connecticut, where we recorded this episode, our third “site-specific” interview on Time Sensitive.On the episode, Goldberger discusses the Glass House's staying power as it turns 75, the evolution of architecture over the past century, what he's learned from writing architects' obituaries, and the Oreo cookie from a design perspective.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Paul Goldberger[05:17] Glass House[05:17] Philip Johnson[07:06] Ludwig Mies van der Rohe[07:06] Farnsworth House[08:42] Brick House[12:37] Gordon Bunshaft[12:37] Lever House[12:37] Frank Lloyd Wright[12:37] Guggenheim Museum[13:18] TWA Flight Center[13:18] Kevin Roche[13:18] Ford Foundation building[13:18] CBS Building[15:17] Noyes House[16:17] U.N. Headquarters[17:50] Centre Pompidou[17:50] I.M. Pei[17:50] Louvre Pyramid[17:50] Frank Gehry[17:50] Guggenheim Bilbao[20:00] Walt Disney Concert Hall[23:20] Stuyvesant Town[24:24] “Oreo, at 75, the World's Favorite Cookie; Machine Imagery, Homey Decoration”[25:46] “Quick! Before It Crumbles!: An architecture critic looks at cookie architecture”[25:46] Nora Ephron[26:18] “Design Notebook; Commonplace Things Can Be Great Designs”[27:16] Bauhaus[29:10] Fallingwater[29:10] Richard Neutra[29:10] Lovell House[29:10] Gehry House[29:10] Louis Kahn[32:38] “Philip Johnson, Architecture's Restless Intellect, Dies at 98”[32:38] “Louis I. Kahn Dies; Architect Was 73”[35:30] Paul Rudolph[36:50] Zaha Hadid[37:22] “New Police Building”[38:19] Henry Geldzahler[41:31] Why Architecture Matters[43:21] Chrysler Building[47:28] Vincent Scully[48:18] Lewis Mumford[1:00:47] The City Observed: A Guide to the Architecture of Manhattan[1:00:47] World Trade Center[1:02:49] “Here Is New York” by E.B. White[1:05:33] Design: The Leading Hotels of the World[1:07:25] Ritz Paris[1:07:25] The Dylan Amsterdam[1:09:01] “Why Buildings Grow On Us”

Send us a textMeg recounts the circumstances surrounding the disappearance of newlywed Lisa Marie Solomon. Jessica uncovers the murderous connection between Louis Kahan, My Hanh Le, and the bizarre second act of their story.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

When Estonian-born American architect Louis Kahn died in 1974, he left behind a collection of notebooks that revealed the sketches and musings of a creative mind.His daughter Sue Ann Kahn shares what the recently published 'Louis I. Kahn: The Last Notebook' tells us about her father.

Join us as we dive into Cormac's continued architectural summer adventures. This time he's exploring the East Coast, Prince Edward Island, and visiting one of his favorite architects in Nova Scotia.Today he tells us about his visits to iconic sites such as Yale's Louis Kahn buildings and Eero Saarinen's hockey arena. Hear about his surprise anniversary trip to Anne of Green Gables locations, and a fanboy moment meeting renowned architect Brian MacKay-Lyons. Along the way, absorb insights into regional architecture, family history research at the Canadian Immigration Museum, and vibrant street life in Quebec City. Tune in for another episode of Cormac's architectural travel tales!Episode Links:Cormac's Quebec City post on InstagramLunenburg: UNESCO World Heritage CenterMacKay-Lyons Sweetapple:Two-Hulls HouseSliding HouseShobac Campus-----Thank you for listening to Archispeak. For more episodes please visit https://archispeakpodcast.com.Support Archispeak by making a donation.

In this episode of ON CITIES, host Carie Penabad speaks with architect and educator George Knight on his preservation work at Yale University. Knight's profound dedication to architectural heritage becomes evident as he meticulously intertwines the past and the present in projects ranging from the restoration of St. Moore Chapel to the iconic Yale British Arts Center designed by Louis Kahn. His work stands as a guardian of history, seamlessly blending tradition with modernity, significantly contributing to the larger dynamic context of both the Yale campus and the city. Don't miss this episode where Knight shares insights into the delicate balance between preserving architectural heritage and embracing modernity. Tune in Friday, March 1st at 11:00 AM EST, 8:00 AM PST on the Voice America Variety Channel; and find all previous episodes of ON CITIES on your favorite podcast platform.

This week's podcast asks you to forget the technical jargon or future worries that you might have in your photographic practice. Instead, in episode 485, we are talking about how Edward Hoppers desire to appreciating light on a building, Cezannes seeing the surroundings, and the beauty of just staying put to catch those subtle changes can make a different in our work. We also dig a little into how those ideas become as Louis Kahn says our teachers. After all our work, is about creating a deep connection with the moment of when we are out there with our camera. Often easier said than done. "When we shift from that, when we move from thinking about just the quality of light, that simple idea of painting the side of a house, photographing the side of the house with the light on it. And we shift into worrying about what it should be, what it could be, what it might be. We leave the present moment." Gear used in the podcast One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones

This week's podcast asks you to forget the technical jargon or future worries that you might have in your photographic practice. Instead, in episode 485, we are talking about how Edward Hoppers desire to appreciating light on a building, Cezannes seeing the surroundings, and the beauty of just staying put to catch those subtle changes can make a different in our work. We also dig a little into how those ideas become as Louis Kahn says our teachers. After all our work, is about creating a deep connection with the moment of when we are out there with our camera. Often easier said than done. "When we shift from that, when we move from thinking about just the quality of light, that simple idea of painting the side of a house, photographing the side of the house with the light on it. And we shift into worrying about what it should be, what it could be, what it might be. We leave the present moment." Gear used in the podcast One of the questions I get asked frequently is what sort of equipment do I use to record my podcast. I have used a variety of equipment in the years that I have been recording, but here is the current list of equipment that I am using. Also as an FYI and full disclosure, the links are affiliate links to Amazon.Rode Procaster XLR microphoneRode Boom ArmRode PSM ShockmountAll three Rode components a kitFocusrite Scarlet 2i2Adobe Audition (part of creative cloud subscription)LogicPro XMacbook ProOWC Thunderbolt 3 dockHeadphones

Vor 50 Jahren stirbt ein Mann auf einer Bahnhofstoilette in New York. Drei Tage lang kann er nicht identifiziert werden. Niemand sucht nach ihm. Dabei ist er einer der berühmtesten Architekten seiner Zeit: Louis Kahn. Reinhardt, Anja www.deutschlandfunk.de, Kalenderblatt

In this episode of ON CITIES, host Carie Penabad speaks with architect and educator George Knight on his preservation work at Yale University. Knight's profound dedication to architectural heritage becomes evident as he meticulously intertwines the past and the present in projects ranging from the restoration of St. Moore Chapel to the iconic Yale British Arts Center designed by Louis Kahn. His work stands as a guardian of history, seamlessly blending tradition with modernity, significantly contributing to the larger dynamic context of both the Yale campus and the city. Don't miss this episode where Knight shares insights into the delicate balance between preserving architectural heritage and embracing modernity. Tune in Friday, March 1st at 11:00 AM EST, 8:00 AM PST on the Voice America Variety Channel; and find all previous episodes of ON CITIES on your favorite podcast platform.

In this episode of ON CITIES, host Carie Penabad speaks with architect and educator George Knight on his preservation work at Yale University. Knight's profound dedication to architectural heritage becomes evident as he meticulously intertwines the past and the present in projects ranging from the restoration of St. Moore Chapel to the iconic Yale British Arts Center designed by Louis Kahn. His work stands as a guardian of history, seamlessly blending tradition with modernity, significantly contributing to the larger dynamic context of both the Yale campus and the city. Don't miss this episode where Knight shares insights into the delicate balance between preserving architectural heritage and embracing modernity. Tune in Friday, March 1st at 11:00 AM EST, 8:00 AM PST on the Voice America Variety Channel; and find all previous episodes of ON CITIES on your favorite podcast platform.

In this episode of ON CITIES, host Carie Penabad speaks with architect and educator George Knight on his preservation work at Yale University. Knight's profound dedication to architectural heritage becomes evident as he meticulously intertwines the past and the present in projects ranging from the restoration of St. Moore Chapel to the iconic Yale British Arts Center designed by Louis Kahn. His work stands as a guardian of history, seamlessly blending tradition with modernity, significantly contributing to the larger dynamic context of both the Yale campus and the city. Don't miss this episode where Knight shares insights into the delicate balance between preserving architectural heritage and embracing modernity. Tune in Friday, March 1st at 11:00 AM EST, 8:00 AM PST on the Voice America Variety Channel; and find all previous episodes of ON CITIES on your favorite podcast platform.

Rodrigo Guendelman revivió la conversación que mantuvo con el escultor nacional sobre su muestra en homenaje del renombrado arquitecto.

