Types and Methods / Case Study : Louis Kahn / Yale center for British Arts

TYPES AND METHODS

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija) Case 29

CASE 29

Yale Centre for British Art Louis Kahn

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija) Case 29

CASE 29

Fig. 0.1 Yale Centre for British Art - Exterior

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CASE 29

Fig. 0.2 Yale Centre for British Art - Interior

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CASE 29

Table of Contents

Introduction

7

Biography: Louis Kahn

8

Base drawings

9

Drawn analysis

15

1. Types

16

2. Construction

28

3. Geometry

38

4. Space

53

5. Representation

74

6. Program and Form

81

Essay

89

List of References Drawn Analysis

95

List of References Essay

98

Reflective reports

100

Reflective Report - Jayaraman, M. (Mallika) 101

Reflective Report - Simkunaite, L. (Liucija) 102

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CASE 29

Introduction

For the assignment ‘‘Types and Methods in Architecture’’ we analyzed Louis Kahn Yale Centre for British Art. The report is split into 6 topics: 1. Type; 2. Construction; 3. Geometry; 4. Space; 5. Representation; 6. Program and form.

Analysis schemes as well as litterature research has been done on all of them.

The foundings are reflected in the essay and personal reports.

7

CASE 29

Biography: Louis Kahn

1. (2019). Retrieved from https://www.architectural-review.com/essays/ reviews/louis-kahn-dontstop-talking-architectureneeds-you-more-than-ever/8687480

Fig. 0.3. - Louis Kahn

Louis Kahn was born in Itze-Leib

The architect is usually cathegorized as

Schmuilowsky in Pärnu (now - Esto-

a late Modernist. The main themes he

nia) in 1901. His family migraited to the

was interested in were space and light,

United States, Philadelphia when he

he talked about his works as ‘reflexive

was young and he stayed there for the

construction of spaces’1. His buildings

rest of his life.

are true to themselves - they do not hide their structure, the way they were

Louis Kahn was an architecture profes-

built.

sor in Yale University, did a fellowship at the American Academy in Rome,

Yale Centre for British Art was one of

travelled in Europe and was highly in-

his last projects, he never saw it built.

spired by its architecture. He founded his own company in 1935.

The first important project of his is considered to be Yale University Art Gallery which is on the other side of the street from the analyzed building (Yale Centre for British Art).

8

B A S E D R AW I N G S

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 0.4. - Site plan, scale 1:1000

Legend: Analyzed building; Neighbouring buildings;

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CASE 29 – DRAWN ANALYSIS

Fig. 0.5. - Basement plan, scale 1:500 BASEMENT PLAN

GROUND FLOOR PLAN

Fig. 0.6. - Ground Floor plan, scale 1:500

11

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

FIRST FLOOR PLAN

Fig. 0.7. - First Floor plan, scale 1:500

Fig. 0.8. - Second Floor plan, scale 1:500

SECOND FLOOR PLAN

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CASE 29 – DRAWN ANALYSIS

THIRD FLOOR PLAN

Fig. 0.9. - Third Floor plan, scale 1:500

Fig. 0.10. - Elevation, scale 1:500

13

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 0.11. - Strict horizontal order, St. Peters basilica in Rome, Yale Center for British Art, elevation, scale 1:2000

Fig. 0.12. - Section, scale 1:500

Fig. 2.13. - Section, scale 1:500

14

D R A W N A N A LY S I S

1. Types 2. Construction 3. Geometry 4. Space 5. Representation 6. Program and Form

16

TYPES

In his building Louis Kahn expresses traditional Greek Cross structure. It was an essential principle during the Renaissance and can be seen in St. Peters Basilica in Rome. It is a highly symmetrical floorplan structure. It can also be seen in the way the visitor enters the building. In both of the buildings you first experience a confined space and then enter a much bigger, wider area. However, the entrance in the Yale Centre for British Art is designed on the side of the building, not on the main symmetry axis as it is in the Renaissance buildings. In this chapter we analyze how the two buildings relate to each other.

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5. TYPE. SIGHT LINES

CASE 29 – DRAWN ANALYSIS

Fig. 1.1. - Sight lines, St. Peters basilica in Rome, Ground Floor plan, scale 1:2000

Fig. 1.2. - Sight lines,Yale Center for British Art, Ground Floor plan, scale 1:500 In his building Louis Kahn wanted to follow central nave structure used in churches.

While both St. Peters basilica and Yale Center for British Art has central cores, the entrances were designed differently. In the basilica you are heading towards the centre while in the art centre the sight line is not direct.

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Legend: Centre lines; Sight lines

5. TYPE. SIGHT LINES

5. TYPE. SIGHT LINES

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 1.3. - Grids, St. Peters basilica in Rome, Ground Floor plan, scale 1:2000

Fig. 1.4. - Grids, Yale Center for British Art, Ground Floor plan, scale 1:500 Same principle applies to the grid lines. While sight lines are following the grid lines in St. Peters basilica, they are not following them in Yale Centre for British Art.

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Legend: Grids; Sight lines

5. TYPE. GRIDS

CASE 29 – DRAWN ANALYSIS

Fig. 1.5. - Strict vertical order, St. Peters basilica in Rome, Yale Center for British Art, elevation, scale 1:2000

Fig. 1.6. - Strict vertical order, Yale Center for British Art, elevation, scale 1:500 Both of the buildings are following strict order in the way their elevations are designed.

