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Architecture in Context

Louis Kahn in the Midwes

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Acknowledgments

This catalogue records the sixth exhibition in The Art Institute ofChicago's Architecture in Context series. The purpose of theseprojects has been to highlight aspects of architecture in this re-gion that have received relatively little attention. It is appropriate,then, that we have chosen to focus on Louis I. Ka hn's work innearby Fort Wayne, Indiana. Kahn's architecture is always worthyof discussion and analysis, and it is regrettable that only one ofhis projects was completed in the Midwest. The Department ofArchitectu re is fortunate to have purcha sed in 1986 a selection ofKahn's drawings from his daughter Sue Ann Kahn. Most of thesedrawings were part of h is designs for an entire cultu ral complexin Fort Wayne, especially for his on ly realized building there, thetheater now known as the Performing Arts Center, completed in1973. These Ka hn sketches, now a part of the Art Institute'S per-ma nent collect ion, were acquired with funds from a va riety ofsources: first of all, wit h proceeds from the sale of balusters de-signed by Louis H. Sullivan for the Schlesinger and Mayer Co m-pany Store, which were origina lly donated by Carsol! Pirie Scottand Company: with further proceeds from the sale of duplicatefragments fro m Adler and Su lliva n 's Chicago Stock ExchangeTradi ng Room that were the gift of Three Oaks Wrec king Com-pany. In addition, we are extremely grateful to the following forrestricted gi fts appl ied toward the purcha se of these drawings:F.M.C. Corporation: First National Bank of Chicago: NormanFreehling: Mr. and Mrs. Bruce j. Graham: I.C. Industries: Mr. andMrs. Chandra jha; Lawrence F. Levy; Mr. and Mrs. Dirk Lohan;Mayer, Brown and Platt: Lee Miglin; Peter Palumbo: SeymourPersky; Gordon Lee Pollock; Mr. and Mrs. Jay A. Pritzker; HaroldSch iff; Skidmore, Owings and Merrill: Mr. and Mrs. Helmut

Strauss; Mr. and Mrs. Wil liams C. Tip pens; Ti shman Speyeert ies; U.S. Equities Realty. Inc.; Paul F. Walter; and Mr. anStanley M. Warsaw. Finally, we wish to thank Director jaWood, who enthusiastically supported our access to the Cnial Fund for further assistance in purchasing the collectio

This publication and the exhibition it accompaniemade possible through the support of the Architecture Srellows. who also provided funding for the concurrent intion of "Transformations: Louis J. Kahn's Library Projecexhibition organized by the Louis I. Kahn Collection, Uniof Pennsylvania, and the Pennsylvania Hi storical and MCommission. At the Art Institute itself, a number of peoserve special acknowledgment: Jack Perry Brown, Executrector of the Ryerson and Burnham Libraries, for his fine esthis catalogue; Robert V. Sharp, Associate Editor, and PeterAssistant Ed itor, for editing and overseeing produc ti onSalt, Associate Registrar. who managed the receipt of objloan; Luigi Mumford, Technical Assistant in the DepartmArchitecture. who catalogued and prepared the drawingshibit ion: the Department of Graphic Services for designexhibition 's graphics and labels; and the Department ofstallation for hanging this show. Michael Glass deserves outude for his design of this handsome catalogue, andWeinberg, of Graphic Conservation in Chicago, receives ocere than ks for conservation of these frag ile sketche s.John ZukowskyCurator of ArcllitectureThe Art Institute of Chicago

Exhibitions Architectu re Society FellowsLolliSKohn in Ih e Midwest 1hlnsformlllion$:Louis I. Kohn" l.ibrmy Projec tsFebruary 15 _ June 26. 1989Galleries 9 and 10.1fle Art Institute of ChicagoFront oover : Design sketches of the Interiors uf aphilharmonic hall and theate r, Fort Wayne Fine Arl sCenter. FOrI Wayne. Indiana, t967 . Penc il and char_0031 pencil on ye llow tracing paper. 30 .7 x 49 .6 e m.The Art Institute of Chicago (l98S. ]SO).Ba ck c