Richard Saul Wurman is many things. The creator of the TED conference has also authored scores of books, ranging from revolutionary city guides to a collection of a collection of words by Louis Kahn. Robb and Josh welcomed Richard for a conversation about the LATCH system he devised for organizing information. This early Invisible Machines recording goes to unexpected places as a legendary architect and designer shares his unfiltered thinking on myriad topics.

In late 1800s, A Spanish architect, Antonio Gaudi, said, “There are no straight lines or sharp corners in nature. Therefore, buildings must have no straight lines or sharp corners”. But where does the nature stop and where does the building begin? Lets explore more about architecture and history in this 3 part series called, “An insert into the history”. This series is brought to you by, The Drawing Board, with whom I had partnered last year. The Drawing Board is an international architecture platform based in India. TDB has been actively running Architecture competition for under graduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders. This year, the program is to redesign the existing Badami archaeological museum, in Karnataka. Submission deadline is 9th Oct 2023. More details on thedrawingboard.in Today, in this concluding episode of this series, we have Ar. Sherman Stave with us on Audiogyan. Sherman is a Principal and Landscape Architect at STX Landscape Architects. With more than 30 years of experience. He has practised extensively in Asia and North America. His exposure to diverse cultures from an early age has lent him broad global perspective, and a deep appreciation of how shaping our environments can change our lives in fundamental ways. These are critical lenses that continue to inform his design approach. Questions Who is a landscape architect? What are the principles and strategies on which a landscape architect work? BV Doshi, once said, “Is the Architecture defined by theory or it's a convention, or it is something which is rooted in the place?” How big or small overlap do you see between the landscape and the actual building or architecture? Incase of Badami, where and how would you draw the line? Brian O'Doherty's famous line, “We have now reached a point where we see not the art but the space first.” What does it mean and where are you on this? How can landscape design contribute to the interpretation and visitor experience at any archaeological site? For instance, Badami, where the landscape itself is an integral part of the site's history? What considerations can be taken while designing architecture in such high sensitive historical landscape? When designing an archaeological site like Badami to ensure minimal impact? Since you are staying in Singapore and even I have recently moved there, I see some amazing work done by humans. The overall landscape is well thought. Can you share your learnings and experience? How can we be so close to nature yet seems to have so much command on it? Can you share any (2) examples of good museums or public spaces where they blend organically with nature? Reference reading The Drawing Board Architecture competition for Undergradute student 2024 Talk by Prashanth Pole | 27 Mar, 2021 | FA S21 Lecture series Gandhi Ashram Sabarmati Don Bosco Centre for Indigenous Cultures Badami- Learning from the Context- WCFA, Teepoi Mindspace Architects Rohan Builders https://www.siww.com.sg/home/attend/siww2021-online/thematic-webinars-tw/speakers-and-moderators/sherman-stave https://www.stxla.com/profile/ https://www.world-architects.com/en/stx-landscape-architects-singapore/team https://www.mnd.gov.sg/urbansustainability/webinars/liveability/abc-water-seminar-(liveability) https://www.ura.gov.sg/uol/publications/research-resources/plans-reports/Master%20Plan/~/media/User%20Defined/URA%20Online/publications/research-resources/plans-reports/pwip_urban_villages.ashx https://kimbellart.org/art-architecture/architecture/kahn-building https://www.salk.edu/ https://www.archdaily.com/61288/ad-classics-salk-institute-louis-kahn https://www.designcurial.com/news/louis-kahn---six-most-important-buildings-4323752/ https://en.wikipedia.org/wiki/Louis_Kahn

Our guest for this episode is Dr. Suresh Vaidyanathan, who is widely recognized as Ghatam Suresh. He is an extraordinary Carnatic Indian classical percussionist renowned for his mastery of the ancient Ghatam, a clay pot with distinctive resonant and percussive qualities. This instrument plays a pivotal role in Carnatic music as accompaniment and soloist. With a global presence as a leader and collaborator with world-class musicians, Dr. Vaidyanathan brings a unique perspective to the intersection of improvisation and musical expertise. Beyond his exceptional musical talents, Ghatam Suresh is a remarkable teacher known for his creativity and generosity as an exponent of rhythmic knowledge. He is also a scholar and recently completed his doctoral studies on the history of the Ghatam and its performance traditions! Dr. Vaidyanathan imparts invaluable insights into developing musical expertise through improvisation in this first installment of our enlightening conversation. He shares how his intellectual pursuits have enriched his musicianship and unveils his secrets to maintaining and nurturing the quality of mind required to excel in the world of music and the responsibility musicians hold to themselves and their audience. Join us as we delve into the fascinating world of Dr. Ghatam Suresh Vaidyanathan—a musician, scholar, and delightful person.   The musical interlude towards the beginning of the program features music composed and performed by Bradley Vines on alto and baritone saxophones. The first quote is by Louis Kahn taken from the documentary My Architect created by his son, Nathanial Kahn (https://www.amazon.com/My-Architect-Region-2/dp/B0006GVJLC/ref=sr_1_8?crid=2354GLU7P6J5Q&keywords=my+architect+nathaniel+kahn&qid=1693952870&sprefix=my+architect+nathaniel+kah%2Caps%2C439&sr=8-8). The second quote is by Joseph Goldstein from an interview for the Waking Up app (https://rss.samharris.org/feed/24802f09-a945-445c-8d45-81112d77276f).   There are four segments of Ghatam Suresh's performances taken from four different YouTube videos:   https://www.youtube.com/watch?v=Re5h3EetEjw https://www.youtube.com/watch?v=sCdLXwoMsF8 https://www.youtube.com/watch?v=wuEmHBKUMCA https://www.youtube.com/watch?v=CkmCrGJlNe4   The audio for this episode was edited by Zeyn Mroueh.

Rodrigo Guendelman conversó con el escultor nacional Vicente Gajardo sobre su muestra en homenaje a Louis Kahn se presentará en la Universidad del Desarrollo. Además, estuvo junto a Nicolás Cañas quien dio todos los detalles sobre el Saturnalia Fest que dará una gran muestra de vinos y vinilos.

MY ARCHITECT, is a deep dive into the life and times of world-famous architect Louis Kahn. Louis Kahn's son Nathaniel always hoped that someday his father would come and live with him and his mother, but Kahn never left his wife. In 1974 Kahn was found dead in a men's room in Penn Station when Nathaniel was only 11years old. Kahn left behind a brilliant legacy of intensely powerful and spiritual buildings – geometric compositions of brick, concrete, and light, that in the words of the Los Angeles Times “change your life.” He is considered by many architectural historians the most important architect of the second half of the 20th century. Kahn's dramatic death laid bare a complex personal life of secrets and broken promises: he led not a double, but a triple life. In MY ARCHITECT, Nathaniel travels the world visiting his father's buildings and haunts in this film, meeting his father's contemporaries, colleagues, students, wives, and children. He sets out to reconcile his father's life and work. I.M. Pei, Frank Gehry, and Philip Johnson speak movingly of Kahn's accomplishments (the Salk Institute, the Exeter Library, the Kimbell Art Museum, the Capital Complex of Bangladesh) and the women and children in his life shed light on this secretive, peripatetic man—a dynamo who gave selflessly to his art – but whose relationships were left on the drawing board, only to find completion in MY ARCHITECT. Director, Producer, narrator and son, Nathaniel Kahn joins us for a conversation on his current view of his father's life, his collaboration with MY ARCHITECT cinematographer, Bob Richman, and the opportunity to share his compelling journey with a new audience through this newly restored and remastered version of his groundbreaking documentary. For more go to: myarchitectmovie.com For theatrical and VOD go to: abramorama.com

Get more episodes on the SLEERICKETS Secret Show!Wear SLEERICKETS t-shirts and hoodies. They look good!Some of the topics mentioned in this episode:– The Architecture of Happiness by Alain de Botton– Between Silence and Light: Spirit in the Architecture of Louis Kahn by John Lobell– Frank Gehry– Frank Lloyd Wright– George Costanza, Architect– Mister Ed– The Brady Bunch– 500 Days of Summer– Jungle Fever– Louis Kahn– Giuseppe Terragni– The Danteum– Albert Speer– Thomas Jefferson– The Divine Comedy– On Writing and Failure by Stephen Marche– Philip Metres– Viktor Frankl– Santiago Calatrava Valls– The Solomon R. Guggenheim Museum– Fallingwater– Taliesin– Le Corbusier (Sometimes my dad calls him Corbu because he's hip and in the know)– Zaha Hadid– Claude Levi-Strauss– Ferdinand de Saussure– Jacques Derrida– Michelangelo– Alexander Pope– The Dunciad by Alexander Pope– The Rape of the Lock by Alexander Pope– Counterpart– Looper– The Magus by John Fowles– Amit Majmudar– Knives Out and Glass Onion– Hermann Goering– Nomadland– The Course of Love by Alain de Botton– Kiss & Tell by Alain de Botton– The Portrait of a Lady by Henry James– Emily Dickinson Letter 459a (couldn't find the full text online when I looked for it the second time)– Democracy and Poetry by Robert Penn Warren– Alice in the Looking Glass by A. E. Stallings– Beyond Good and Evil by Friedrich Nietzsche– Blink by Malcolm Gladwell– A Distant Episode by Paul BowlesAlice: Poetry SaysBrian: @BPlatzerCameron: CameronWTC [at] hotmail [dot] comMatthew: sleerickets [at] gmail [dot] comMusic by ETRNLArt by Daniel Alexander SmithOther ratbag poetry podcasts:I Hate Matt WallVersecraft

Un parfum qui s'inspire de la poésie architecturale de Louis Kahn, qui représente le voyage lumineux de l'âme, vous l'avez compris on est bien chez Meo Fusciuni ! Luce est un parfum qui parle de lumière, de celle qui apparaît lentement à l'aube, dans une obscurité qu'elle traverse à peine. Lire l'article complet : Avis Luce Meo Fusciuni Retrouvez nous sur notre groupe Telegram, on y poste des inédits, des avis fumants, en toute indépendance. Le site est là pour vous servir, comme toujours : LaParfumerie-Podcast.com, ainsi que notre cher groupe Discord !

