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
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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
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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. 19
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.
20
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.
21
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.
22
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.
23
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 . 26
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
30
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
32
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
40
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
42
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