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Legend:

5. TYPE. ORDER. VERICA Vertical order

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 1.7. - Strict horizontal order, St. Peters basilica in Rome, Yale Center for British Art, elevation, scale 1:2000

Fig. 1.8. - Strict horizontal order, Yale Center for British Art, elevation, scale 1:500 Both of the buildings are following strict order in the way their elevations are designed.

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Legend: Horizontal order

CASE 29 – DRAWN ANALYSIS

Fig. 1.9. - Voids, St. Peters basilica in Rome, Yale Center for British Art, section, scale 1:2000

Fig. 1.10. - Voids, Yale Center for British Art, section, scale 1:500

Legend:

The traditional dome structure seen in Renaissance buildings is replaced by the void in the Yale Centre for British Art.

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Voids

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Kahns first and last commissioned buildings are loacated along Chapel street, it runs like a timeline between Kahn’s first major commission, the Yale Art Gallery, and his last, the Centre for British Art. This proximity results in an intresting analysis of his design ideologies and construction of the two icons.

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CASE 29 – DRAWN ANALYSIS

Fig. 1.11. - Street elevation, scale 1:1000

Fig. 1.12. - Yale Art Gallery, Chapel street elevation, scale 1:500

Fig. 1.13. - Yale Art Gallery, Chapel street elevation, scale 1:500 Shown above is an comparison in the axial approach, the Yale Art gallery expressing

Legend:

a horizontal axis and the Yale Center for British Art expressing both horizontal and

Vertical

vertical.

Horizontal

25

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

h

h

Fig. 1.14. - Street elevation, scale1:1000

Fig. 1.15. - Yale Art Gallery, Chapel street, elevation, scale 1:500

Fig. 1.16. - Yale Art Gallery, Chapel street, elevation, scale 1:500 Legend: Both, the Yale Center for British Art and the Yale Art Gallery are respectful of the contextual volume , Kahn also expresses the thickness of the floor plates on the facades .

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Volumes Floor plates

CASE 29 – DRAWN ANALYSIS

Fig. 1.17. - Site plan, First floor plans of Yale Arts Gallery and Yale Center for British Art, scale 1:1000

Fig. 1.18. - Relationship between grid and occupied space, scheme, scale 1:1000 During the design process, In the Yale center for british arts : ocuppied space followed grid structure. Whereas , in the Yale arts gallery : Occupied space defined the grid structure 27

Legend: Functional spaces Grid

CONSTRUCTION

The building is composed out of repetitive modular elements.

It is essentially a 10x6 grid with two voids and elevator core.

The building emplifies a clear distinction between the loadbearning and non-load bearing structure; this could also been seen as a sceleton and skin relationship.

Traditional Greek Cross structure can be seen in the construction system too. There are no columns in the central axis of the Greek cross.

Minimal amount of materials have been used. The building has lots of concrete, wood elements.

29

CASE 29 – DRAWN ANALYSIS

Fig. 2.1. - Circulation cores and atriums Legend: Exploded elements

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CASE 29 – DRAWN ANALYSIS 20ft x 20 ft Grid Columns & Beams

Grid floor plates

Fig. 2.2. - Modular 3D grid structure A repetitive aspect of the Yale Center for British Art is its modular grid structure.

Legend: Floor plates Grid structure

31

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 2.3. - Load bearing and Non Load bearing structure Legend: Non load bearing Load bearing

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CASE 29 – DRAWN ANALYSIS

Fig. 2.4. - Translucency of skin Legend: Highly translucent Opaque

33

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 2.5. - Greek cross structure, Ground Floor plan, scale 1:500

Fig. 2.6. - Greek cross structure scheme

Legend:

In the Yale Centre for British art there is a Greek cross shape area that is not occupied by columns.

Greek cross structure; Columns

34

6. CONSTRUCTION. COLUMNS

CASE 29 – DRAWN ANALYSIS

6. CONSTRUCTION. COLUMNS

Fig. 2.7. - Greek cross structure on the Ground floor, section, scale 1:500

Legend: Greek cross structure

35

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 2.8. - Materials, Ground Floor plan, scale 1:500

Fig. 2.9. - Materials, Third Floor plan, scale 1:500

Legend: Metal; Wood; Travertine;

steel steel oak oak travertine travertine concrete concrete

Concrete;6. CONSTRUCTION. MATER 36

Unknown 6. CONSTRUCTION. MATERIA

CASE 29 – DRAWN ANALYSIS

Fig. 2.10. - Materials, elevation, scale 1:500

Fig. 2.11. - Materials, section, scale 1:500

Legend: Metal; Wood; Travertine; Concrete; 37

Unknown

6. CONSTRUCTION. MATERIALS

G E O M E T RY

Analyzed building is highly symmetrical. The Yale Center of British Art geometric clarity is due to Khans application of the golder ratio to determine its proportions. The origins of this ratio - 5:3, dates back to Antient Greece and was a key influencer during the Renaissance.

The use of the ratio results in a grid system that is experienced throughout the building. A pure expression of a geometric conception, in all the elements of the building, Kahn explores its full potential as an architectural device.