Ivan Carvalho visits a Louis Kahn-designed laboratory that exemplifies science and aesthetics cohabiting in harmony.See omnystudio.com/listener for privacy information.

Architect Moshe Safdie has experienced an unequaled life in architecture, from his younger years as a radical talent to today as a builder of important projects from Singapore to Idaho. On this episode, Dan speaks with the legend about his new autobiography, what it was like dealing with setbacks on some of his forward-thinking concepts, his time working for Louis Kahn, and his thoughts on how his profession can meet the challenges of the 21st century. Hosted on Acast. See acast.com/privacy for more information.

Stāsta arhitekts Jānis Dripe Sidnejas operu 1973. gadā atklāja Karaliene Elizabete II, kuru nesen ar īpašu cieņu pavadījām mūžības ceļos. Būdama arī Austrālijas Karaliene, par operas namu viņa toreiz teica: „Cilvēka garam reizēm ir jāpaceļas spārnos vai jāsajūt vējš burās, lai radītu kaut ko tik neparastu, kaut ko kas nav tikai lietošanai.” 1957. gada notika arhitektu konkurss - 223  darbi no 28 pasaules valstīm. Darbam žūrijā no ASV ierodas slavenais somu arhitekts Ēro Sārinens (Eero Saarinen). Viens darbs ietvēra tikai 12 skiču lapas ar savdabīgu ēku – mūzikas buru kuģi vai mirdzošu gliemežvāku veidotu skulptūru Sidnejas ostas akvatorijā. Kāds teiks, ka tieši Ēro Sārinens ieradies uz žūriju vēlāk un jau no malā atlikto darbu kaudzes izvilcis 38 gadus vecā dāņa Jorna Ucona (Jorn Utzon) ģeniālās skices. Lai nu kā, bet žūrijas locekļi savā atzinumā rakstīja, “Mēs atkal un atkal atgriezāmies pie šiem zīmējumiem un esam pārliecināti, ka tie ietver ideju par Operas namu, kas var kļūt par vienu no pasaules izcilākajām ēkām”. Ēkas tapšanas par pasaules ikonu ir kā barjerskrējiens, kur pirms katra šķēršļa es varētu jautāt - “Vai jūs zinājāt, ka”… ēku bija paredzēts  uzcelt četros gados, bet to būvēja 14 gadus; ka izmaksas sākotnēji bija plānotas septiņu miljonu Austrālijas dolāru apmērā, bet beigās tie bija 103 miljoni! Jorns Ucons Sidnejā atvēra biroju, lai sekmētu Operas būvniecību. Bet nāca jauna valdība, kuras vāji izglītotais publisko lietu ministrs Deiviss Hjū (Davis Hughes), izrādījās, nebija arī kultūras atbalstītājs. Pašmāju viduvējība pret ārvalstu ģēniju – tā konfliktu par Operas termiņiem, projekta kvalitāti un izmaksām raksturoja prese. Tika apstrīdēta Ucona spēja vadīt projektu. 1966. gadā Ucons uzteica darbu un no Sidnejas aizbrauca. Rasējumu ieslēgšana, autora īsa saruna ar ministru durvis aizcērtot, emocijas….. īsta drāma! 1973. gadā ēkas arhitekts patiešām nebija klāt Operas atklāšanā un viņa vārds netika minēts nevienā atklāšanas runā! Sidnejas Operas publiskais triumfs, bija arhitekta personiska drāma. 1995. gadā šis stāsts kļūst par suverēnu mākslas darbu - Sidnejas operas namā notiek pirmizrāde operai ar nosaukumu Pasaules astotais brīnums (The Eighth Wonder).   Bet pirmais muzikālais priekšnesums Sidnejas operā bija jau 1960. gadā, kad Pols Robsons uz būves sastatnēm strādniekiem dziedāja "Old Man River" par Misisipi. 2000. gadā Operas siluets ir arī Sidnejas olimpisko spēļu simbols. 2004. gadā Jorns Ucons saņem Prickera (Pritzker)  prēmiju, Pasaules augstāko apbalvojumu arhitektūrā, trīs gadus vēlāk Sidnejas opera tiek iekļauta UNESCO pasaules kultūras mantojuma listē. Ucons  patiesi vēlējās šo mirdzošo buru vai gliemežnīcu kontrastu pret zilajām Austrālijas debesīm un tumšajiem ostas ūdeņiem. 1.056.006 Zviedrijā ražotas speciālas glazētas flīzes to atrisināja – tas nosauca par Sidnejas flīzēm. Slavenais arhitekts Luiss Kāns (Louis Kahn) teica: “Saule nezināja cik tās gaismas ir skaista, pirms tā nebija atmirdzējusi uz šīs ēkas”. Vai zinājāt, ka Sidnejas operai vistuvāko moderno ēku ir projektējis izcilais latviešu arhitekts Austrālijā Andrejs Andersons, kurš dzimis Rīgā un viņa vectēvs Alfrēds Andersons bija Rīgas pilsētas mērs divdesmitajos gados? Sidnejas operu katru gadu apmeklē 8.2 miljoni tūristu – tas ir apmeklētākais objekts Austrālijā. Ir aprēķināta Operas nama ikoniskā jeb nacionālās identitātes vērtība – tā ir 4,6 miljardi dolāru. Tik vērta ir mākslinieka ģenialitāte un politiķu uzdrīkstēšanās. Operas 40 gadu svinību sakarā 2013. gadā Sidnejā kā svinību patroni ieradās Dānijas Kroņprincis Frederiks un Princese Mērija – izlīgšana par strīdu ar dāņu arhitektu tika “nokārtota” karaliskā līmenī. Bet Jorns Ucons jau kopš 2008. gada to visu vēro no debesu augstumiem.

The Unitarian religious tradition was a product of the same eighteenth-century democratic ideals that fueled the American Revolution and informed the founding of the United States. Its liberal humanistic principles influenced institutions such as Harvard University and philosophical movements like Transcendentalism. Yet, its role in the history of American architecture is little known and studied. In American Unitarian Churches: Architecture of a Democratic Religion (U Massachusetts Press, 2021), Ann Marie Borys argues that the progressive values and identity of the Unitarian religion are intimately intertwined with ideals of American democracy and visibly expressed in the architecture of its churches. Over time, church architecture has continued to evolve in response to developments within the faith, and many contemporary projects are built to serve religious, practical, and civic functions simultaneously. Focusing primarily on churches of the nineteenth and twentieth centuries, including Frank Lloyd Wright's Unity Temple and Louis Kahn's First Unitarian Church, Borys explores building histories, biographies of leaders, and broader sociohistorical contexts. As this essential study makes clear, to examine Unitarianism through its churches is to see American architecture anew, and to find an authentic architectural expression of American democratic identity. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Unitarian religious tradition was a product of the same eighteenth-century democratic ideals that fueled the American Revolution and informed the founding of the United States. Its liberal humanistic principles influenced institutions such as Harvard University and philosophical movements like Transcendentalism. Yet, its role in the history of American architecture is little known and studied. In American Unitarian Churches: Architecture of a Democratic Religion (U Massachusetts Press, 2021), Ann Marie Borys argues that the progressive values and identity of the Unitarian religion are intimately intertwined with ideals of American democracy and visibly expressed in the architecture of its churches. Over time, church architecture has continued to evolve in response to developments within the faith, and many contemporary projects are built to serve religious, practical, and civic functions simultaneously. Focusing primarily on churches of the nineteenth and twentieth centuries, including Frank Lloyd Wright's Unity Temple and Louis Kahn's First Unitarian Church, Borys explores building histories, biographies of leaders, and broader sociohistorical contexts. As this essential study makes clear, to examine Unitarianism through its churches is to see American architecture anew, and to find an authentic architectural expression of American democratic identity. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Unitarian religious tradition was a product of the same eighteenth-century democratic ideals that fueled the American Revolution and informed the founding of the United States. Its liberal humanistic principles influenced institutions such as Harvard University and philosophical movements like Transcendentalism. Yet, its role in the history of American architecture is little known and studied. In American Unitarian Churches: Architecture of a Democratic Religion (U Massachusetts Press, 2021), Ann Marie Borys argues that the progressive values and identity of the Unitarian religion are intimately intertwined with ideals of American democracy and visibly expressed in the architecture of its churches. Over time, church architecture has continued to evolve in response to developments within the faith, and many contemporary projects are built to serve religious, practical, and civic functions simultaneously. Focusing primarily on churches of the nineteenth and twentieth centuries, including Frank Lloyd Wright's Unity Temple and Louis Kahn's First Unitarian Church, Borys explores building histories, biographies of leaders, and broader sociohistorical contexts. As this essential study makes clear, to examine Unitarianism through its churches is to see American architecture anew, and to find an authentic architectural expression of American democratic identity. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