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Jack Perry Brown

Louis Kahn in theMidwest

Fig. I Perspe

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Fig. 3 The Street is 8 Room."" from A. Tyng. Beginnings .Louis I. Kahn 's Philosoph y of Archile

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Fig. 5 Egyplian 11'1"'1.'1 sketch. inte r .... vie .. with statue. 1951. Chal'OOlllpencil on tl'llcing paper; mounled OIl paper.27.6 X35.7 cm . 'Ole Art Inst itu te of Chicago 9 8 6 . O S 5 ~

-Fig. 6 Egypti.u " tl'llvel ske tch . interior view. ]951. Ink 01' wBlercolorbru,hed on tablet paper. 32 x 43.11 em. TIle ArtIns titu le of Chicago 1 9 1 1 6 . 1 0 5 6 ~

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like music, his buildings are ultimately more than the sum oftheir components.

Kahn's architecture embodied his intuitive feeling for humansociety and for space as the out growth of a "room." He was con-cerned about the connections of parts within hi s buildings andequally about the connections between the parts of a city, whichhe called a place of "assembled institutions" (fig. 3). Kahn's concep t of "served" and "servant" spaces - applied to both the roomand the city - led him to explore the relationships between parts.It is in the ability to give these relationships form that Kahn'Suniqueness lies. Admittedly, many of his completed buildings donot. in fact. work very well. While some of the problems are due todesign limits , and while Kahn would agree that other things areproblems, he would argue (and his buildings argue more successfully than he) that the buildings, however flawed they may be, doanswer the essential questions. All attempts to create the id eal aredoomed to limited success: Kahn came very close to the ideal.

Kahn expressed his intuitions in aphorisms and in d rawings.It was his facility in drawing that led him initially to architecture,and he is one of the superb architectural draftsmen of all time.Drawing for Kahn was as valid a means of expression as building.He wrote in 19 31:

Drawing is a mode of represen tation. It ma kes no differencewhether a watercolor is tight. loose or flabby; for if it discloses a purpose, it is of value, and the mo re we understandthe purpose the more valuable our watercolor will become. J

Drawing was a tool with which one searched to "understand theintrinsic character and have respect for the individuality underlying even things that seem to create no feeling within us at first."4

Tra ined in the Beaux-Arts tradition first to produce an esquisse, which captured the essential nature of a program not fromresearch but from intuition, and then to develop and elaboratethat initial effort without violating its nature, Kahn extended theli mits of the Beaux-Arts process by involving his assistants andclients in a d rawn dialogue, testing form and detail in expressionbeyond words. To accommodate this method , Kahn developed hisown drawing technique, as described by Marshall Meyers:

He rarely worked alone. He needed this dialogue, this testingof ideas: the quest ion and reaction. The question might bege neral or specific, but always it signalled the never-endingsearch: "This or that?" or "What if?" or "Is this too big?" Andhis chosen drawing tools responded. The marks of the vinecharcoal barely adhered to the smooth Iroll of traci ng] paper,Sitt ing on the hard su rface as black dust ready to be brushedaway by his hand the moment a better thought arrived. Hehad invented this technique for himself: vine charcoal on thesmooth yellow paper. Drawing and erasing became immediate and as rapid as his thoughts. He would smudge away oneidea and fo llow it with another, leaving only a faint trace ofthe original sketch. The layers of charcoal left a translucent,animated image of the new ideas superimposed on the ghostsof the old.

He had no reason to overlay tracing paper on toppaper to record them all: too slow, too wasteful. Then , ohe was satisfied and the search was done for the momenspray of fixative would seal up the fin al image with all thoughts, ghosts, and smudges e s e r v e d .The drawings by Louis Kahn in The Art Institute of Chic

span his career and illuminate his use and technique of drawthey also document the development of Kahn's one complemidwestern commi ssion, the Fort Wayne Performing Arts CenTaken as a whole, these drawings show Kahn's career-long ccern with institutions, with relationships, and with history.

