Louis I. Kahn - Architectural History as Mediation

415 Pages·2013·10.48 MB·English

Louis I. Kahn - Architectural History as Mediation
Dana Margalith
The School of Architecture,
McGill University, Montreal
May, 2013

A thesis submitted to McGill University in partial fulfillment of the
requirements of the degree of Doctor of Philosophy
© Dana Margalith, 2013
Louis I. Kahn - Architectural History as Mediation

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ABSTRACT
Louis I. Kahn - Architectural History as Mediation investigates the work of one of the
most active architects of the 20th century who has been acknowledged by scholars as a
modern thinker and architect, but is also known for his interest in history, and the clear
references to historical precedents in his work. In studying Kahn’s architectural training,
writings, readings, travel experience, personal contacts, the context in which he practiced,
and through investigating his personal drawings and two of his design projects, Kahn’s
layered approach to architectural history is unveiled.
In describing the architectural context of Kahn’s education and work, this thesis deals
with important aspects of architectural thought and making, which Kahn was exposed to, and
sheds light on the motivation behind Kahn's unique philosophical quest. When investigating
Kahn’s drawings done during his travelling experiences, the manner in which he embodied
historical sites becomes apparent. Studying archival material it tracks Kahn’s studies of
architectural references, and analyzing his architectural drawings and designs for the
Dominican Motherhouse of St. Catherine de Ricci, Media, Pennsylvania (1965-1969, un-
built) and the Hurva Synagogue in the Old City of Jerusalem (1967-1974, un-built) it
exemplifies the poetic references made by his projects to historical precedents - all while
concentrating on hermeneutic and phenomenological concepts relating to perception,
memory and understanding of the past.
Thus, through Kahn, this dissertation addresses the contextual debate regarding the
use of historical references in modern architecture from the 18th century up until the
postmodern era, and deals with the importance of continuity of references in the age of
fragmentation. Louis I. Kahn - Architectural History as Mediation reveals the possible
intricate potential lying in the consideration of tradition and history in modern architecture,
and sheds light on suitable endeavors in architectural thought and making which at once
integrate historical references and promote originality and progress - both fundamental for
innovative poetic architectural expressions.

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RÉSUMÉ
Dans Louis I. Kahn – L’histoire de l’architecture comme médiation, on explore le
travail de l’un des architectes le plus actifs du 20e siècle. Il a été reconnu par les intellectuels
pour son rôle d’architecte et de penseur moderne, ainsi que pour ses recherches en histoire et
ses références aux œuvres historiques importantes. En étudiant Kahn et son éducation, sa
formation en architecture, ses écrits, lectures, voyages, contacts personnels, le contexte dans
lequel il travaillait, en plus d’examiner ses dessins personnels et deux de ses projets de
design, on comprend son approche de l’architecture sous plusieurs angles.
En décrivant le contexte dans lequel Kahn a été éduqué et dans lequel il a
pratiqué son métier, la thèse traite d’importants aspects de la pensée et pratique
architecturale auxquels Kahn a été exposé, dévoilant ainsi les motivations derrière sa quête
philosophique unique. En examinant les dessins de Kahn, la manière dont il incarne les sites
historiques qu’il a vus durant ses voyages devient apparent. À travers l’étude du matériel
d’archives, la trace des références architecturales que Kahn a étudiées devient visible. Ainsi,
dans ses dessins et la conception architecturale pour le Dominican Motherhouse de St.
Catherine de Ricci, Media, Pennsylvanie (1965-1969, jamais construit) et le Hurva
Synagogue dans la vieille ville de Jérusalem (1967-1974, jamais construit), les références
poétiques aux œuvres historiques que sont ses projets sont clairement illustrées, tout en
soulignant des concepts herméneutiques et phénoménologiques en relation avec la
perception, la mémoire et la compréhension du passé.
Par conséquent, à travers Kahn, cette thèse examinera le débat contextuel
concernant l’usage de références historiques dans l’architecture moderne du 18ième siècle
jusqu’au postmodernisme, et abordera l’importance de la continuité des références dans l’âge
de fragmentation. Louis I. Kahn – L’histoire de l’architecture comme moyen de médiation
dévoilera le complexe potentiel dans l’étude de la tradition et l’histoire de l’architecture
moderne. Elle éclairera les efforts acceptables dans la pensée et la pratique de l’architecture
qui intègrent des références historiques et promeuvent l’authenticité et le progrès – deux
éléments fondamentaux de l’expression architecturale poétique et innovatrice.
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ACKNOWLEDGMENTS

I am honored to thank the many people who have helped and supported me along this
long and fulfilling road:

To my supervisor and mentor Professor Alberto Pérez-Gómez who has introduced me to
a unique attitude to architectural history and theory – critical, academic and rooted in
basic human poetic concerns. I would like to also thank him for his inspirational critique
– demanding academic professionalism, encouraging originality, and insisting on
excellence.

To the members of my advisory committee, Professors Ricardo L. Castro and Réjean
Legault for their guidance, remarks, and helpful discussions. I am indebted to Prof. Castro
for his inspiration and advice when I had the privilege to teach with his architectural
design.

To Professor David Letherbarrow whose comments were always insightful.

To Professor David Covo who enabled me to teach at the school of architecture and
thus enriched my in such enriched my experience at McGill.

To Prof. Adrian Sheppard who, luckily, chose me as his teaching assistant, enriched
my knowledge of architectural history, bestowed on me the belief in my teaching and
research capabilities, and was always patient, warm, encouraging and supportive.

To Luciana Adoyo, Wambui Kinyanjui and Marcia King who have always been kind
and helpful.