The Unitarian religious tradition was a product of the same eighteenth-century democratic ideals that fueled the American Revolution and informed the founding of the United States. Its liberal humanistic principles influenced institutions such as Harvard University and philosophical movements like Transcendentalism. Yet, its role in the history of American architecture is little known and studied. In American Unitarian Churches: Architecture of a Democratic Religion (U Massachusetts Press, 2021), Ann Marie Borys argues that the progressive values and identity of the Unitarian religion are intimately intertwined with ideals of American democracy and visibly expressed in the architecture of its churches. Over time, church architecture has continued to evolve in response to developments within the faith, and many contemporary projects are built to serve religious, practical, and civic functions simultaneously. Focusing primarily on churches of the nineteenth and twentieth centuries, including Frank Lloyd Wright's Unity Temple and Louis Kahn's First Unitarian Church, Borys explores building histories, biographies of leaders, and broader sociohistorical contexts. As this essential study makes clear, to examine Unitarianism through its churches is to see American architecture anew, and to find an authentic architectural expression of American democratic identity. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The Unitarian religious tradition was a product of the same eighteenth-century democratic ideals that fueled the American Revolution and informed the founding of the United States. Its liberal humanistic principles influenced institutions such as Harvard University and philosophical movements like Transcendentalism. Yet, its role in the history of American architecture is little known and studied. In American Unitarian Churches: Architecture of a Democratic Religion (U Massachusetts Press, 2021), Ann Marie Borys argues that the progressive values and identity of the Unitarian religion are intimately intertwined with ideals of American democracy and visibly expressed in the architecture of its churches. Over time, church architecture has continued to evolve in response to developments within the faith, and many contemporary projects are built to serve religious, practical, and civic functions simultaneously. Focusing primarily on churches of the nineteenth and twentieth centuries, including Frank Lloyd Wright's Unity Temple and Louis Kahn's First Unitarian Church, Borys explores building histories, biographies of leaders, and broader sociohistorical contexts. As this essential study makes clear, to examine Unitarianism through its churches is to see American architecture anew, and to find an authentic architectural expression of American democratic identity. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

The Unitarian religious tradition was a product of the same eighteenth-century democratic ideals that fueled the American Revolution and informed the founding of the United States. Its liberal humanistic principles influenced institutions such as Harvard University and philosophical movements like Transcendentalism. Yet, its role in the history of American architecture is little known and studied. In American Unitarian Churches: Architecture of a Democratic Religion (U Massachusetts Press, 2021), Ann Marie Borys argues that the progressive values and identity of the Unitarian religion are intimately intertwined with ideals of American democracy and visibly expressed in the architecture of its churches. Over time, church architecture has continued to evolve in response to developments within the faith, and many contemporary projects are built to serve religious, practical, and civic functions simultaneously. Focusing primarily on churches of the nineteenth and twentieth centuries, including Frank Lloyd Wright's Unity Temple and Louis Kahn's First Unitarian Church, Borys explores building histories, biographies of leaders, and broader sociohistorical contexts. As this essential study makes clear, to examine Unitarianism through its churches is to see American architecture anew, and to find an authentic architectural expression of American democratic identity. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

Gast: Frans Sturkenboom, architectheoreticus In juli een selectie van gesprekken over architectuur uit het archief van Springvossen.* Robert van Altena spreekt in deze uitzending met Frans Sturkenboom over zijn boek 'De gestiek van de architectuur. Een leerboek hedendaags maniërisme' (ArtEZ Press, 2017) boekontwerp Josse Pyl. In beschouwingen over de verschillende kunstvormen valt weleens de vergelijking met de renaissance. De minimal art uit de jaren zestig wordt in dat verband wel genoemd maar ook het vroege modernisme uit de eerste helft van de twintigste eeuw. Die benamingen lijken heel praktisch in het gebruik. Maar hoe dichter je de benoemde verschijnselen nadert hoe moeilijker het wordt deze te verenigen onder één noemer. Wat verzamelen we onder renaissance, maniërisme en modernisme? Waar ligt de scheidslijn? En is de idee van een harde scheidslijn niet een vergissing, een toegeven aan de menselijke behoefte om dingen vast te leggen die voortdurend in beweging zijn? En is het zinvol historisch zo ver uiteenliggende zaken met elkaar te vergelijken? Frans Sturkenboom probeert met zijn boek iets te zeggen over de hedendaagse architectuur in de vorm van het werk van bijvoorbeeld OMA, MVRDV, Herzog & Meuron. Hij probeert te duiden wat zich nog onder onze ogen voltrekt. Sturkenboom creëert hiervoor een soort genealogie met bijvoorbeeld laat-moderne architecten als Louis Kahn en Carlo Scarpa en verder afdalend in de twintigste eeuw Frank Lloyd Wright en Le Corbusier. Het werk van deze modernisten brengt hij in verband met dat van voorgangers uit de zestiende en zeventiende eeuw als Francesco Borromini en twee van de vele architecten van de Sint Pieter Carlo Maderno en Michelangelo. De concepten waarvan Sturkenboom zich bedient ontleent hij aan de architectuurtheorie, de filosofie en in ruimere zin aan de cultuurgeschiedenis. Deze genealogie tekent zich af tegen de norm van de hoog-renaissance, en de norm ook van wat wel eens als zijn latere afspiegeling wordt gezien, het modernisme. ‘Gestiek' en ‘maniërisme' zijn de twee termen die de schrijver met ons deelt in titel en ondertitel. De historische variant van het maniërisme laat zich al moeilijk vatten dus wat zouden de contouren zijn van een hedendaagse variant? En gestiek? Frans Sturkenboom heeft een hoop uit te leggen en hij doet dit met overgave. Met zijn boek De gestiek van de architectuur deelt hij met ons, ook in schrijfstijl, een viering van het maniërisme in de architectuur tot in onze tijd. *Dit gesprek werd eerder uitgezonden op 3 december 2018 SPRINGVOSSEN redactie + presentatie: Robert van Altena contact: springvossen@gmail.com www.instagram.com/springvossen www.facebook.com/springvossen www.amsterdamfm.nl/onderwerp/springvossen/

Guest of this appointment is Horacio Cherniavsky co-founder in 2017 with his work and life partner, Viviana Pozzoli, of Equipo de Arquitectura, a young studio based in Asunción, Paraguay. They are both practicing and teaching architects and, despite the young age, have already developed a number of brilliant works, receiving significant recognitions: selected by the Latin American Architecture Biennial 2019 to exhibit their work in Pamplona, Spain, they won with UHP Synagogue one category of the XXI Pan-American Biennial of Architecture of Quito, Equador, finalist with another work Caja de Tierra, winner of the Frame Awards 2019 as Small Office of the Year, finalists of Architectural Review Emerging Architects Awards 2020, they have been chosen by ArchDaily as one of the Best New Practices of 2021. Their projects, mainly result of winning local and international competitions, have been extensively published by architectural magazines and digital platforms. Criteria for responsibly building and deep respect for the context in its pre-existence inform their conceptual approach and realisations, celebrating an affordable architecture socially accessible and suitable to the harsh conditions of their subtropical climate.Our conversation starts, trying to understand the complex and difficult historical vicissitudes of Paraguay, a country of magical beauty, remained for long time ‘the periphery of the periphery', experiencing poverty and cultural isolation, and we continue deepening the aspirations of a generation of Paraguayan architects, to which Equipo de Arquitectura belongs, driven by desire to preserve, feed and evolve a tradition, aspiring to a social and cultural transformation. A movement based on affordability, self-sufficiency and the creative exploration of a limited palette of materials. Horacio traces back his first experiences, leading him to the specific choices that characterise his practice, explaining what it means to be coherent with the principles embraced in a country undergoing rapid expansion.A quote of Louis Kahn, “The sun did not know how great it was until it hit the side of a building”, and a basic equation, “Dreams + Necessity + Available resources” introduce with originality and poetry Earth Box, their 45sqm workspace, an extremely beautiful presence, a dream materialised around two trees, incorporated, as always, with reverential respect into the development, where light is the element that intensifies and shapes space. The naked walls of the monolithic structure in the colour of red clay are built of rammed earth, a traditional technique, perfectly responding the climate conditions and offering several other advantages above the superb integration with the natural context and the unique atmosphere and textural experience that reserves.Its physicality seems to perfectly satisfy a wish that Juhani Pallasmaa expresses in ‘The Eyes of the Skin', ‘re-sensitize architecture through a sense of materiality, hapticity, texture'. This ‘primordial architecture', as Horacio defines it, allowing to appreciate colours, smells, to stimulate experiences related to our senses, has inspired the creation of the suburban block of the Child Care Center, a place rich of patios and vegetation, as the architect informs, conceived to mould a sensitivity since early childhood, ‘where kids learn by playing and play to learn'. Openness and porosity are characteristics that imbue all the firm's architecture and a constant dialogue between natural and artificial, emphasised by minimising architectural interventions, is a fundamental axiom nurturing daily life in all their residences, as the ‘Patios House' and the 'Intermediate House' well demonstrate. Art, music, philosophy, literature and film are often used by Horacio as references to support and illustrate his interventions, and focusing on KingFish, a small project that is an authentic showcase of different use of material and construction possibilities about recycling, results particularly interesting the reference to the ‘Shadow Sculptures' of the two artists Tim Noble and Sue Webster, assemblages of rubbish, scrap metal that, backlit, project amazing silhouettes and profiles, an extremely original and important message about the beauty that ‘waste' can reserve, if used with creativity and competence.Our conversation concludes reflecting on an inspiring, brilliant work, the Synagogue at the Hebraic Union of Paraguay, realised following an international competition's winning proposal, an impressive transformation of an old existing construction, reached through few precise gestures and few materials expressed in their true nature and most authentic strength.

