1. Q. Study one louis kahn building and express is principles
Kimbell Art Museum
Kimbell art museum at fort worth, texas, is considered the crown jewel of
Louis Kahn. The brief demanded for a modern building where natural light
should play a vital role and the form to be a work of art of modest scale – not
overwhelming the viewer and the artwork.
The museum is composed of 16 parallel vaults that are each 100 feet (30.5 m)
long, 20 feet (6 m) high and 23 feet (7 m) wide (internal measurements). The
vaults are grouped into three wings. The north and south wings each have six
vaults, with the western one open as a portico. The central space has four vaults,
with the western one open as an entry porch facing a courtyard partially enclosed
by the two outside wings.
Most of the art galleries are located on the upper floor of the museum to allow
access to natural light. Service and curatorial spaces as well as an additional gallery
occupy the ground floor. Each interior vault has a slot along its apex to allow
natural light into the galleries. Air ducts and other mechanical services are located
in the spaces where the edges of the vaults almost meet.

2. The main feature of the Kimbell art museum is the lighting. The interior is superbly
lighted, thanks to the shape of the barrel vault, focusing the light as if it is a torchlight.
Louis Kahn had this done very well indeed, as light is the main factor in designing an art
gallery or museum. A reflecting screen made of perforated anodized aluminum with a
specific curve was used to distribute natural light evenly across the cycloid curve of the
ceiling. In areas without art, such as the entry hall, cafeteria and library, the entire
reflector is perforated, making it possible for people standing beneath to glimpse
passing clouds. In the gallery spaces, the central part of the reflector, which is directly
beneath the sun, is solid, while the remainder is perforated. The concrete surfaces of
the ceiling were given a high finish to further assist the reflection of the light. The end
result is that the strong Texas sun enters a narrow slot at the top of each vault and is
evenly reflected from a curved screen across the entire arc of the polished concrete
ceiling, ensuring a beautiful distribution of natural light that had never before been
achieved.

3. Kahn used several techniques to give the galleries an inviting atmosphere. He had
pozzuolana added to the concrete mix to give it a warmer color. The ends of the vaults,
which are made of concrete block, are faced with travertine inside and out. The
handrails and other stainless steel elements were "sandblasted" with ground pecan
shells to create a matte surface texture. The museum has three glass-walled courtyards
that bring natural light to the gallery spaces. One of them penetrates the gallery floor to
bring natural light to the conservation studio on the ground floor.
Kahn’s love for monumental buildings is evident in this piece of art. The vaults appear to
be floating on a few pillars.
The landscaping has been described as "Kahn's most elegant built example of landscape
planning." Approaching the main entrance past a lawn edged by pools with running
water, the visitor enters a courtyard through a grove of Yaopon holly trees. The sound
of footsteps on the gravel walkway echoes from the walls on either side of the
courtyard and is magnified under the curved ceiling of the entry porch. After that subtle
preparation, the visitor enters the hushed museum with silvery light spread across its
ceiling.

4. Q. Essay on monumentality
A.
Monuments are human landmarks, which men have created as symbols for
their ideals, for their aims, and for their actions. They are intended to outlive the
period, which originated them, and constitute a heritage for future generations.
Monuments are the expression of man’s highest cultural needs. They have to
satisfy the eternal demand of the people for translation of their collective force
into symbols. The most vital monuments are those which express the feeling and
thinking of this collective force - the people.
The last hundred years have witnessed the devaluation of monumentality.
This does not mean that there is any lack of formal monuments or architectural
examples pretending to serve this purpose: but the so-called monuments of
recent date have, with rare exceptions, become empty shells. They in no way
represent the spirit or the collective feeling of modern times.
This decline and misuse of monumentality is the principal reason why
modern architects have deliberately disregarded the monument and revolted
against it. Modern architecture, like modern painting and sculpture, had to start
the hard way. It began by tackling the simpler problems, the more utilitarian
buildings like low rent housing, schools, office buildings, hospitals, and similar
structures. Today modern architects know that buildings cannot be conceived as
isolated units, that they have to be incorporated into the vaster urban schemes.
There are no frontiers between architecture and town planning, just as there are
no frontiers between the city and the region. Correlation between them is
necessary. Monuments should constitute the most powerful accents in these vast
schemes.
The people want the buildings that represent their social and community life
to give more than functional fulfilment. They want their aspiration for
monumentality, joy, pride, and excitement to be satisfied. The fulfillment of this
demand can be accomplished with the new means of expression at hand, though
it is no easy task. The following conditions are essential for it. A monument being
the integration of the work of the planner, architect, painter, sculptor, and
landscapist demands close collaboration between all of them.

5. Sites for monuments must be planned. This will be possible once replanning is
undertaken on a large scale, which will create vast open spaces in the now
decaying areas of our cities. In these open spaces, monumental architecture will
find its appropriate setting which now aces not exist.

6. Monumental buildings will then be able to stand in space, for, like trees or
plants, monumental buildings cannot be crowded in upon any odd lot in any
district. Only when this space is achieved can the new urban centres come
to life.
9. Modern materials and new techniques are at hand: light metal structures;
curved, laminated wooden arches: panels of different textures, colours, and
sizes; light elements like ceilings which can be suspended from big trusses
covering practically unlimited spans.
Mobile elements can constantly vary the aspect of the buildings. These
mobile elements, changing positions and casting different shadows when
acted upon by wind or machinery, can be the source of new architectural
effects.
During night hours, colour and forms can be projected on vast surfaces. Such
displays could be projected upon buildings for purposes of publicity or
propaganda. These buildings would have large plane surfaces planned for
this purpose, surfaces which are non-existent today. Such big animated
surfaces with the use of colour and movement in a new spirit would offer
unexplored fields to mural painters and sculptors.