39

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 3.1. - Symmetry, Ground Floor plan, scale 1:500

Fig. 3.2. - Symmetry, elevation, scale 1:500

Fig. 3.3. - Symmetry, elevation, scale 1:500

Legend: Symmetry line

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7. GEOMTERY. SYMMETRY 7. GEOMTERY. SYMMETRY 7. GEOMTERY. SYMMETRY

CASE 29 – DRAWN ANALYSIS

7. GEOMTERY. HIERARCHY

Fig. 3.4. - Hierarchy of the elements, elevation, scale 1:500

41

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

7. GEOMTERY. HIERARCHY

Fig. 3.5. - Hierarchy of the elements, elevation, scale 1:500

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GOLDEN RATIO

CASE 29 – DRAWN ANALYSIS

Fig. x.x. - Chapel street Elevation (1:500)

Fig. 3.6. - Abstraction of Golden ratio, elevation, scale 1:500

43

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 3.7. - Abstraction of golden ratio, elevation, scale 1:500

44

CASE 29 – DRAWN ANALYSIS

x y

Fig. 3.8. - 2D grid structure : 10x 6 modular grid, Second Floor plan, scale 1:500 Legend: Grid Lines

45

MODULES

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 3.9. - Abstraction of space from grid,Third Floor plan, scale 1:500

Legend: Modular space Grid Lines THIRD FLOOR

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CASE 29 – DRAWN ANALYSIS PROPORTIONS OF WALLS AND STRCUTURE

Fig. x.x. - Proportions of wall and structure, Long elevation, scale 1:500

Fig. 3.10. - Proportions of wall and structure, Short elevation, scale 1:500 Legend: Wall panels Structure

47

PROPORTIONS OF OPENINGS IN FACADE

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 3.11. - Proportions of openings, Long elevation, scale 1:500

Fig. 3.12. - Proportions of openings, Short elevation, scale 1:500

Legend: Openings Closed panels Structure 48

CASE 29 – DRAWN ANALYSIS

X

X

X

X

X

X

X

X

X

X

X

Z B Y B Y B Y C

Z B Y B Y B Y C

Fig. 3.13. - Proportions in elevations, scale 1:500 Legend: Horizontal grid Vertical grid

49

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

B B B B B

B

Fig. 3.14. - Proportions in Ground Floor plan, scale 1:500 Legend: Horizontal grid Vertical grid

50

CASE 29 – DRAWN ANALYSIS

A

A

A

B B B B B B

Fig. 3.15. - Proportions in First Floor plan, scale 1:500 Legend: Horizontal grid Vertical grid

51

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

A

A

A

B B B B B B

Fig. 3.16. - Proportions in Second Floor plan, scale 1:500

Legend: Horizontal grid Vertical grid 52

S PA C E

The relationship between the Yale Centre for British Art and the context, the exterior and the interior of the building as been analyzed.

Louis Kahn placed his building on the corner of the building block leaving bigger setbacks from the other sides.Yale Centre for British Art also responds to the bigger, more commercial street.

Because of the voids the interior space is very open, there are a lot of visual connections within the building. The Third floor of the building is lit by skylights providing natural light in the gallery spaces.

Also, there is a clear distinction between served and servant spaces which is an important Kahn theme.

54

CASE 29 – DRAWN ANALYSIS

Fig. 4.1. - Building in regard to the context, site plan, scale 1:1000

Legend:

Yale Centre for British Art is aligned to the corner of the street as well as to some of the neighbouring buildings.

55

Analyzed building; Neighbouring buildings;

8. SPACE. CONTEXT

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

q

y

x

z

Fig. 4.2. - Setbacks from the street and neighbouring buildings, site plan, scale 1:1000 The building has bigger setbacks where it faces neighbouring buildings - at the back and one of the sides.

56

Legend: Analyzed building; Neighbouring buildings;

8. SPACE. CONTEXT

CASE 29 – DRAWN ANALYSIS

1

x

x

Fig. 4.3. - Building in regard to the context, site plan, scale 1:1000

Legend: Analyzed building;

Analyzed building is set back from the former Calvary Baptist Church by the width of the church building.

1

57

Neighbouring buildings; Yale Repertory Theatre (former Calvary Baptist Church)

8. SPACE. CONTEXT

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 4.4. - Facade on the main street, elevation, scale 1:500

Fig. 4.5. - Facade on the side, elevation, scale 1:500

Legend:

The facades of the ground floor part of the building are reflecting the function of spaces inside. The facade on the main street where are commercial spaces is glazed, the facade on the side is more enclosed.

58

Glazed surfaces; Metal cladding;

CASE 29 – DRAWN ANALYSIS

Internally the stairwell becomes a focal point, logically functioning to erode the dominance of the atriums size and manipulate the viewer. Its concrete construction only serves to elaborate its mass and presence . Any perception of the size or volume of the atrium itself is directly affected by a viewer’s proximity to the stairwell.

59

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

4

3

2

1

Fig. 4.6. - Routing through the building Legend: ROUTING SEQUENCE

60

Sight line view

CASE 29 – DRAWN ANALYSIS

E N T R Y

1

C O EU NR TT R Y

1

C O U R T A T R I U M

2

Fig. 4.7. - Entry Court View

G A AL TL RE IR UY M S GP AA LC LE E R Y V SI PE AI CW E I N T VO I E IA WT R I I NU TM O

2

3

3

Fig. 4.8. - View to Atrium

A T R IG UA ML L E R Y

4

4

61

S GP AA LC LE E

3

I E I W

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

I N T O A A T T R RI I U U M M G A L L E R G Y A L S L P E A R C Y E S P A V C I E E I W

2

4

3

I N T O A T R I U M

Fig. 4.9. - View to circular staircase

4

G A L L E R Y S P A C E

Fig. 4.10. - View through gallery

62

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 4.11. - View of Circular staircase in the long atrium

WOOD INTERNAL WALLS WOOD WOODFLOORING INTERNAL WALLS

INTERIOR MATERIAL PALLETE

Fig. 4.12. - Spatial materiality

GLASS SKYLIGHTS WOOD FLOORING

INTERIOR MATERIAL PALLETE

Aspired to matierialy Kahn created a warm and homely atmosphere, immitating a British living room.

