The first in-depth biographical study of the brilliant but elusive architect who fundamentally redefined twentieth-century architecture. Now ranked with Frank Lloyd Wright, Le Corbusier, and Mies van der Rohe, Louis I. Kahn brought a reverence for history back into modern architecture while translating it into a uniquely contemporary idiom. Drawing on more than one hundred interviews with colleagues, coworkers, clients, and family members and illustrated with many previously unpublished photographs, this book documents the uniquely American rise of a poor immigrant to the pinnacle of the international architectural world. It illuminates the richly diverse personal relationships Kahn had with such clients as Jonas Salk and Paul Mellon, and the romantic entanglements that mystified even those closest to him. While celebrating the genius of Kahnís art, the book provides an invaluable portrait of the man who created it.

The man who envisioned and realized such landmark buildings as the Salk Institute, the Kimbell Art Museum, and the National Assembly complex in Bangladesh, Louis Kahn was born in what is now Estonia, immigrated to America, and became one of the towering figures in his adopted country’s built world. His works are unmistakable in their elegance, monolithic power, and architectural honesty. Written by Carter Wiseman, one of Kahn’s most respected commentators, this book offers a succinct, accessible examination of the life and work of one of America’s greatest architects. It traces the influence of his immigrant origins, his upbringing in poverty, his education, the impact of the Great Depression, and the arrival of Modernism on his life and work. Finally, it provides insight into why, as the legacy of many of his contemporaries has receded in importance, Kahn’s has remained so durably influential. Louis Kahn: A Life in Architecture provides the best concise introduction available to this singular life and achievement.

Born in Estonia 1901 and brought to America in 1906, the architect Louis Kahn grew up in poverty in Philadelphia. By the time of his mysterious death in 1974, he was widely recognized as one of the greatest architects of his era. Yet this enormous reputation was based on only a handful of masterpieces, all built during the last fifteen years of his life. Wendy Lesser’s You Say to Brick: The Life of Louis Kahn is a major exploration of the architect’s life and work. Kahn, perhaps more than any other twentieth-century American architect, was a “public” architect. Rather than focusing on corporate commissions, he devoted himself to designing research facilities, government centers, museums, libraries, and other structures that would serve the public good. But this warm, captivating person, beloved by students and admired by colleagues, was also a secretive man hiding under a series of masks. Kahn himself, however, is not the only complex subject that comes vividly to life in these pages. His signature achievements—like the Salk Institute in La Jolla, the National Assembly Building of Bangladesh, and the Indian Institute of Management in Ahmedabad—can at first seem as enigmatic and beguiling as the man who designed them. In attempts to describe these structures, we are often forced to speak in contradictions and paradoxes: structures that seem at once unmistakably modern and ancient; enormous built spaces that offer a sense of intimate containment; designs in which light itself seems tangible, a raw material as tactile as travertine or Kahn’s beloved concrete. This is where Lesser’s talents as one of our most original and gifted cultural critics come into play. Interspersed throughout her account of Kahn’s life and career are exhilarating “in situ” descriptions of what it feels like to move through his built structures. Drawing on extensive original research, lengthy interviews with his children, his colleagues, and his students, and travel to the far-flung sites of his career-defining buildings, Lesser has written a landmark biography of this elusive genius, revealing the mind behind some of the twentieth century’s most celebrated architecture.

This exhibition design comprises a contemplative space, enhancing the quiet monumentality of Kahn's drawings, as well as reflecting his own preoccupations with symmetry, walls, and their openings. The four trips within the show were arranged chronological in intimate roomlike spaces, color-coded to evoke an atmosphere appropriate to their location: storm blue for New England, saturated yellow for Greece, etc. The color band, which narrows one's focus within the tall gallery and on which all works were hung, was continuous throughout a single trip, and broke between trips, instilling a sense of travel through time and space. Windows framed important works, allowing them to be seen twice, in two contexts, as well as allowing views of a "peopled" space.

First ed. published as: Louis I. Kahn: talks with students. 1969.

She demonstrates instead that Kahn's architecture is grounded in his deeply held modernist political, social, and artistic ideals, which guided him as he sought to rework modernism into a socially transformative architecture appropriate for the postwar world.".

Louis I. Kahn is widely known as an architect of powerful buildings. But although much has been said about his buildings, almost nothing has been written about Kahn as an unconventional teacher and philosopher whose influence on his students was far-reaching. Teaching was vitally important for Kahn, and through his Master’s Class at the University of Pennsylvania, he exerted a significant effect on the future course of architectural practice and education. This book is a critical, in-depth study of Kahn’s philosophy of education and his unique pedagogy. It is the first extensive and comprehensive investigation of the Kahn Master’s Class as seen through the eyes of his graduate students at Penn.

Writing Architecture considers the process, methods, and value of architecture writing based on Wiseman’s 30 years of experience in writing, editing, and teaching young architects how to write. This book creatively tackles a problematic issue that Wiseman considers crucial to successful architecture writing: clarity of thinking and expression. He argues that because we live our lives within the built environment, architecture is the most comprehensive and complex of all art forms. Written as a primer for both college-level students and practitioners, Writing Architecture acknowledges and explores the boundaries between different techniques of architecture writing from myriad perspectives and purposes. Using excerpts from writers in different genres and from different historical periods, Wiseman offers a unique and authoritative perspective on the comprehensible writing skills needed for success.

Originally published in 1975 as a memorial to the Kimbell Art Museum's architect, Louis I. Kahn, Light Is the Theme provides an extended expression of the major themes articulated in his design for the museum. The text consists solely of Kahn's own words and explores his innovative use of natural light and playful employment of materials, which achieve their most refined state in the Kimbell, widely regarded as the architect's crowning achievement and admired as one of the greatest museum buildings of the 20th century. Marking the 40th anniversary of the Kimbell Art Museum, this is the first time this classic book, updated with a new bibliography and a foreword by director Eric M. Lee, has been available outside of the museum. Distributed for the Kimbell Art Museum