The earliest drawing (fig. 4), done about 1939, is a studythe redevelopment of a multiblock area in midtown Philadelpexecu ted when Kahn was working for the Phi ladelphia HousAuthority. Themes that would occupy him in later, independstud ies for the redevelopment of Philadelphia and for theWay ne project - such as his concern with circulation, or the rtionships between buildings, or the spatial interaction betwind ividual buildings and the grid of the city - are all hererudiment ary form. In what was an undifferentiated residenneighborhood, part of Ph iladelphia 's rectangu lar grid systemrow houses, Kahn attempts to project a larger order or relationsby breaking the grid line of 21st Street, adding new buildingsat an angle to the grid, and channeling circulation . At the satime, he prov ides urban spaces that impart the sense of pgression or entrance so often found in his mature work and pland that focus on social institutions, here, a school and nursSurprisingly absent [rom this drawing is the devaluation ofaut omobile implicit in so much of Kahn's later work.

Kahn sought for essentials, for what he called "volume zeThe impact of modernism, which for two decades caused himoverlay (or deny) hi s classical training and his own inherentsticism with Germanic rationality, began to dissipate rapidlythe late 1940s and early 1950s. He searched consciously for arctypes, empowered by a year spent at the Ame rican AcademyRome in 195051. Kahn traveled not onl y in Italy, but alsoGreece and Egypt: this exposure to classical archit ecture, ruand forms provided him the stimulus to grasp the archetypesdevelop them to meet programs. and to produce the architectof his final two decades.

Kahn recorded his travels in charcoal and pastel sketchesoccasiona lly in pen and ink. In a sketch done in Egypt (f ig.which has surrealist ove rtones mindful of de Chir ico, sevrecurrent themes appear. The first of these is silenc e; anothecertainl y, light. Light creates space. It is impossible to te ll ifscene is ancient Egypt, with mo numental size. or mo re modArabic Egypt, wi th the decorative pattern of the floo ri ng andarch, brought to the East from Rome . Scale in this drawingdifficult to read, but the simplicity of fo rm and the play of shadand light make it a powerful. evocative image.

It is in these travel drawings that we can first see the pothat Kahn att ri buted to light. Kahn says "Mat erial is spe nt ligusing the most limited palette of materials - brick, concrete,

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Fig. 7 Penpective view of Sher--Banglanaga r, inner court, Dacca, Bangladesh , May 1963.Charwal pencil on yellow tracingpaper. 46 x 76 crn.1lu:t Art Institute of Chicago 1 9 8 6 . 1 0 5 3 ~

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Fig. 8 Site plan. first design 5tage, Fort Wayr>e Fine Arts Center, Fort Wayne, Indiana, early 1963. Charcoal pencil on yellowtracing paper, approx. 30.5 X51 Crn. The Art Institute of Chicago ( 1 9 8 6 . 1 0 5

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fig. 9 Site plall. tbird design. stage. Fort WayM fille Arts eellter. Oct. 4. 1963.Pencil and charooal pencil 00 yellow tracillg paper. 27 .7 x 44 .7 em. The ArtInstiMe of Chicago (1986.1051).

Fig. 10 Oesigll sketch of the plall of 8 philharmonic hall. Fort Waylle fine ArtsCenter. C. 1963. Charcoal pencil on yellow tracing paper. 42 x 44.7 cm. The ArtInstitute of Chicago 1 9 8 6 1 6 1 ~

vertine. oak - he combined them with space to capture lightat the same time to touch the underlying order he felt to be pent in all things.A second sketch also done in Egypt (fig. 6) anticipatesessentials of a 1972 essay entitled "The room. the street.human agreement."6 Although the nature of the space is notally apparent. the geometriC rigidity and the view out the lvo id provide a frame for memory and relationship which mthis a comfortable space. even with its oddities. The intensitthe light appears greater through the ope ning. here heavilyrounded by dark lines.