EXPOSED CONCRETE GLASS SKYLIGHTS STRUCTURE

Legend:

EXPOSED CONCRETE STRUCTURE

Wooden panel Flooring Wooden wall panels Concrete structure and

63

staircase Glass Skylight

CASE 29 – DRAWN ANALYSIS

A

B

Fig. 4.13. - Visual connections,Third Floor plan, scale 1:500

Legend:

Voids in the middle of the analyzed building are dividing the space in two parts yet they do not block visual connections within the building. Schemes are showing which parts of the building are visible through the cutouts in the walls.

64

Position of the visitor; Visual connections;

CASE 29 – DRAWN ANALYSIS

Fig. 4.14. - Visual connections, viewpoint A,Third Floor plan

Fig. 4.15. - Visual connections, viewpoint B,Third Floor plan

65

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 4.16. - Visual connections,Third Floor plan, scale 1:500

Legend: Position of the visitor; Visual connections;

66

CASE 29 – DRAWN ANALYSIS

A B

Fig. 4.17. - Visual connections,Third Floor plan, scale 1:500

Legend: Position of the visitor; Visual connections;

67

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 4.18. - Visual connections, viewpoint A,Third Floor plan

Fig. 4.19. - Visual connections, viewpoint B,Third Floor plan

68

CASE 29 – DRAWN ANALYSIS

Fig. 4.20. - Natural light in the building, Second Floor plan, scale 1:500

Fig. 4.21. - Natural light in the building, Second Floor plan, scale 1:500 The building is lit by natural light as well as skylights on the third floor.

69

Legend: Lighted areas

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

8. SPACE. LIGHT

Fig. 4.22. - Natural light in the building, scale 1:500

Legend: Lighted areas

70

CASE 29 – DRAWN ANALYSIS

The relationship between served and servant spaces is an important Kahn theme. For us servant spaces were corridors, elevators, stairs, entrance halls and served spaces were the rest.

71

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 4.23. - Servant and served areas, Basement plan, scale 1:500

Fig. 4.24. - Servant and served areas, Ground Floor plan, scale 1:500

Legend: Servant areas; Served areas

8. SPACE. SERVED, SERVANT 72

8. SPACE. SERVED, SERVANT

CASE 29 – DRAWN ANALYSIS

Fig. 4.25. - Servant and served areas, First Floor plan, scale 1:500

Fig. 4.26. - Servant and served areas, Second Floor plan, scale 1:500

Legend: Servant areas; Served areas

73

8. SPACE. SERVED, SERVANT

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 4.27. - Servant and served areas,Third Floor plan, scale 1:500

Legend: Servant areas; Served areas

74

CASE 29 – DRAWN ANALYSIS

Fig. 4.28. - Occupied space and voids section, scale 1:500

Legend: Occupied space; Voids

75

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

8. SPACE. OCCUPIED AND VOIDS

8. SPACE. OCCUPIED AND VOIDS

Legend:

Fig. 4.29. - Occupied space and voids section, scale 1:500

Occupied space; Voids

76

R E P R E S E N TAT I O N

1. (2019). Retrieved from https://www.theguardian. com/artanddesign/2016/ may/11/yale-center-forbritish-art-louis-khanconnecticut)

The raw and expressive retaining of the grid construction is an aspect that flows both externally as well as internally . In both cases , kahns use of the intermediate material helps further enhance the three dimensional grid.

The Yale Center for British Art aims to , as Kahn very famously stated “on a grey day it will look like a moth and on a sunny day like a butterfly�1

78

‘TEXTURES’

CASE 29 – DRAWN ANALYSIS

Fig. 5.1. - Abstracted textures, elevation, scale 1:500 Legend:

REFLECTIVE - METAL - GLASS ReflectiveTRANSLUCENT metal

Translucent glass

ROUGH - CONCRETE

Rough concrete

79

ABSTRACTED ELEMENTS ‘TEXTURES’

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 5.2. - Abstracted textures, elevation, scale 1:500 Legend: REFLECTIVE - METAL

Reflective metal

Translucent glass - GLASS TRANSLUCENT Rough concrete ROUGH - CONCRETE

80

CASE 29 – DRAWN ANALYSIS

STRUCTURAL LANGUAGE ON THE EXTERIOR AND INTERIOR

Fig. 5.3. - Structural expression on the inside and outside, Long elevation, scale1:500

Fig. 5.4. - Structural expression on the inside and outside, Long section, scale 1:500

Legend: Concrete Grid structure

81

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 5.5. - Structural expression on the inside and outside, Short elevation, scale1:500

Fig. 5.6. - Structural expression on the inside and outside, Short section, scale 1:500

Legend: Concrete Grid structure

82

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 5.7. - A key expression of the building :The skylight Light is a very important aspect in all of Kahns buildings, in this very case the strong 3d concrete grid carries on to the very top of the building finally resulting in skylights penintrating through and lighting up the atriums as well as the gallery spaces.

83

P RO G R A M A N D F O R M

There are multiple functions within the building. It hosts stores, library as well as gallery spaces. Kahn was attempting to approach it in a modernist way - from the elevations one can tell that the building has stores on the Ground floor, the architectural expression he chose for the facades of the Ground floor is different to the rest of the building. However, it deviates from it for the majority of the building.