“The importance of a drawing is immense, because it's the architect's language,” said the architect Louis Kahn to his masterclass in 1967. While most studies of Kahn focus on his built works or theory and use drawings mainly to illustrate these, this publication chooses to focus on Kahn's drawings as primary sources of insight into his architectural intelligence and imagination. Lavishly illustrated with over 900 high-quality reproductions of work by Kahn and his associates, incisively presented by a group of acclaimed architectural experts, The Importance of a Drawing is a deep immersion into Kahn's work and his design process. A testament to Kahn's masterly craft, this volume also makes a provocative primer on architectural representation by posing timely questions on how architects use drawings to see, learn, conjecture and reveal. Destined to become a standard reference on Kahn, this book is an essential addition to the libraries of established designers as well as students of architecture. The result of years of extensive research, The Importance of a Drawing contains original contributions and historical texts from Michael Merrill, Michael Benedikt, Michael B. Cadwell, Louis I. Kahn, Nathaniel Kahn, Sue Ann Kahn, David Leatherbarrow, Michael J. Lewis, Robert McCarter, Marshall D. Meyers, Jane Murphy, Harriet Pattison, Gina Pollara, Colin Rowe, David Van Zanten, Richard Wesley and William Whitaker. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

“The importance of a drawing is immense, because it's the architect's language,” said the architect Louis Kahn to his masterclass in 1967. While most studies of Kahn focus on his built works or theory and use drawings mainly to illustrate these, this publication chooses to focus on Kahn's drawings as primary sources of insight into his architectural intelligence and imagination. Lavishly illustrated with over 900 high-quality reproductions of work by Kahn and his associates, incisively presented by a group of acclaimed architectural experts, The Importance of a Drawing is a deep immersion into Kahn's work and his design process. A testament to Kahn's masterly craft, this volume also makes a provocative primer on architectural representation by posing timely questions on how architects use drawings to see, learn, conjecture and reveal. Destined to become a standard reference on Kahn, this book is an essential addition to the libraries of established designers as well as students of architecture. The result of years of extensive research, The Importance of a Drawing contains original contributions and historical texts from Michael Merrill, Michael Benedikt, Michael B. Cadwell, Louis I. Kahn, Nathaniel Kahn, Sue Ann Kahn, David Leatherbarrow, Michael J. Lewis, Robert McCarter, Marshall D. Meyers, Jane Murphy, Harriet Pattison, Gina Pollara, Colin Rowe, David Van Zanten, Richard Wesley and William Whitaker. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

“The importance of a drawing is immense, because it's the architect's language,” said the architect Louis Kahn to his masterclass in 1967. While most studies of Kahn focus on his built works or theory and use drawings mainly to illustrate these, this publication chooses to focus on Kahn's drawings as primary sources of insight into his architectural intelligence and imagination. Lavishly illustrated with over 900 high-quality reproductions of work by Kahn and his associates, incisively presented by a group of acclaimed architectural experts, The Importance of a Drawing is a deep immersion into Kahn's work and his design process. A testament to Kahn's masterly craft, this volume also makes a provocative primer on architectural representation by posing timely questions on how architects use drawings to see, learn, conjecture and reveal. Destined to become a standard reference on Kahn, this book is an essential addition to the libraries of established designers as well as students of architecture. The result of years of extensive research, The Importance of a Drawing contains original contributions and historical texts from Michael Merrill, Michael Benedikt, Michael B. Cadwell, Louis I. Kahn, Nathaniel Kahn, Sue Ann Kahn, David Leatherbarrow, Michael J. Lewis, Robert McCarter, Marshall D. Meyers, Jane Murphy, Harriet Pattison, Gina Pollara, Colin Rowe, David Van Zanten, Richard Wesley and William Whitaker. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he can be reached by sending an email to btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Architetto e designer fra i più apprezzati in Italia e nel mondo, Carlo Alberto Scarpa (Venezia, 1906 – Sendai, 1978) non si dedicò mai alla teoria, ma unicamente alla professione ... in particolare all'allestimento di esposizioni e mostre, alla realizzazione di negozi e abitazioni private, e al restauro di complessi monumentali. Affascinato dall'opera dei grandi maestri, in particolare da quella di Frank Lloyd Wright, seppe attingere dalle fonti creando un personale linguaggio, fatto di motivi formali e compositivi ricorrenti, senza mai cadere nella trappola del cliché. La sua elegante impostazione classica, unita alla cura del dettaglio e all'attenzione rivolta al percorso espositivo, rivoluzionò il settore dell'allestimento museografico.

Harvard professor David Fixler talks about the challenges he faced renovating Louis Kahn's iconic laboratory building. Richard Labs is one of the most iconic buildings of Modern Architecture, and transformative in Louis Kahn's architecture.  Kahn treated the scientists as artists separating the functional spaces into 'served' studios and 'servant', allowing natural light to penetrate into the laboratories which were arranged into a group of five towers.  He explored many of the technical constraints of the program and carefully detailed the exposed prestressed concrete structure and mechanical systems which had not really been done before.   

Architect Louis Kahn has been gone almost 50 years, but his legacy and influence only grows as architects the public alike cherish his enduring importance. His major works include the National Parliament in Dhaka, Bangladesh; the Salk Institute in La Jolla, California; the Kimbell Art Museum in Fort Worth Texas; and the Four Freedoms Park on Roosevelt Island in New York City. Kahn was also a revered educator, teaching at Yale and The University of Pennsylvania. Joining us today Michael Merrill, author of the new book Louis Kahn, the Importance of a Drawing, and filmmaker Nathaniel Kahn.  Yes, he's related.

