路易斯·康 Louis Kahn
I use the square to begin my solutions because the square is a non-choice, really. In the course of development, I search for the forces that would disprove the square.
The fullness of air, so welcome, is always present as the basis for architectural shapes. I was impressed with the need for air when happened [to be], with twenty other people, in the palace of Lahore, where the guide showed us the ingenuity of craftsmen, who had covered an entire room with multi-colored mosaics. To demonstrate the mystery of the reflections, he closed all the doors and lit a match. The light of the single match gave multiple and unpredictable effects but two people fainted for lack of air in the short moment that the room was shut from the breeze. In that time, in that room, you felt that nothing is more interesting than air.
The plan comes from my feelings of monastery. The idea of the seminar classroom and its meaning of ‘To Learn’ extended to the dormitories comes from the Harvard Business School. The unity of the teaching building, dormitories and teachers’ house – seach its own nature, yet each near the other- was the problem I gave myself. The lake between student and teacher is one way of distance with little dimension. When I found this way, the dormitories tended psychologically to break away from the school, though it has no appreciable distance from it.
The houses are oriented to the wind, all walls parallel with its dircetion. They are placed diagonally around a court to enclose the court and retain the strictness demanded by the orientation. If you have a square, you find that two sides are oriented improperly. By taking the diagonal you form odd conditions, but you do answer, you can conquer this geometry if you want to. And you must relentlessly look at orientation as something that you give to people because it is desperately needed. That’s the basis of these diagonal shapes.
The brick was always talking to me, saying you’re missing an opportunity. The weight of the brick makes it dance like a fairy above and groan below. Arcades crouch. But brick is stingy, concrete is tremendously generous. The brick is held by the concrete restraining members. Brick likes this so much, because it becomes modern.
I made all these buildings answerable to each other even though the scale of the house and the school is so different. The material of brick-bearing walls and piers with concrete floors is retained throughout the larger spans giving rise to arches and buttresses, the more modest spaces simple slabs on walls. Consistent with the order of brick construction and the introduction of concrete, the concrete combines with the characteristics of brick in the making of the flat arches.