85

Fig. 6.1. - Evolution of Form

86

CASE 29 – DRAWN ANALYSIS

Shops Gallery Auditorium Library

Fig. 6.2. - Functions in an exploded view of Yale Center for British Art Legend: Auditorium Shops Gallery Library 87

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Perspective section Facade responding to functions Shops

Glass

Gallery

Metal

Library

Fig. 6.3. - Facade responding to functions, perspective section Legend (functions): Legend (facade):

Auditorium Shops

Glass

Gallery

Wall Panels

Library 88

CASE 29 – DRAWN ANALYSIS

Fig. 6.3. - Private and public areas, Ground Floor plan, scale 1:500

Fig. 6.4. - Private and public areas,Third Floor plan, scale 1:500

Legend: Private areas; Public areas

89

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 6.5. - Functions, Basement plan, scale 1:500

Fig. 6.6. - Functions, Ground Floor plan, scale 1:500

Legend: Circulation areas; Auditoriums; Service areas;

8. Unknown SPACE. FUNCTIONS areas 90

8. SPACE. FUNCTIONS

CASE 29 – DRAWN ANALYSIS

Fig. 6.7. - Functions, First Floor plan, scale 1:500

Legend:

Fig. 6.8. - Functions, Second Floor plan, scale 1:500

Circulation areas; Auditoriums; Exhibition areas; Service areas; 91

Unknown areas

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Legend:

Fig. 6.9. - Functions,Third Floor plan, scale 1:500

Circulation areas; Exhibition areas

92

E S S AY

Complexity and Nuance of the Three – Dimensional grid

“ Architecture in its very autonomy thereby ena-

The Yale Center for British Art appears to jus-

bles the conception of a world that may not have

tify the above statement, several aspects of the

yet actually existed, but nevertheless verifiable”

building clearly represent a perceptible part – to

(Vidler 1977).

– whole relationship between all the building ele-

The tracing back of the first typology in the realm

ments that is drawn from the spatial logic of High

of architecture is a constantly debated one. Ma-

Renaissance.

jority of architects and intellectuals narrow down

On the ground floor plan, it is possible to clearly

this genesis to either one of the two as the start

define the missing grid units in the atrium and a

of architecture, namely Primitive hut and the

Greek cross plan. The Greek cross plan was also

Greek temple.

employed during the Renaissance and is most evi-

Rafel Monoe generalized the importance of ty-

dent in Bramantes plan for St. Peters basilica ( Fig

pology and stated “The architectural object can

7.0).

no longer be considered as a single, isolated event

However, the entry atrium is not located where

because it is bounded by the world that surrounds

it would be expected – centrally on High Street

it as well as by it’s history. It extends life to oth-

– but rather, it is transferred to the corner of the

er objects by virtue of its architectural condition,

building ( Fig7.1). This detour also seems to con-

thereby establishing a chain of related events with-

fine with its origins, creating an entry sequence

in which it is possible to find common structures“

that emphasizes the sense of entry into the atrium

(Vidler 1977).

and successfully creates separation of the spaces

All architectural work, embodies certain formal

from the street. The atrium plays the role of the

choices that the architect abstracts from the var-

dome in the analogy with St. Peters basilica.

ious types. Quatremere de Quincy believed that various aspects of a regular building source from a former type, several other representatives also supported this yet the source of the architectural type speckled. Quatremere de Quincy hence stated “everything must have an antecedent. Nothing in any genre, comes from nothing” (Vidler 1977).

94

5. TYPE. GRIDS

5. TYPE. SIGHT LINES

CASE 29 – ESSAY TITLE

Fig. 7.0. - Entry axis of the comparison

Fig 7.0 - Fig 7.1 Conclusive drawings representing the relationship in order and difference between the entry positions between the St peter’s and Yale center of British arts

Fig. 7.1. - Similarity in order of comparison

An amalgamation of the various typological inspi-

tai“. He stated “The human body articulates the

rations in the Yale Center for British Art is also

world. At the same time the body is articulated by

expressed further in its erection.

the world. When “I“ perceive the concrete to be

Capturing the tactile experience is an essential

something cold and hard “I” recognize the body as

motive during construction and as Sigfried Gide-

something warm and soft. In this way the body in

ons states in his famous space, time and architec-

its dynamic relationship with the world becomes

ture (1941) - ‘Space has become such an integral

shanti. It is only the shanti in this sense that builds

part of our thinking about architecture that we

or understands architecture.“( Frampton, 1995).

are practically incapable of thinking about it at all

A similar consciousness can also be seen in Khan’s

without putting our main emphasis on the spatial

approach to resolving the dissimilar volumes of

displacement of the subject in time” ( Frampton,

the atriums. The Eastern atrium has an area of

1995).

four blocks within the grid system and the West-

This interpretation of architecture in the rational-

ern atriums has 6 blocks. However, the presence

ist approach of space and time can be witnessed

of the cylindrical stairwell in the larger atrium aims

in the structural expression of the Yale Center

to subdivide the area and deceive the observer to

for British Art, as Kahn uses the ratio to organize

perceive both the atria’s volume as the same. The

multiple elements resulting in a Three dimension-

stairwell becomes the focal point and its concrete

al grid system. He explores the geometric origin

construction serves to highlight its mass and en-

as an architectural device. This experience is also

hance the tactile experience (Fig 7.3 ).

highlighted internally with the use of wall panels and contrasting materials to define the grid (Fig, 7.2).

The rationalist approach was viewed with a slightly different focal point by Schmarsow, he came to see the evolution of architecture as the progressive unfolding of man’s interpretation of space, what he called “Raumgefuhl “ (Frampton,1995).