Dan Klyn is co-founder of The Understanding Group, an information architecture consultancy based in Michigan. Dan has also created useful and influential IA frameworks, and in this conversation, we focus on his latest: the BASIC framework. If you're enjoying the show, please rate or review it in Apple's Podcasts directory: https://podcasts.apple.com/us/podcast/the-informed-life/id1450117117?itsct=podcast_box&itscg=30200 Show notes Dan Klyn The Understanding Group The BASIC framework Chris Farnum Peter Morville Louis Rosenfeld Andreas Resmini Richard Saul Wurman Bob Royce Edith Farnsworth House Ludwig Mies van der Rohe Kimbell Art Museum Louis Kahn Renzo Piano Brian Eno Some show notes may include Amazon affiliate links. I get a small commission for purchases made through these links. Read the transcript Jorge: Dan, welcome to the show. Dan: Thank you. Jorge: It is such a pleasure to have you here. As I was telling you before we started recording, you're one of the people that I originally thought of having as a guest on the show, when I first conceived of the show. I am constantly inspired and just amazed by the contributions you've brought to our field of information architecture. And I'm honored to have you on the show and looking forward to hearing about you. In particular, about a framework that you've been sharing recently. About Dan Jorge: But before we get into that, I'm hoping that you will tell us about yourself. Who are you, Dan? Dan: Sure. Let's see... I was a fat baby. I think the reason that I have the pleasure of talking with you today... we can blame Chris Farnham, who is an information architect in Southeast Michigan. I went to a conference about information architecture in 2009. My first professional conference had ever been to in any field, and I didn't know if I was particularly welcome or fit well into the field of information architecture, but I had a mentor who encouraged me and that was Peter Morville. So Chris Farnham and Peter Morville, these two guys from Ann Arbor are the only people I thought I knew at this conference, which was true for about five minutes. And as we were walking to the opening reception, Chris said, "Hey, those two guys walking in front of us... those guys are architect-architects. Like, you know, like what you're interested in, Klyn!" Because even back then, the architecture part of information architecture is what I was mostly interested in. And walking in front of me on the way to this opening reception at the IA Summit, as it was called back then was Jorge Arango and Andreas Resmini. And I never talked to Chris again for four or five years, I think. And I have held fast to Jorge and Andreas ever since. And I'm so grateful to have had... I've been given by you guys permission to be as excited as I am about the architecture part of information architecture. Which is so different than my experience with other professionals in the built environment. When I started enthusing about information architecture and the ways that I think what makes places good for people in the built environment has something immediately relevant for us to learn from, as people who make digital products and services.... they're not into it. They scold me for not having consulted the correct sources. Or having the wrong opinions about some buildings or what have you. And you and Andreas both welcomed my amateurism, at a time when you could have just, you know... I don't know! So that's why I'm here. Hi, my name is Dan Klyn. I'm an information architect and I am fascinated by — I am on fire about — the ways that architecture in the built environment can teach us how to do things with digital products and services. And any second now, metaverse-icle products and services and such. So that's what I'm interested. I'm interested in the spatiality of meaning. That is a mouthful that nobody wants to hear, but that's how I say it sometimes. And I have drawn most of my ways of thinking about and seeing this from an increasingly intensive pursuit of Richard Saul Wurman from a biographical standpoint. I figured if I could learn everything that he knows about information architecture, then that would be pretty good. So I've been trying to turn him upside down and shake him, and catch what comes out of his pockets for about seven years or so now. So, that's what I do. Jorge: That's a great intro and I feel like this episode is turning into the Jorge and Dan mutual appreciation society. But I think that we can't wrap up the intro without also naming the fact that you are a co-founder of The Understanding Group, Dan: right? The Understanding Group Dan: That's right. Yes! And Mr. Wurman having been so essential to the founding of our company. Bob Royce and I, when he... he as a serial entrepreneur was in the school of information and library studies at the same time that Peter and Lou were back in the day. And so, as somebody from a business development background standpoint, interested in information architecture, his interest in it went all the way back to Richard Saul Wurman. And the first time I saw Richard in person was a speech that he gave at the University of Michigan and the only person that I knew in the audience and we sat right next to each other right in the front row is Bob Royce. So yeah, together, our enthusiasm for information architecture, digital strategy... whatever ways that we can apply architectural thinking to usually large-scale software and information systems, that's what we wanted to start a company to focus on. And certainly we were inspired by and got to learn through their advice. Peter and Lou having operated the world's first really large scale information architecture consultancy, which was called Argus, which operated back in the late 1990s and disbanded, about the same time that a lot of things did in March of 2001. Yeah, there's probably a way that you could have a business that focuses on information architecture and that... we want it to be that. So, that was 10 years ago and TUG continues to be among the... if you were to say, "Hey, who should we get to help us with information architecture?" people would probably say, Jorge Arango, Abby Covert. An aspiration that we're just pleased that we are often in that same sort of three or four things that you would just know about when it comes to taking on significant information architectural challenges in software and digital products and services, yeah! That's what we've become. "The spatiality of meaning" Jorge: I want to circle back to this phrase, "the spatiality of meaning." And you referenced being inspired by Mr. Wurman. And you also talked about "Being on fire about the architecture of the built environment," and talking about gravitating to Andreas and myself at that first information architecture summit. And one thing that the three of us have in common, the three of us being Mr. Wurman, Andreas, and myself, is that our background is in building architecture. But that is not your background, right? Dan: Correct. Library science over here. Jorge: Library science. So, I'm wondering what drew you to the architecture of the built environment? Dan: It's gonna sound... it's exactly... think of the most boring cliche way to answer your question and that's the answer. Since I was a little boy, I had a Crayola drafting set of a T-square and a triangle. And big paper. And my parents got me a tilty desk. Like it was the only thing I knew that I wanted it to be until I didn't think that I could because I was bad at math. So, for as long as I can remember, I wanted to make the shapes that I make on paper turn into an experience that people could have. Especially me, but other people may be also. And since then, and especially since becoming a consultant who travels a lot, I have had an extraordinary opportunity to go to buildings. And I have had my cognition, my heart rate, my pulse, my skin temperature... I have been physically changed by every different kind of place that I've been to. And by doing that on purpose, that's where the BASIC Framework comes from is an awareness that I developed at some point that what these buildings do is they are machines that uniquely change our human experience by changing our blood pressure and our cognition and our pulse. And the effects that it uses are both, you know, the physics of the earth, the density of the walls... if you're in a crypt of a cathedral and the density of the walls is two feet thick and it is granite, the air pressure changes in there make what your body can... what's possible for you to experience has been concrete-ized literally in ways that are just extraordinary. And so, by putting myself in so many of these different places, and yes, I've catered to my list of initially is canonical buildings that architects who control what is considered to be a good building in the Western tradition, right? But that's the kind of list that I started from. And by going to as many of these places as possible, continually re-energizing and re-believing in reifying the reality... not some neat-o idea that I choose to have, but an actual experience that is undeniable that the way that these places have been set up through the arrangement of material and space and through the arrangement of the information that is either encoded in that material or inscribed on that material, the situatedness of things in space changes how we... how we experience things. The radical architect, Christopher Alexander — people scoff! Like, spit their coffee out when he says stuff like that he knows how to make God appear in a field. But that's... I think also a part of why I've been so interested in this is having been raised in a deeply religious context and hearing about power that people can have access to and experiences with and transformation, transfiguration, transubstantiation, immanence... that I've had those experiences. And they're not so much with sermons of words — it's sermons in stone that really changed my whole life. So, now I seek out experiences in places so that I can understand better how to somehow transfer or remember at a minimum, all of the different ways that I've been made to feel through experiences with architectures. And then, how can I tap into that at some other time for some other purpose. That's how I've been trying to rationalize such the luxurious experience of going to so many kick-ass buildings. Jorge: Well, that was beautifully put and I'll reflect it back to you. What I heard there is that this phrase, "the spatiality of meaning," at least part of it, has to do with the fact that buildings play a functional role in our lives, right? Like they keep us dry and warm — you know, safe from external conditions. But there's this other role that they can play — at least some buildings can play — which has to do with somehow moving us, reminding us of perhaps higher states of being somehow. And the question is... you and I both work on architecting experiences that people have mostly within the confines of the small glass rectangles that we carry around in our pockets. And what's the connection between these — if any — between these transcendent experiences that you have when walking into a special place and the sort of experience that you can have through a digital artifact? Back to screens Dan: Well, I'm trying to think about it in terms of the last thing that I worked on or some real case in point. And I'm thinking about an app that I've been working on that has all kinds of different functionality. And there are ideas about what does prominence mean? So, imagine that this app that has all sorts of different kinds of functions, that there's a giant global organization, and there are people who are mapped to those functions and that they all feel like their thing needs to be the most important and therefore the most prominent or vice versa. So, there's a space race, or there's a competition for the most opportune positions on screens in this screen-iverse that they operate. And finding an order that both works from the, "I'm a brain in a jar," and there are semantic categories and there are things... there's knowledge in the world, not just in my head. And on the basis of knowledge in the world and on figuring things out from a sense-making standpoint, there's no right way. But there are good ways. And so what I'm trying to learn from the built environment, every location in the built environment is special. So, it's not so much that I've been to special places and then, "oh crap. What do you do when you're working on something quotidian? Something that's just every day." It's the idea that every place is charged with wonder. Every... everything is amazing. Because look at it! There it is! People made that! And so, trying to help this organization, this global organization with all these poor people who are, you know, if their thing is high up on the screen, then they win. Trying to posit order for how to situate all of those things in space that's both good for the organization that they can continue to operate as an organization and as a business. It's good for people who have to use it because it isn't like, "oh! Where is the blank?" And also then the trifecta is: and could all of this be key to our embodiment as human beings? And so, we came up with a way to position proprioceptively. Imagine yourself looking at your phone screen. There's left, right, up, down. To make left and right and up and down mean something, other than "most important," "least important," or "most prominent" and "least prominent." So, things of this nature you can expect to find them over to the left. Things of that other nature you can expect to find those to the right. And governance... a way of working with the organization to help diffuse the person with the highest tolerance for discomfort wins, for there to be reasons for belonging and space and place that everybody can understand, and that, when people follow it, it creates more wellbeing and prosperity. It sounds like fantasy, but that's really what we get to do when we're doing it right. And it's great! And I couldn't do it if I didn't have these experiences in my own body and have felt and believed in the pleasure and the learnability and the... to reliably be able to reach over here and get something because you know it's going to be there. And on what basis, other than, "well, that's where it always was." Jorge: What I'm getting from what you're saying there is that in both cases, in both the physical environment than these information environments, there is the possibility of a higher level of order that might