A sketch done a decade later shows these ideas of rostreet, and human agreement in a more finished manner. perspective sketch (fig . 7) of the inner court of one of the govment buildings in Dacca, the new capita l of East Pakistan (Bangladesh), a commission on which Kahn worked for thedozen years of his life, was probably traced ove r a hard-line spective prepared in his office as a base to guide the freehsketch. The figures in the nearground, who might at first glbe classica l Romans in the foru m. are in a room giving onplace of congregation or assembly, defined by buildingshuman purposes. The scale and power of the forms - archceeding arch, deta il subordinated to the essence of the placeits purpose - make the important statement that the purposarchitecture is defined by human needs.

The largest group of drawings by Kahn in the Art Instcollections deals with hi s ......-ark in Fort Wayne, Indiana. The dodrawings cover all phases of this long-term project and sseveral sides of Kahn the draftsman. The commission, whicreceived in 1961, was completed in vastly altered and reduform in 1973. Over more than a decade. coinciding with Kaperiod of greatest fame and productivity, there were timeactivity followed by hiatus and resumption. The original cmission was to create a cultural center hou sing a number of ipendent arts organizations - a fine arts museum. theaterschool. orchestra. historical museum - in a re lational setting.

In discussions with the select ion committee, Kahn wasma nt that the location for this center be in the city, not osuburban university campus. a financially attractive alternaHi s arguments about the nature of the city as a place to meetto interact fell on receptive ears. Fo rt Wayne. a manufacturingagricultural town of 160,000 in 1960. faced problems commomost regional centers in the postwar era . The automobi le drawn shopping to the periphery, and the residential devement of subdivisions and suburbs had left a vo id at the heathe city. The hope of urban renewal appealed to the client comtee, which had cast a wide net in seeking an architect. Nearlthe ma jor architects were interviewed or contacted: Ludwig Mvan der Ro he, Minoru Yamasaki. Philip Johnson. Edward DStone, Eero Saarinen. Johnson. who was too busy, suggeKahn's name to the committee. to whom he was previouslyknown. After much debate, he was selected by the narrowemargins over Stone as the architect for the center. and thewas expanded to include studies of the downtown area. At

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time Kahn was working on planning for the Market Street area ofPhiladelphia, and his urban circulation plans for Fort Wayne havemuch in common with the work for Philadelphia.The Fort Wayne commission was a typical one in many waysfor Kahn. First of all, the cultural institutions held symbolicmeanings as physical and emotional points of assembly. Second.

the site was urban. The history of the job is long, with many startsand stops. And fi nally. only a small part of what was planned wasachieved. In Fort Wayne, hi gh cost estimates resulted first in delay. and then in scaling back. An id ealist by natu re , Kah n wasundismayed by the realities. When hi s first scheme for the centerwas presented in 1965 and the client asked how much it wouldcost, he replied. "$20 million and you should raise it!" The co mmittee demurred. Kahn was will ing to compromise. to build instages, or to build in part, but he kept fighting for the vision of thewhole, which he felt to be right. In the end. onl y one building, thetheater, was bu ilt. Subsequentl y. an art mu seum (by Moa keSheldon Kratzat Thompson Dearing and Associates. with WalterNetsch as design consultant . 1984) was added to the site.

Detailed programs were provided for each of the orga ni za-tions involved. because each independent entity had separateneeds and requirements for each building. Kahn wo rked intensively on the commission fro m 1962 int o early 1965. wo rk ing outdetails for individual buildings and for the overall relationshipamong them on the large rectangular si te . In hi s notebooks for1963 Kahn wrote:

There is an entity present: the philharmonic is dependentupon the art schoo l, the art school on the civic theater. thecivic theater on the ballet. and so forth. An d it is so: the planis so made that you feel one building is depe ndent on theother . .After all , what was the purpose of coming here? Was it toma ke a convenient arrangement. or was it to make someth ingwith an extra quality? I've found the extra quality. whichmakes the com ing toget her more th an what they are when thebuildin gs are separated from each other.In the first scheme (fig. 8) parking occupies the two long

forms at the top of the drawing, shielding the site from the activerailroad line that borders it. The philharmonic hall is to the left ofthe central north-south processional. while the theater (with sev-eral stages within a single envelope) is to the right. The museumand reception center lie to the east of the theater. the historicalmuseum occupi es the southwest corner of the site, and dorm itoryrooms form the south facade of the plan on Wayne Street. Thebuildings form interior pedestrian streets in an H-pattern, withadditional court spa ces between the buildings in the central bandof the plan. One goal of th is first plan. a common entrance to thevaried activities - "an entrance doorway which is a ga rage," asKah n called it - was the first casualty. Certainly. expense was afactor. bu t Kahn 's lack of sympathy and understanding of theautomobile indicate that he considered th is no great loss.7Between August and October 1963, the plan was revised extenS ively. as seen in another site plan (fig, 9). While the philhar-

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Fig. 11 Design sketches of lhe plan of a smaJltheater, Fort Wa yne Fioo ArtsCenter. Monday, Jan. 11 . 1965. Pencil 011 yellow tracing paper. 29.5 x 41 .5 cmArtinstilute of Chicago 1 9 8 6 . 1 6 6 ~

Fig. 12 Design sketches of the plan of a theater. Fori Wayne Fine ArisCenler.friday, Ja n. 15. 1965. Charwal perw;il on yellow tracing paper. 30.2 x 65.7 cmThe Art Institule of Chicago ( 1 9 8 8 .

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Fig. ]3 Performing Arts Center, For! WaYIlC. Indiana. 1973: view of the en1rllrlce. from the southwest. Photo: Craig Kuhner.

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monic hall remains essentially as before, the theater (s hown withseveral pentimenli to the right) has become much more di rectlyrelated to it following the elimination of the central north- southwalkway and the formation, thereby, of a central tr iangular plaza.The art ga llery. recep tion cen ter, and his torica l museum havebee n combined in the rectangul ar block along Wayne Street ,while the entrance to the complex (now pedestrian) is newly lo cated on the southwest corner, with a much more appropriateorientation to the center of the dty_ The arl school has been separated from the buildings needi ng high public access and fo rm sthe eastern perimeter of the plan . now set off by a large rectangular plaza or garden.

Kahn was not able to inspire clients with the wi ll to fund hisunitary vision of the fine arts center. His initial proposa l wasnearly ten times the projected budge t. Although the clients sawthat the entity Kahn proposed wa s resonantly greater than thesum of its parts, ultimately the decision was made to proceed wit hselected buildings (the theater and the art school being the firstones), with hopes of completing the remainder over time.

In three small sketches from the first planning campaign(figs. 10-12 1, Kahn's technique of thinking on paper is evid ent.The fi rst of these, a detail of the philharmonic hall plan. shows anoval or horseshoe-shaped form , while the two plans for theaters,examples of many quic k, small sketc hes, are conce rned withsight-lines for the audience. Thoughts li ke these, perhaps done onsite visits or in consultation with clients, record the essence ofKahn's questioning mind. The s imp le geometric shapes aredeformed and reformed to meet the program, a process that continued even as the buildings were under construc tion. Kahn constantly revised and rethought , incorporating cha nging conditionsand needs, trying to get ever closer to "volume zero," his shorthand name for the essence of form. The hiatus, reduction, andultimate realization of only one part of the original program gavehim addi tional insight:

At this mom ent I realize something I've never realized be-fore : that there are actually two realities that an architectdea ls with: he deals with the reality of belief and the reality ofmeans.Work proceeded on the drawings for the theater and the art

school in the late 1960s_ At this time Kahn was involved in fin ishing the Kimbell Art Museum in Fort Worth , Texas; as well as withthe ongoing wo rk in Da cca: and with the preliminaries for whatwould be his la st realized bui lding. the Yale Center for British Artin New Haven. Construction of the theater began in July 1970, andwas completed in September 1973 (fig. 13 ). The art school was notbuilt.Kahn's aphorism about the finished theater, "a violin in aviolin-case," was first heard in reference to the philharmonichall , but has brilliantly clear expression in the realized theater.The physical duplication of the exterior of the building was something Kahn had given great thought to in his work in India andPakista n, where the need for sun protection achieved a monumental expressiveness. In Fort Wayne the need was not for solar in-

sulation but for aud itory isolation from the adjacent rai lroastreet. The concrete body of the theater itself, the violin ,closed in a structurally separa te brick encasement , thecase, which holds servant spaces for reception, circulatiooffices (fi gS. 14 , 15).

Many studies of the theater were done, frequently by Kcritical method of revising his assista nts' !rials and errors.the office for extended periods of ti me, particularly on his tthe Indian subcontinent, he left general instructions for thestaff to deal with problems. While the level of tru st and pleship was high, ult imately a fail-safe system had to belished to meet job deadlines: plans and details done in thewere reviewed by Kahn if he were able; if not. they were pand accepted by him. Thus, responsibility for certain aspecproject, even in a small , essentially one-man office, wa s dFor example, two section drawings in the Art In stitute's coll(figs. 16 , 17) were done by the job captain .6 Like others exeby office staH, most of them students of his from Penn, steeKahn 's vocabulary and forms, these drawings can certaindescribed as "Kahnian, " but they la ck the force of his hanthe direct gra sp of his mind. As Marshall Meyers related, we were in the office, creating Architecture. Then th is littwith the white hair would come back [from India] and chaall around ."9

Originally there were to have been two theaters withbuilding, one small stage and one large: when the plansscaled back, only a single theater could be built : the house ais a compromise in size (fig. 18J. Consultants were involvedtheatrical needs (George Izenour, an old colleague of KahnYale) and for acoustics (Cy ril Harris). But t hroughout the pKahn brought to this, his only commission for a theater, thceptions of a theater-goer, not those of a practiced theater mviewed the audience as part of the theatrical experience,the experience of entering and ga thering were shared as mthe performance itself. In a drawing from the first plannincess (see front cover), the interior of the philharmonic halmuch of th is feeling:

I thought further of the meaning of a place of assemb[T]he music is only partly important; decollete is impsee ing a person and becoming entranced is alsotant. . . . But it's all part, is it not, of the nature of goi nconcert? So is seeing the e ntire hall - not to be forcedshape to look at it from under a balcony, not just tomusic, but to feel the en ti re chamber - because beingchamber is like living in the violin. The chamber itselinstrumen t. If you think a great deal about such a placcan come to the realization that you are making a minstrument containing people, one I'd describe as a plgold and red that had to have a baldachino coming dowthe players.

In this drawing the small perspective sketch at the lowcenter is the essence of the la te r theater as finally buill. Thecharcoal sketch does capture the rich color ideas so mo

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Fig. 14 Performing Arts Center. 1973; interior view of the access corridor 81ld stairway to thea ter seats and lobby. Photo: Craig Kuhner.

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evoked. His success in reaching from the vision of what the building wants to be to its concrete and brick realization is testimony toKahn 's reading of volume zero.

The idea of a single entrance. so important for the complex asinitially conceived. was no less so for the theater itself. Thesketched entrance (fig. 19), which is close to what was actuallybuilt , shows the arched voids with the powerful concrete beamlinking and absorbing the thrus ts of the three interlocki ng brickarches in a dynamic interplay. The three arched windows havebeen seen as the openings of a theatrical mask (or more prosaically, by some, as a Halloween pumpkin). Kahn's intention wasto provide a place of entrance, clearly delineated, and to revealthe life of the buildi ng within , the place of assembly on the second floor. The powerful arches of the facade have come to symbolize the building for many, and they became the relat ional motifselected for the later art museum by another hand , but the windows of the sides of the building are also subtly arched (as arethose at Kahn's contem poraneous library at Exeter. NewHa mpshire). giving an almost impercep tibly felt power to the

large voids in the brick. "Ask the brick what it wants to bewill reply, 'a n arch.'" Arches are also used internally, assketch possibly for the rehearsal rooms (fig. 20j.