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To William Whitaker and Nancy Thorne from the Louis I. Kahn Collection, in
Philadelphia Pennsylvania, for their assistance with Kahn’s archival material, for
enabling me to visit Kahn’s projects in Philadelphia, and for their readiness to answer
all questions during this long and fruitful research.

To my PhD colleagues and friends Negin Djavaherian and Carlso Rueda and mostly to
Gül Kale, for their academic and professional advice and for giving me a home away
from home. Their friendship will always be cherished.

Heartfelt gratitude to my parents, Ruth and Moshe Margalith, who have encouraged me to
embark on the PhD path – always being supportive and encouraging. Thank you for
believing in me and in doing so helping me to believe in myself. Thank you for instilling
in me the passion for knowledge, love to architecture, drawing, and creative pursuits, the
respect to tradition and its critical authentic consideration, all of which, I believe, are
embedded in this thesis.

Thank you to my brother, Ariel, who along this journey, as always, has been my best
friend, and whose advise and love gives me strength and happiness, even when we are in
different places around the globe.

I would like to thank my beloved spouse, Saar, who has always encouraged me to take
my own path, helped me to achieve my dreams, and together with whom I built a home
during these intense years.

Last and not least I would like to thank my beloved son, Anner, for giving me the most
poetic experiences ever, and whose energy and imagination make life colorful and
exciting.

Thank you all.

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I dedicate this thesis to my beloved family:
My parents, Ruth and Moshe, my brother, Ariel,
my spouse, Saar, and my son, Anner.

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TABLE OF CONTENTS

Introduction: Architectural History as Mediation ………………………………..1-11

Chapter One: Developing an Architectural Philosophy
The Relationship Between Architectural History and Contemporary Design…..12-65
Architectural History as Truth – The Fixed Eternal Past
The Call to Preserve Architectural History in Contemporary Design………………..……….14

Architectural History as False- The Eternal Progressive Future
The Call to Erase Architectural History in Contemporary Architecture………………...…....20

Architectural History as Weak Truth – Temporal Architectural History
The Call to Re-Create Architectural history in Contemporary Design……………………….37

Kahn’s Ideas about Temporal Architectural History on Trial……………………………..….51
Kahn’s Call to Mediate Architectural History to reclaim a lost Temporality………………...54
Chapter Two: Mediating Architectural History in Drawing…………………..66-112
Memory as Fragments and Apparitions of Images…………………………….…….….……74
The Supra Historical Mnemonic Images as Collage………………………………………….87
Memories as Traces of Rituals, Belief, and Narratives………………………..……………...92
The Supra Historical Mnemonic Program and Narrative as Labyrinth……………………...109

Chapter Three: Mediating Architectural History in Design
The Dominican Motherhouse of St. Catherine de Ricci,
Media Pennsylvania, 1965-1969……………………………………………….....113-214
Part 1: A Brief History of St. Catherine de Ricci’s Congregation
and the New Architectural Challenge………………………………………………………116

Part 2: Kahn’s Three Design Schemes for the Motherhouse……………………………….130

Part 3: Kahn’s Knowledge of Historical References
and their De-composition and Re- Composition into his Designs…………………………139

Part 4: The Mnemonic Historical Image and Program
in Kahn's three Design Schemes……………………………………………………….…...201

Part 5: Kahn's Poetic De-Structuring of History in the Motherhouse…………….………...208

Part 6: The Motherhouse after Kahn………………………………………………………..210

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Chapter Four: Mediating Architectural History in Design
The Hurva Synagogue,
The Old City of Jerusalem, 1967-1974 ………………………………..………...215-342
Part 1: The Architectural Context and the New Architectural Challenge…………………...218

Part 2: Kahn’s Three Design Proposals for the Hurva………………………………………224

Part 3: The Study of Historical References
and their De-composition and Re- Composition into Kahn’s Designs……………………...228

Part 4: The Mnemonic Historical Image and Program
in Kahn's three Design Proposals…………………………………………………………...307

Part 5: Kahn's Poetic De-structuring of History in the Hurva Synagogue……………….…328

Part 6: The Conversation Regarding History in Jerusalem…………………………………332

Part 7: The Hurva Synagogue after Kahn…………………………………………………..338
Conclusion……………………………………………………………………...….343-369
Kahn’s Poetic Mnemonic Historical Architectural
Images, Programs and Narratives…………………………………………………………..343

Architectural History as “Golden Dust”……………………………………………………353

Bibliography……………………………………..………………………………..370-381

List of Illustrations……….………………………………………………….....…382-406

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Introduction:
Louis I. Kahn - Architectural History as Mediation

"Some argue that we are living in an unbalanced state of relativity which cannot be
expressed in a single intensity of purpose“…"I believe this is so because institutions have
lost the inspiration of their beginning.”1

The contemporary architectural scene strives for invention from tabula rasa.
Such architectural expressions base their foundations on constant change and aim to break
all limits. The willingness to create anew, usually involving a rebellion against tradition,
might risk human desires for references to allow orientation, contemplation and action.2

With the collapse of the symbolic image and the demise of mathematical and
geometrical proportions as an indication for divine meaning, some other architectural
expressions which relate to historical precedents, address them as aesthetic compositions
that neglect aspects of myths, dreams and desires and promote architectural expressions
which cannot be lived from within. Acting Like signs, they undermine the capacity of
wonder and thought, prohibit real participation and communication, segregate the past
from the present and foreclose the future.3

1 Louis I. Kahn, "On Monumentality," in New Architecture and City Planning: A Symposium, ed. Paul Zucker (New
York: Philosophical Library, 1944), 77-88 .
2 Hannah Arendt, Between Past and Future (London: Faber and Faber, 1961), 26-27, 55-56, 62-85.
3 David Lowenthal, Creative Anachronism, The Past is a Foreign Country (Cambridge: Cambridge Univ. Press, 1985),
399-412.
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