Preface: Louis Kahn and the Importance of (a) Drawing |
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9 | (6) |
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Getting Lost with Louis Kahn: A Lesson from the Archives |
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15 | (12) |
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I TO BE IN TOUCH BEGINNING TO DRAW, DRAWING TO BEGIN |
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27 | (62) |
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29 | (9) |
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The Gift of Being Able to Draw |
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38 | (2) |
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Louis Kahn on Beaux-Arts Training |
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40 | (2) |
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The More One Looks, the More One Comes to See: Louis I. Kahn's "The Value and Aim in Sketching" |
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42 | (6) |
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Drawing Inward, Projecting Outward: Further Thoughts on the Value and Aim in Sketching |
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48 | (19) |
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The Beginning of the Beginning: Louis I. Kahn's Site Sketches at the Salk Institute |
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67 | (11) |
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The Color of Light, the Treasury of Shadows |
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78 | (11) |
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II ACTIVE IMAGINATION ANIMATED THE ORTHOGRAPHIC DRAWING SET |
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89 | (168) |
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Something That Satisfies This, Something That Satisfies the Other: Toward a Definition of a "Beautiful Plan" with Louis Kahn |
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91 | (23) |
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The Plan, a Society of Rooms: The Houses |
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114 | (18) |
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The Plan, a Society of Rooms: The Meeting House of the Salk Institute |
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132 | (12) |
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The Plan, a Society of Rooms: The Dominican Motherhouse |
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144 | (13) |
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Louis Kahn and the Anatomy of the Architectural Section |
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157 | (21) |
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The Primacy of the Section: The Kimbell Art Museum |
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178 | (14) |
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Place, Occasion, and the Section: The Hurva Synagogue |
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192 | (10) |
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On the Depth and Density of the Section: The Library of the Phillips Exeter Academy |
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202 | (14) |
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Embodiment, Empathy, and Estrangement: Louis Kahn's Elevations |
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216 | (22) |
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Plan and Section, Meeting and Making Place: The National Assembly in Dhaka |
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238 | (19) |
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III DIMENSIONS OF DEPTH PERSPECTIVE AND AXONOMETRIC DRAWINGS |
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257 | (36) |
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Louis Kahn's Perspective Drawings: Between Proof and Nurture |
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258 | (26) |
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Parallel Projections: Louis Kahn and the "Anti-Perspective" |
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284 | (9) |
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293 | (32) |
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"The Arsenal of the Tools" |
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294 | (6) |
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Louis Kahn and the Act of Drawing: Some Recollections |
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300 | (4) |
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The Manner in Which We Have Made the Work: Echoes from the Drafting Room |
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304 | (4) |
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Land Architecture, a Great Conversation |
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308 | (8) |
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Growth or Composition? Colin Rowe to Louis Kahn |
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316 | (9) |
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V DRAWING CONNECTIONS AN ARCHITECT IS A COMPOSER |
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325 | (72) |
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One, Two, Three, Louis, L, Kahn |
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327 | (26) |
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353 | (12) |
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Making a Room, Drawing a Plan: Construing Architecture as a Society of Spaces |
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365 | (13) |
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Drawing an Architecture of Connection: Louis Kahn on Stairs |
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378 | (6) |
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Drawing Between Part and Whole: The Tribune Review Building |
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384 | (13) |
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VI NOT THE FORM, THE MANNER OF SEEING FORM |
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397 | (48) |
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398 | (2) |
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400 | (7) |
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407 | (11) |
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Drawings That Question and Explain: Louis Kahn and the Cognitive Art of the Diagram |
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418 | (14) |
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Drawing Theory: The Room, The Street, The City |
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432 | (8) |
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Graphic Architecture: A Lithograph for Lynne Honickman |
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440 | (5) |
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445 | (40) |
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Redrawing to Know: Geometric Descriptions of the City Tower |
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447 | (20) |
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The Drawn and the Built: Louis Kahn's Memorial to President Franklin D. Roosevelt |
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467 | (18) |
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485 | (5) |
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The Last Drawings: March 13-17, 1974 |
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486 | (4) |
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Epilogue: Louis Kahn and the--Continued--Importance of a Drawing |
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490 | (9) |
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Louis Kahn: Biography |
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499 | (1) |
Acknowledgments |
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500 | (2) |
Louis Kahn: Selected Built Works, 1951-2012 |
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502 | (3) |
Works and Projects: Index of Illustrations |
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505 | (1) |
Image Sources |
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506 | (2) |
Selected Bibliography |
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508 | (2) |
Author Biographies |
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510 | |