The resumption of work on the theater alone in the la teproduced many drawings and ultimately a finished buildingside-elevation drawing (see back cover), Kahn is experimenworking "just to indicate a possibility," as he says in one onotations on the drawing. Another comment along the bottothe sheet - "11 would be better to make the bays 20' in conThis would lengthen the building by 24 ', but it would looklike concrete" - again reveals the a priori assumptions in Kuse of materials. Just as the architects of Gothic cathedralsvault ribs that look structural though they are not so in fajust as Mies applied I-beams to the exterior of 860-880 Lake Dri ve because the building did not look right without theKahn was concerned w ith the conceptual appearance ochosen medium, concrete, a medium with formal possibmore elastic than any other. The building as completed dtotally from this "poss ibility": what an additional twenty

Fi g. 151\!rformingArts Cenler. 1973: int(!rior view of stairway and side enlrano::e. Pholo: Craig Kuhner.

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feet of length might have meant in terms of the program, thestructure, the cost, is not dear. But Kahn's use of simple geometricforms - circle, triangle - and the feeling of what concrete structure should look like give this drawing power beyond its smallscale.

The final design phase produced working drawings for boththe theater and the art school, including, for the laUer. a sheet inthe Art Institute's collection that contains plan and elevation studies (fig . 21), one of several drawings done on the same day.1O Thissort of quick visual reworking, most likely executed over an existing working drawing in a meeting with assistants or clients, is agood example of Kahn's use of drawing as a tool. The problemunder study is the focus of activity: the whole is absent on thissheet, although it was visually present through the yellow trace atthe time of creation, and always in mind.

NotesHelp in the preparation of this paper has been given by many people. In fort Wayne.invaluable assistance c ame from Ion K. Gossett. Janet Mc(;aulay, Milfnrd M. Miller.and, particularly. Mr. and Mrs. G. Irving Latz. 2nd. In Chicago. Cengiz Yetbmprovided valuable information. john Zukowsky. Curator of Arcbltecture. whose ideath is exhibition was, has been very supportive, backed up by Luigi Mumford. departmental preparatnr. Robert Sharp has edited the text with his usual care: all errors endopinions eTe my nwn.Unless otherwise credited in the nntes that follow, all quot ations from Kahn cited inthis paper are from one standard source: Heinz Ronner and Sharad /haveri, Louis I.Kahn: Complete Work, 1935-1974. 2nd. ed. (Bnston: Birkhiiuser, 9 8 7 ~1. loseph Burton. "'Louis Ka hn and the architecture of democracy: TIle PhiladelphiaSesquicentennial Expositinn of 1926"' (Paper presented at the Annual Meeting of theSociety of Architectural Historians. Chicago.m . April 15. 1 9 8 a ~2. Louis I. Kahn. Space. Form. Use _ A Library."' Pennsylmnia Triangle 43. 110.2(Doc. 1956). ppA3-1471.3. Louis I. Kahn. "The valli

Selected BibliographyGiurgola, Romeldo. and jaimini Mehta. Louis I. Kahn. Boulder. Colo: WestviewPress, 1975.The Louis I. Kahn Archive. 7 vols. New York: Garland, 1987.Matott. Arthur J. "'The Violin and the Violin Case. Louis I. Kahn's first theatre. TCommunity Arts Center, fort W a y n e Indiana Architect 16. nn. 5 (Sept JOct. 19pp. 513.Prown. Jules Dav id . The Architecture of the Yole Center for British "rt. 2nd edNew Haven: Yale University Press, 1982.Ronner. Heinz. and Sharad Jhaveti. Louis I. Kuhn: Complete Work. 19351974. 2ed. Boston: Birkhiuser. 1967.Scully. Vin

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,

~ ~J , ~ /, ., 1Fig. 16 Design sketch. "Violin Study," longitudinal section of a theater. Fort Wayne Fim! Arts Center. April 1. 1968. CharroaJ peo cil On yellow tracing paper.45.7 X94 ern. The Art Institute of Chicago [1986.158).