bring coherence to what might otherwise be forces that are pulling the experience into different directions, that make it incoherent, right? Dan: That's right. The BASIC framework Jorge: And with that in mind I wanted to ask you... during your career, you've shared a few frameworks that have been influential and helped us see the type of work that we do in different ways. And recently you've shared a draft of a framework that is new to me at least, called BASIC. And it seems to me to be an effort in this direction of providing kind of a framework for order and coherence. Dan: Yes. Jorge: And I was hoping that you would tell us about the BASIC framework. What is it? Dan: I am learning along with everybody else what it is. That's one of the risks! When you put something out there that isn't done yet, that's the reason to do something like that. And so, having put it out there not entirely baked, and then asking for and eliciting feedback... one of the first most powerful pieces of feedback that I got after presenting it for the first time at a meetup online was from a colleague in the UK who posited that what BASIC is, is it's about where you as the designer... it gives you five vantage points into the problem space. It's like, "where should I stand to see the thing that would be good to notice?" So, that's one way to start explaining it is: it's an easy-to-remember acronym that gives you five ways to have a posture vis-a-vis some kind of a complex system. And if you stand in these five places, and if you ask some of the questions that I've provided with each of those postures, then possibly you will see the architecture of the thing. So, that's really the goal. And one of the ways that I came to make it, was a friend of mine... we went on a field trip. We went to the Edith Farnsworth house in Plano, Illinois by Mies van der Rohe. And we were so lucky! It was in the winter and we were the only ones on the tour. So we had a whole hour with the docent. Couldn't go in because it was winter, have since of rectified that. Have been back with the same friend and we got to go inside. But first time we're just outdoors, in the snow, circling the Edith Farnsworth house. And then afterward, I shared the photos that I took. And my friend noted that... he looked at the photos that he... we went to the same place, we took many of the same pictures. But that there was something going on in the pictures that I was taking that he wanted to know about, because it seemed like I was accessing different parts of the same experience. And whether it was just purely on the basis of the otherness of the what... something that somebody else is doing it in the same place, you wonder what that is? It's not... I don't believe it's because I have superior aesthetic judgements or anything like that. I think it has to do though with having developed a set of postures for when I'm trying to relate to buildings first of all, in order to see the right stuff. By my own internal compass, the right stuff. And then, talking this out with my friend and then him encouraging me to do something with it because it seemed like it could be learnable. Like, if I stood there and if I cocked my head that way, I would see it too. So, that's what it is. It's postures that you can use. Questions... So, the first one is boundaries. And if you didn't do any of the other elements, if you found a way to perceive the boundaries... and where was the boundary before where it is now, and who gets to move the... just some really dumb questions about boundaries and where one material stops and another begins is an especially potent thing to notice in buildings. But whether it's buildings or an intranet, the boundaries. How did they get here? Where were they before? Is there a plan to make there be different boundaries? Do you see any evidence of, you know, the ghost traces of where things used to be, or where they're fixing to go? And then you can go right on down the line. And the second one, let's see, what is the second one? You've got the book there, you tell me! Jorge: There is a little booklet that you can print out and I'm holding one in my hands. So, the first one is boundaries. The second one is associations. Dan: Yes. Perfect! So, what do we associate a stepped gable with in the built environment? I'm Dutch. If you go to Holland, Michigan, nearby where I live, there are these buildings that were built within the last 20 years that have these stepped gables not because they serve any functional purpose, but because they remind everybody who lives there, that many of the people here have Dutch heritage, and that that's how the buildings look. So there are direct associations like that. There are more diffused associations, like the kind... does it link to a PDF? You associate that differently than if it's to HTML page, then if it's a video. So just associations. The A, S... Situatedness. Why is anything where it is? If you go to the Kimbell Museum in Fort Worth, Texas — which I encourage you to do — there has been an expansion to that museum. It was originally by Louis Kahn opened in 1972, the year I was born. An expansion to the museum was done by Renzo Piano in the nineties. You now enter the Kimbell from the back, relative to where the architect imagined you would enter the building. So just little... why is anything where it is gives you access to so many architectural decisions that were made in the environment. And then the last two are twinned. And probably I'm too in love with BASIC because it's so easy to remember and I want it to be basic like food-hole, air-hole, dumb-basic. But the last two are invariants. So, what are the forces in the environment that don't change or that seem like they don't change? Brian Eno has wisely said that repetition is a form of change. So you have to be careful with this one. And that's why it is paired with cycles. And those two postures, those two places to stand relative to some complex system... if you were able to perceive what was invariant in the environment, that would explain to you why it shows up the way that it does and each of these elements in the model has a building that I've been to. They're all in the United States so far, and the example cartoon of a building for invariance is a garage I saw in Seattle. Where I live in Michigan, the roofs are a pointy, peaked roof, like kids around here would draw a picture of a house. But in Seattle, there's a shape of a roof that is inverted to catch the rain because it is on a steep hill, in a microclimate that is a rainforest basically. So, it's an invariant. There's so much water there, you're going to change the shape of the roof to rise to channel those forces better. And that was the consequence... consequence to that, a million other decisions about the building. And then cycle, the last one, you can plug that one into what's invariant. In Michigan, we have four seasons. In Seattle, they have maybe two. And so, by looking at what has the system done to anticipate cyclical change in the environment that it's in... put all those five postures together, ask a question from each one, and I feel pretty good that you're not talking about the design so much as you're talking about the architecture of the system. Jorge: What attracts me so much about this framework is that it takes a systemic lens at examining the... or a set of lenses, right? To your point, these are different vantage points from which you can examine the system. And although it is grounded in architecture, as in built architecture — and like you said, the booklet includes drawings of buildings as illustrations of these various lenses — they seem applicable to other types of things that might be architected, right? Like this notion that you can examine the system through the perspective of what distinctions does it manifest, versus what perhaps memories, cultural or otherwise, it triggers, right? Like those are very different perspectives that are part of architected systems, regardless of whether they are buildings or what have you. Dan: That's right. And the caveat here with any methods that I've developed, if you're trying to apply them, it has to be in an architectural context where the nature of the change that is expected or at least possible? Is more than an increment. It can be executed incrementally but the nature of the change... if you're looking for recommendations about how to change the architecture, it should be safe to presume that those kinds of changes are harder to do, possibly take more time, and are more costly because they are more consequential. And so, if people are just making shit, then this framework won't help you because there isn't a reason for everything that was done. And that is... I'm so glad that we've got to here and maybe because of time, we might land here or start landing here, is: the built environment is such a terrific teacher because almost always, except now, every decision that was made is because of a reason. And the traceability of every move that is made to a reason, you need to do that in design too, if you're doing it right. But when you're talking about architecture what that means is that it's being taken on and thought of systemically. And if the thing is being made in a way where it doesn't care about being systemic, then these lenses won't help you because it just is the way that it is because it is. This all presumes total accountability for every move that you make as a recommender of changes to an environment. And I've recommended changes to a digital environment that have made it so that people's jobs went away. I'm glad that I haven't worked on products and services where the changes I've recommended have caused harm to people, that I know of, but it's certainly possible. And as we enter into this metaverse time of everything being part of the experiences that we work on, I think having a framework like this is also helpful because it might check an impulsive feeling of, "oh, I get it." Or, "I've seen it." Or, "I know what it is." Or, "clearly the solution is..." Maybe this framework would help you go slower and not move with so much certainty. Maybe these are five ways to undermine the decision that you were about to make. And I would be good with that, in most cases. Jorge: How do you keep that from paralyzing you altogether? Because when you say you have full accountability over a thing, like... Dan: It all depends on having extraordinary clients. Without clients who are willing to work in that fashion... I mean, whether you want to take maximum accountability for your recommendations or not, Jorge: I can see what you mean, but I can also understand how that sense would or could paralyze you as a designer, right? So, how do you keep the dance going? Responsibility Dan: It's a two way street and if the client isn't playing along and giving you that accountability and that responsibility, then you're not actually... you know, it's not actually happening. So, I think it absolutely depends on having the right clients and TUG has been so fortunate to have not prospered enough to have clients that aren't the right kind. It's weird to engage with information architects to affect change to complex digital products and services. And I think we show up... weird enough, where we've scared away the ones who wouldn't be a good partner with us in wanting to have that level of accountability, that level of traceability for the recommendations that we make. Because it requires that the stakeholders be super accountable to what they want, because you're going to get it, right? Like, that's what I'm saying is, as your architect, if you show me your intent, if you let me make a model of your intent and then the model is more or less correct, then I can make a whole bunch of decisions about the situatedness of things in your space that will deliver against that intent. So God help you if you don't know what you want. Because I need that in order to make decisions on your... with you, not on your behalf. When we started TUG a long time ago, we decided the word agency must not be the word for... We don't want to borrow anyone's agency for money for a couple of months and then give it back to them. They need to keep their agency all along the way to keep instructing us and intending back when we make our moves to make sure that things stay good. So, yeah, it's all about having the right clients and quite frankly, it has a lot to do with my own personal choices over the last year or so to get away from consulting as much as I personally can, and be more in the mode of scholarship and writing because I don't know how much longer the client world is going to be able to make room for the kinds of work that I personally want to do. Closing Jorge: Well Dan, I would love to hear more about what that might be. And I would like to extend you an invitation to do another recording with me, if you are open to it, to explore that and the notion of architecting the thing that architects the thing, somehow, right? Because that's what is implied in what you're saying, I think. But for now, where can folks follow up with you? Dan: Well, I think maybe BASIC would be a good way to start. So if you go to understandinggroup.com/basic, you can download a PDF of the most recent version of the little mini booklet. I've created an instructional video for how to cut and fold said booklet so that it has its maximum booklet-iness for you when you make it. And from there I... yeah, I'm omni-available, except through Facebook, WhatsApp, or Instagram. Jorge: You're not going Meta. Dan: I would accept money from Facebook, Instagram, and WhatsApp to research the potential for harm to human beings, through what they intend to do in the so-called metaverse. But I'm not willing to use their products. Jorge: It sounds like that might yet be another reason for us to have a second conversation here. But I'll just allude to it because I'll include links to the stuff that you've been discussing on the show. And, I'll just reiterate that the booklet is beautiful, simple, useful. I have one printed out and keep it on my desk. So, I encourage folks to check it out. Thank you, Dan, for... Dan: The only thing better than that for me Jorge, is if I could be little and be there on your desk instead of the booklet, but that's... I'd love that. Jorge: I can see you on a little screen here. On a little window in my screen, so... it's not the same, but it's... it'll have to do for now. Well, thank you so much for being with us, Dan. It's always a pleasure to talk to you. Dan: Let's talk again.