The concept parallels with Tadao Ando’s “shan95

STRUCTURAL LANGUAGE ON THE EXTERIOR AND INTERIOR

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 7.2. - Structural grid on the outside and inside

Fig. 7.2., Fig. 7.3. - Relationship of atrium and circulation cores

Kahn’s work is a material pure expression of un-

The division of a perfect square into two halves,

folding forms yet the purity of geometry domi-

drawing a line from the midpoint of one side to the

nates the process, from its conception to erec-

opposite corner, and using the resultant diagonal

tion .

as the radius to draw an arc that defines the length

“Forms and proportions indicated for the prin-

of a rectangle whose length and width adhere to

cipal parts of the orders, first by the nature of

the ratio 5:3.” ( Kehagias, Louis kahn’s YCBA) This

things, second by the respect that we owe to hab-

is applied to several aspects of the building , start-

its acquired through seeing the orders of ancients

ing from the plan that measures 200 x 120 feet

and third , by the care that must be taken to avoid

and is divided into grids 20 feet wide and 12 feet

fatiguing the eye with indeterminate proportions

tall( Fig 7.5). Moving onto the the facade, the ratio

“(Durand ,1805).

is evident in the 10 foot x 6 foot stainless steel

Humans are visual creatures, the dominance of

panels , Yet the purest form of its expression only

proportions and geometry can be dated back to

occurs at the street level in the 5x 3 openings for

theorems formed by several antient Greek mathe-

the commercial spaces. (Fig7..4- 7.6)

maticians. Artists and architects began to look for proportions (ratios) that please the eye, the golden ratio is one such concept that was considered the most pleasing to the eye and was an essential influence during the Renaissance period. Yet, these predefined ratios if wrongly applied resulted in “not only bad architecture by bad decoration “ (Durand,1805).

The Yale center for British art’s geometric clarity and harmony is a result of the careful application of the golden ratio to define the various proportions throughout the building. The 5:3 ratio can be defined using a simple geometric procedure:“ 96

CASE 29 – ESSAY TITLE GOLDEN RATIO

X

X

X

X

X

X

X

X

X

X

X

Z B Y B Y B Y C

Z B Y B Y B Y C

Fig. 7.4. - 7.5., Golden ratio abstraction of plan and elevation

Fig. 7.6. - Proportions in elevations

Kahns passion for geometry is also tangible in his

discusses, is a strong reflection of the surround-

emphasis on light- skylights and order throughout

ings. It is rather rational and strict and that is how

the various elements of the building, his method

the visitor is welcomed to the building. From the

of manipulating primary forms and playing with

moment one takes a glance at the building, the

their tactical experience results in a spatial expe-

geometry and importance of order can be rec-

rience filled with richness and diversity. Yet finally,

ognized. The materials used are raw and true to

the perception of these geometric forms vary as

their nature – concrete and metal. An analogy can

the position of the viewer – object relationship in

be made between the façade and the human skin,

space changes.

both protecting their inner skeleton.

Hans van der Laan discusses the relationship be-

Moving within, the entrance of the building is a

tween the inside and the outside of the object.

cold, confined space. However, once the viewer

‘’Every artefact, including architecture, is an inter-

is inside the atrium the spatial atmosphere turns

mediary between man and his natural environ-

into a warm and comforting one. While internal-

ment which embodies the properties of both, and

ly and externally there are similar principles fol-

so has the power to reconcile them: ‘The ground

lowed that is the strict grid structure but the

being too hard for our bare feet we make our-

infill materials into the grid’s voids change . Kahn

selves sandals of softer material than the ground,

intentionally, uses warm materials such as wood

but tougher than our feet <...>. In the same way

and furnishes the atriums in order it feel as if you

the inside of the house is for man a piece of hab-

have escaped an unfriendly natural surroundings

itable environment, while on the outside, where it

to somewhere safe - he aimed to create a spa-

confronts nature, it stands for a fortified human

tial atmosphere as that of a ‘British Living room‘

existence’’ (Padovan, R, Crouzen, B., & Wolfs, F,

(Fig7.7).

1989).

The interior and exterior in this Louis Kahn build-

The connection between the object and its sur-

ing maintain a strong relationship yet attain dif-

roundings is an important one, the object is the

ferent atmospheres, creating a “beautiful“ piece of

reflection of how we understand the environment.

architecture within the modern era.

Louis Kahn’s Yale Center for British Art expresses an exterior surface that, as Hans van der Laan97

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Fig. 7.7. - Atrium view with materials; Fig. 7.8. - Villa sten, Le Corbusier; Fig. 7.9. - M.X in Brussels, Le Corbusier The definition of beauty remains universal and time-

However, even the same architect could use differ-

WOOD INTERNAL WALLS

less yet each individual and era’s perception of it is

ent approach in his works. Unbuilt house for M.X in

WOOD FLOORING

INTERIOR MATERIAL PALLETE

constantly changing.

GLASS SKYLIGHTS

Brussels and Villa Stein at Garches by Le Corbusier

EXPOSED CONCRETE STRUCTURE

‘’Beauty in architecture, just as necessary and just

show how windows in the facades can either ex-

as desired as in former times, can only be attained

press the size and function of the rooms behind or

if in building we have more than the immediate pur-

completely hide that (Fig. 7.8-7.9).

pose in mind’’(Neumeyer, 1991). Thus, the exterior

Thus, ‘’(t)he important question is which aspect of

of the building shows a few different messages. It can

the inside is reasonable to bring to the outside, and

express its importance in the city fabric, function,

what are the various ways in which inside and out-

whether it is public or not. It is important for the vis-

side can be interrelated’’ (Schumacher,1988).

itors to be able to read the message before entering.