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Fig. 17 Design sketch. "Violin Study," longitudinal section of a small theater. Fort Wayne Fine Arts Center. 1968. Pencil aoo charcoal peocil on ~ ' f ! l l o w tracingpaper. 30.3 x 64.6 em. 11w Art Institute of Chicago 1 9 8 6 . 1 6 2 ~

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Fig. 18 Per/OI"01ing Arts Center, 1973; interior view of the theater. Pho to: Craig Kuhner.

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Fig. 21 Design ske tch 01 the plan of an art school. with elevation study, Fori Wayne Fine Arts Center. Aug. 22, \968. Charcoal pencil on yellow tracing paper.45 x 88.4 em. The Art Institute of Chicago (1986.163).

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The Ar t Institute ofCh icago 1988-89

TrusteesMrs. Walter AlexanderMrs. James W. AlsdorfWarren L. BattsJohn H. Brya n. Jr.Edward M. CummingsMrs. Robert 0. DelaneyMrs. Thomas H. DittmerWesley M. Di xon. Jr .Marshall Fi eldStan ley M. FreehlingR. Robert FunderburgMichael GoodkinBruce GrahamCharles C. Haffner IIIDavid C. HilliardDu ane R. KullbergLewis ManilowH. George Man nPhilip B. MillerJohn W. Moutoussam yTI\omas J. PritzkerJoseph Rege nstei n. Jr.Andrew M. RosenfieldArthur W. SchultzDaniel C. SearleDr. William O. ShoreyEdward Byron Sm it h, Jr.Barry Su ll ivanMrs. TIlOm as S. Tyl erOr. Karl JWei ntraubUfe TrusteesMrs. Ivan L. AlbrightJames W. AlsdorfMrs. Frederic C. BartlettEdward H. Bennett. Jr.Mrs. Edwin A. BergmanBowen BlairMrs. Eugene A. Da vidsonMrs. Edwin J. DeCosta

William E. HartmannNeison HarrisJohn H. John sonMiss Louise Lu tzMrs. Haro ld T. MartinMrs. Robert B. MayerBrooks McCormickAndrew McNally IIIWillia m A. McSwainCharles A. MeyerMrs. Paul RosenbaumMrs. Wolfgang SchoenbornJoseph R. ShapiroEdward Byron SmithMrs. Theodore D. TiekenPayson S. WitdArthu r MacDougall WoodWilliam Wood Prince

Ex Officio Hon orary TrusteesEugene SawyerActing Ma yor. City of ChicagoRonald D. PieurComptroller. City 0/ ChicagoWilliam BartholomayPresident, Ch icago Park Distr ictjack MathewsTreasurer. Chicago Park Di st rict

Ex Officio TrusteesJames N. WoodDireclorThe Arllnslitute a/C h icagoAnthony JonesPresidentThe School 0/Th e Art Institul e o/Chicago

OfficersMarshall FieldPresident a/the Boord o/TrusteesMrs. Jam es W. AlsdorfStanley M. FreehlingR. Robert FunderburgJohn H. Bryan. Jr.VicePresidents 0/ th e Boord 0/'Tru stees and Treasurerjames N. WoodDirectorAnthony jonesPresiden tThe School ofThe Art ln sl ilul e ofChicagoRob ert E. MarsVice-President for AdministrativeLarry Ter MolenVice-Presidenl fo rDevelopmentand Publ ic A ffairsPhyllis L. Rob bSecretory

0 \989 The Art Institute 01 Chicago. AU rightreserved.Designed by Michael Glass Design. Chicago.Priuted by Rohr>er Printing Company. ChicagPhotographs of the FOft Wayne I\)rforml n8 ACenter CCraig Kuhner.

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