A selection from the architect’s notebooks and drawings, including sketches from his European travels as well as early drafts and finished renderings of his buildings.
As notations in music reveal structure and composition for hearing, the plan is the score that reveals the structure and the composition of spaces in natural light.
A few years ago I visited Carcassonne. From the moment I entered the gates, I began to write with drawing, the images that I learned about now presenting themselves to me like realized dreams. I began studiously to memorize in line the proportions and the living details of these great buildings. I spent the whole day in the courts, on the ramparts, and in the towers, diminishing my care about the proper proportions and exact details. At the close of the day I was inventing shapes and placing buildings in different relationships than they were.
The editors chose several sketches of mood and development of a few projects rather than isolated drawings of a greater number of projects. Such a decision appeals to the architect who starts, like the writer and the painter, with a blank piece of paper upon which he imprints the gradual steps in the development of something he wants to make exist. The sketchbooks of painter, sculptor, and architect should differ. The painter sketches to paint, the sculptor draws to carve, and the architect draws to build.
今天，建筑需要一个信仰的氛围，为建筑师工作。信仰可以认识到新的机构想要出现并在空间中表达表达。新的信仰附带了新的机构，需要表达为新的空间和新的关系。对机构的特定形式敏感的建筑实现将设置一个新的先例，一个新的开始。我不相信美丽可以故意创造。美丽的发展将成为可能在古老的第一个表达式中。将Paestum与Parthenon进行比较。古老的Paestum是开始。现在是墙壁分成的时间，并且当音乐进入架构时，柱子变得更加小时候。Paestum激发了帕台农神庙。Parthenon被认为更美丽，但Paestum对我来说更美丽。 It presents a beginning within which is contained all the wonder that may follow in its wake. The column as a rhythm of enclosure and opening and the feeling of entering through them to the spaces they envelop is an architectural spirit, a religion that still prevails in our architecture today.
A space can never reach its place in architecture without natural light. Artificial light is the light of night expressed in positioned chandeliers not to be compared with the unpredictable play of natural light. The places of entrance, the galleries that radiate from them, the intimate entrances to the spaces of the institution form an independent architecture of connection. This architecture is of equal importance to the major spaces though these spaces are designed only for movement and must therefore be designed to be bathed in natural light. This Architecture of Connection cannot appear in the program of areas—it is what the architect offers the client in his search for architectural balance and direction.
In Gothic times, architects built in solid stones. Now we can build with hollow stones. The spaces defined by the members of a structure are as important as the members. These spaces range in scale from the voids of an insulation panel, voids for air, lighting and heat to circulate, to spaces big enough to walk through or live in. The desire to express voids positively in the design of structure is evidenced by the growing interest and work in the development of space frames. The forms being experimented with come from a closer knowledge of nature and the outgrowth of the constant search for order. Design habits leading to the concealment of structure have no place in this implied order. Such habits retard the development of an art. I believe that in architecture, as in all art, the artist instinctively keeps the marks that reveal how a thing was done. The feeling that our present day architecture needs embellishment stems in part from our tendency to fair joints out of sight, to conceal how parts are put together. Structures should be devised that can harbor the mechanical needs of rooms and spaces. Ceilings with structure furred in tend to erase scale. If we were to train ourselves to draw as we build, from the bottom up, when we do, stopping our pencil to make a mark at the joints of pouring or erecting, ornament would grow out of our love for the expression of method. It follows that it would become intolerable to hide the source of lighting and unwanted ducts, conduits and pipe lines by pasting acoustical material over structure. The sense of structure of the building and how the spaces are served would be lost. The desire to express how it is done would filter through the entire society of building, to architect, engineer, builder, and craftsman.
Excerpt fromLouis i. Kahn的笔记本和图纸.The book wasoriginally published in 1962, and will be reissued along with a new读者指南由耶鲁英国艺术中心与耶鲁大学出版社合作，与设计师和书籍合作。