The facades of the Yale Center for British Art , both

Thomas L. Schumacher explains the evolution of the

represent and hide parts of the interior structure.

building representation as a journey from ‘’a world of

Due to the exposed concrete, the tectonics of the

form’’ to ‘’a local fragment of social pattern’’(Schu-

building are clear and orderly. A spectator can clear-

macher,1988). Ornaments in the traditional building

ly understand how the building is composed out of

facades were ‘’conceived of as the element of detail

modules that repeat throughout its elements, ad-

invented to cover a joint or to make a building wa-

ditionally there is a clear distinction between the

tertight’’ (Schumacher, 1988).

ground floor where different functions are host-

However, at the present time decorative elements

ed (entry area, stores) and the rest of the volume.

do not usually have a practical purpose so there is no

However, not everything in the representation of the

necessity to design them anymore, yet the issue of

building is following the modernist approach, looking

the expressing the relationship between the interior

at the street elevation one is deceived of the exist-

and exterior spaces remains. In the 19th century the

ence of an auditorium space and atriums (Fig. 8.0-

shift towards expressing the program-form in the

8.1).

exterior language of the building began. The reflection of both social program and interior volumes in the exterior of the building was very important in the Modern Movement (Schumacher, 2002).

98

ABSTRACTED ELEMENTS ‘TEXTURES’

CASE 29 – ESSAY TITLE

ABSTRACTED ELEMENTS ‘TEXTURES’

Fig 8.0., Fig. 8.1. - Conclusive drawings.The elevations in their fragments help in analysing the degree of kahn following the modernist expression of function on the facade.

Fig. 8.0, Fig. 8.1. - Fragments of the long and short elevations In conclusion the Yale Center for British Art is a REFLECTIVE - METAL

monumental piece of Louis Kahn’s work, that res-

TRANSLUCENT - GLASS ROUGH - CONCRETE

onates the significance of geometry, materiality and

REFLECTIVE - METAL

order. Yet is also a critical piece architecture that

TRANSLUCENT - GLASS ROUGH - CONCRETE

represents the rationalist approach to space and

time via its over powering three - dimensional grid, this grid of space and time also embodies elements of several antiquated types, yet, can be accurately traced to zilch.

99

L I S T O F R E F E R E N C E S D R W N A N A LY S I S

CASE 29 – ESSAY TITLE

List of References (APA 7th edition)

- Colman, M., & Colman, M. (2019). 15 art museums outside NYC worth the trip | 6sqft.

Retrieved from https://www.6sqft.com/15-art-museums-outside-nyc-worth-the-trip/ - Conserving the Yale Center for British Art. (2019). [Video]. Retrieved from https://www. youtube.com/watch?v=9Q1uWMP9eF0 - Hollard, M. (2019). Louis Kahn, don’t stop talking! Architecture needs you more than ever. Retrieved from https://www.architectural-review.com/essays/reviews/louis-kahn-dont-stop-talking-architecture- Inside the Newly Restored Yale Center for British Art. (2019). Retrieved from https://www. architectmagazine.com/design/inside-the-newly-restored-yale-center-for-british-art_o - Yale Center for British Art by Louis I. Kahn: A Conservation Plan. (2019). [Video]. Retrieved from https://www.youtube.com/watch?v=Ks6wHIiewQc - Yale Center for British Art by Louis I. Kahn at GreatBuildings. (2019). Retrieved from http:// www.greatbuildings.com/buildings/Yale_Center_for_British_A.html - Yale Center for British Art floor plans | a r c h i t e c t u r e | Louis kahn, Art, British. (2019).

Retrieved from https://www.pinterest.com/pin/202450945720413088/?autologin=true - Kahn, L., Brownlee, D. and De Long, D. (2005). Kahn. New York, NY: Universe [u.a].

- Louis Kahn’s Yale Center for British Art Reopens After Restoration. (2019). Retrieved from https://www.archdaily.com/787592/louis-kahns-yale-center-for-british-art-reopens-afterrestoration - Louis Kahn’s YCBA - Nicholas Kehagias. (2019). Retrieved from http://www.nicholaskehagias. com/louis-kahns-ycba - Louis Kahn. (n.d.). Retrieved from https://www.britannica.com/biography/Louis-Kahn - McKnight, J. (2019). Louis Kahn building at Yale reopens following restoration. Retrieved from https://www.dezeen.com/2016/05/12/louis-kahn-yale-centre-british-art-architecture-interiorreopens-restoration-usa/ - Mikadze, M. (2019). Mies and Kahn in search for timeless architecture. Retrieved from https:// issuu.com/mikheilmikadze/docs/m_k_timeless_architecture

101

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

- Retrieved from https://www.architectural-review.com/essays/reviews/louis-kahn-dont-stoptalking-architecture-needs-you-more-than-ever/8687480 - Spotlight: Louis Kahn. (2019, February 20). Retrieved from https://www.archdaily.com/334095/ happy-112th-birthday-louis-kahn - The Manuscripts and Archives Digital Images Database (MADID).

(2019).

Retrieved from http://images.library.yale.edu/madid/showThumb. aspx?qs=61&qm=15&q1=1345&qc1=contains&qf1=subject1 - (2019). Retrieved from https://www.theguardian.com/artanddesign/2016/may/11/yalecenter-for-british-art-louis-khan-connecticut)

102

L I S T O F R E F E R E N C E S E S S AY

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

List of References (APA 7th edition)

- Durand, JNL.(1805). Section three forms and proportions - Frampton, K ( 1995). Studeies in tectonic culture: The poetics of construction in nineteenth and Twentieth century architecture. Cambridge,Massachusetts : The MIT press.