Director of the Kimbell Art Museum Eric Lee is the director of the world renown, Fort Worth Kimbell Art Museum. Beginning with an art history PhD from Yale to leading the Kimbell since 2009, Lee details the incredible acquisition and background of several prized works from the Kimbell's collection. We also discuss his career, the Kimbell history, the Louis Kahn and Renzo Piano architecture, and some Kimbell secrets.

Today we talk to Shubhra Raje, Academic and Architect…and also the daughter of Anant Raje, faculty member of CEPT in Ahmedabad and an architect who worked closely with Louis Kahn on the IIM project. Today, we focus the conversation on Shubhra’s relationship with her father, how he has influenced her life and how this relationship has been formative in her own architectural and creative identity.                                                                                      

Harriet Pattison met renowned architect Louis Kahn in 1953 at Yale, but the real sparks flew years later in Philadelphia where she and Lou Kahn had a romantic relationship and a son, Nathaniel. It was, um, complicated. Pattison is an accomplished landscape architect, working in the Vermont office of the famous Dan Kiley and studied landscape architecture under Ian McHarg at the University of Pennsylvania School of Fine Arts. She collaborated with Kahn on a number of projects, especially fulfilling, after his death in 1974, the 2012 completion of the Franklin Delano Roosevelt Memorial in New York City. In 2016 she was inducted as a Fellow of the American Society of Landscape Architects. Her new book is Our Days Are Like Full Years: A Memoir with Letters from Louis Kahn. Joining Pattison is former Kahn staff members Richard Saul Wurman and Reyhan Larimer, plus Steve Kroeter, publisher of a re-released book on Kahn.

Mimarın Mutfağı 5 dk'da Mimarlar Serisinin sekizinci bölümünde Mimar Louis Kahn'ı ağırladık. Eski ve yeni mimari normlarını yapılarında ışığı en verimli şekilde kullanarak tasarlayan mimarlardan. Mimarinin mistik bir tarafı her zaman kendisini etkilemiş. 17 Mart 1974'te ölüm yıl dönümünde hikayesini araladığımız bir yayın oldu. Yaptığı yapıtlarını ve daha fazlasını merak ediyorsanız. İç Mimar İpek Aksel’in seslendirdiği yayını kesinlikle dinleyin derim. Öneri, isteklerinizi sunmak için ve ben de ekibe katılabilir, yayın yapabilirim diyorsanız, bizimle abdullahdogmus.com adresinden iletişime geçebilirsiniz.

Eesti vabariik maailmas - vabariigi aastapäeva eelne kõnelus Jüri Luigega. Eestis sündinud maailma-arhitekt Louis Kahn 120. Vanemuse teater 151. Ja küsitavad faktid keskaegse Eesti ajaloos. Saatejuht on Neeme Raud.

Eesti vabariik maailmas – vabariigi aastapäeva eelne kõnelus Jüri Luigega. Eestis sündinud maailma-arhitekt Louis Kahn 120. Vanemuse teater 151. Ja küsitavad faktid keskaegse Eesti ajaloos. Saatejuht on Neeme Raud.

  This week, we continue our conversation with Sarosh Anklesaria, Shubhra Raje, and Riyaz Tayyibji about the recent developments at the Indian Institute of Management Ahmedabad (IIM) where controversial deliberations have led to the decision to demolish a large swath of dormitories on its campus designed by Louis Kahn, architect. While this decision has been temporarily halted, it has generated much conversation surrounding the value of experience, collective and micro histories, the role of empathy within the built environment, and changing the terms of engagement with a “growth” mindset.

"La cuisine, le salon, la salle de classe : tous ces espaces peuvent être assimilés à des incubateurs, des accélérateurs aidant l'espèce humaine à s'arracher à sa condition animale. Et c'est essentiellement comme des appareillages imaginés pour permettre aux hommes et aux femmes de s'élever que nous aborderons les lieux de prière et de recueillement. Nous passerons des colonnes sur lesquelles se hissaient les anachorètes – à l'instar de Saint Siméon le Stylite – aux compositions vertigineuses de Guarino Guarini pour la Chapelle du Saint-Suaire à Turin et des frères Asam pour l'église Saint-Jean-Népomucène à Munich. Des dispositifs repris et réactualisés par Paul Virilio et Claude Parent qui font pencher les sols de Sainte Bernadette de Nevers pour accentuer le mouvement des fidèles vers l'autel, ou par Peter Zumthor qui redresse les corps des pèlerins sous la lumière zénithale trouant son bloc de béton votif posé à la lisière des champs et de la forêt. Une aspiration à l'élévation que l'on retrouve encore dans certains espaces laïques, notamment le grand vide sombre et silencieux élevé par Louis Kahn au coeur de la bibliothèque d'Exeter ou la plage claire qui s'étend sous les deux ouvertures ovales de la voûte conçu par Ryūe Nishizawa sur l'île de Teshima pour en conclure le parcours initiatique." Richard Scoffier, mars 2020.

The basic issue is: what is the value of collective/cultural memory? What happens when we privilege certain memories over others? This week, Sarosh Anklesaria, Shubhra Raje, Riyaz Tayyibji and Vikram Prakash converse about recent developments at the Indian Institute of Management Ahmedabad (IIM) where controversial deliberations have led to the decision to demolish a large swath of dormitories on its campus designed by Louis Kahn, architect.  

« Si les musées contemporains se proposent comme des containers immergeant leurs visiteurs dans un univers de formes pour suppléer à l'épanouissement de leur imaginaire, les bibliothèques peuvent être considérées comme de véritables mécanismes orthopédiques favorisant la réflexion. Louis-Etienne Boullée imaginait sa bibliothèque comme un amphithéâtre de livres d'où le monde pouvait être lu et comme une scène montrant des savants en train de débattre ou d'écrire. Tandis qu'à Exeter, Louis Kahn propose une vision dualiste où l'espace lumineux du savoir s'oppose à celui, sombre et silencieux, de la révélation. Des questions de lumière et d'ombre qui prennent moins d'importance avec Rem Koolhaas. Son projet pour Jussieu se donne comme un sol unique et continu, un parcours initiatique scandé de nombreuses séquences programmatiques : auditoriums, magasins, espaces de détente... Quant à son projet pour la TGB, il s'affirme comme un espace cérébral dont les salles de lecture s'étirent comme des neurones pour connecter les zones de conservation. Mais la bibliothèque est aussi un équipement à la recherche de son identité, renommée médiathèque puis Learning Center ou simplement troisième lieu, elle tend à s'affirmer comme un entre-deux neutre favorisant le développement des individus en les libérant simplement des obligations de l'université ou du bureau, comme de celles du logement ». Richard Scoffier, au Pavillon de l'Arsenal en février 2017. « Bibliothèques » est le deuxième chapitre de l'Université Populaire 2017 du Pavillon de l'Arsenal. Richard Scoffier, architecte, philosophe et professeur des Écoles Nationales Supérieures d'Architecture, évoque les enjeux constructifs, sociétaux et symboliques que revêtent les hauts lieux culturels contemporains.

PT Barnum is noted as saying, “There's a sucker born every minute.” Could it be an entire generation of architects were swindled by noted starchitect, Louis Kahn? He sure fit the bill of a con artist: self-assured, self-serving all while supporting secret families, mistresses, and skyrocketing personal and business debt.Nathaniel Kahn, Louis's youngest of his illegitimate brood, explores his father's life through the lens of the architect's work. But is it all it's cracked up to be? Are we all just a bunch of suckers trying to hear what that mother f***ing brick is saying?!starchitect: Joelle Wolinski