- Kollhoff, H (1991) . The myth of construction and architectonic. Peckham - Louis Kahn’sYCBA — Nicholas Kehagias. (2019). Retrieved from http://www.nicholaskehagias. com/louis-kahns-ycba - M.X in Brussels (Online image) Schumacher,T. L. (1988).The Skull and the Mask:The Modern Movement and Dilemma of the Façade. Cornell Journal of Architecture, 3, 4-11.

- Neumeyer, F. (1991). The artless word: Mies van der Rohe on the building art. Cambridge, MA: MIT Press.

- Padovan, R., Crouzen, B., & Wolfs, F. (1989). Dom Hans van der Laan, architecture and the necessity of limits = Dom Hans van der Laan: architectuur en de noodzaak van begrenzingen.

Maastricht: Stichting Manutius.

- Schumacher,T. L. (1988).The Skull and the Mask:The Modern Movement and Dilemma of the Façade. Cornell Journal of Architecture, 3, 4-11.

- Schumacher, T. L. (2002). “The outside is the Result of an Inside”: Some Sources of One of Modernism’s Most Persistent Doctrines. Journal of Architectural Education, 56(1), 23-33.

- Vidler, A. (1977). The Third typology. Hays - Vilder,A.(1977).The idea of type : transformation of the academic ideal,1750-1830.

- Villa Stein de monzie (Online Image). Retrieved from : Img: https://en.wikiarquitectura.com/ building/villa-stein-de-monzie/)

104

R E F L E C T I V E R E P O RT S

Jayaraman, M. (Mallika), Simkunaite, L. (Liucija)

Reflective Report - Jayaraman, M. (Mallika) 1350587

The course â&#x20AC;&#x153;Types and methods in architectureâ&#x20AC;?

The over all course made me understand how to

lead to our anylsis of the iconic Louis Kahnâ&#x20AC;&#x2122;s Yale

disect and analyse every element of the build-

Center For British Art.The work of Louis Kahn has

ing, both in its construction and conception The

been a highly influencial one during my studies as

analysis of the Yale Center for British Art not only

an architecture student. Previously learning about

resulted in a deep rooted understanding of the

the Parlimentary building in Bangladesh designed

typological, material, geomtric and spatial aspects

by him, was a view point for me to learn about his

but also resulted in a broader understanding of

expression of geometry and materiality. An urge

prehistoric ideologies such as the golden ratio and

to further understand these concepts highly moti-

the modern movement. Attention to detail from

vated my choice to analyse this building.

the broad scale of context to the small scale of

Our approach as a team was all about stratergiz-

framing around the window panels was looked

ing and collecting all the avialable information at

into, within the dominating presence of the build-

first, books from the library on the iconic build-

ings modular 3D structure.

ing were rented out, vast number of previous research papers on the architects ideologies were

Overall, In my opinion the course was an enriching

read. Simultaniously, base drawings and 3D model

experience in my approach to analysing the types

of the case study were also executed.

and various other methods in the achitecture of

Every week, the information that was obtained via

a building. The process of abstracting and analys-

the various sources was sketched out and schemes

ing Louis kahns last iconic comission, has lead to

were collaboratively discussed. In addition to this,

a deeper association and understanding for his

the lecture series and readings , lead to a better

work and elevated my admiration for him as an

understanding of the case study and the architects

architect .

approach. Some extremely intresting analogies we made under influencial topics (such as geometry and type) of the case study were backed up with information gathered from the redears.

106

CASE 29 – REFLECTIVE REPORT

Reflective Report - Simkunaite, L. (Liucija)

For the analysis of the course “Types and Meth-

cause of all the information we collected we al-

ods in Architecture” we have decided to look into

ready had a lot of ideas for the schemes we want

Louis Kahn Yale Centre for British Art building.

to make in order to explain how the building was

I have always been interested in the architect’s

made. Thus, every week we would make lists of

work, I have found it very inspirational for my own

schemes that are important for our research and

designs. Thus, I was sure that analyzing it will help

make summaries from the readings we did to im-

us reveal a lot of hidden layers within his design

plement in our essay. The idea for the essay came

and learn more about about his way of making

very organically. Very early in our research we

architecture.

have found out about the themes that were the most important for Louis Kahn, elements he was

Before starting to analyze the building we did an

repeating in pretty much every layer of his design

extensive research on information about it. Be-

and we have decided to look into this further.

cause Louis Kahn is a very well-known and appreciated architect there were a lot of articles,

In general, I think that our course experience

book chapters to analyze. We also did a research

went very smoothly. We organized our work well

on the architect himself and the surroundings of

so when we started doing the drawings we knew

the building, looked at the renovation that has just

a lot about the building already and it made the

been done in order to preserve the masterpiece.

whole process of the analysis much easier. Lec-

It was more about extracting the information

ture series were supporting the development of

we need and finding what is important for our

the project too. The drawing part of the analysis

research than struggling to find anything. At the

helped us find out about how much thought the

same time we were attending the lecture series as

architect has given to every single detail. Personal-

well as doing all the additional readings which gave

ly, I think that before creating buildings you have to

us insight about the six themes All of this formed

learn how the successful architects did that before

a base for our research

you. Only after analyzing their wins and losses you can achieve good results. I believe that this course

Then we started drawing and looking how we can

taught me a lot about how Louis Kahn was con-

implement all the information in our analysis. Be-

structing architecture.

107