Architecture, for the soul that has nowhere to place

Brennan 2022-12-01 06:24:07

The film is shot 23 years after Kahn's death, visiting Kahn's contemporary architects, trying to piece together a complete father from their memories, at the beginning, he said "I don't have much time".

It's true that when you look at Frank O Gehry, Philip Johnson, IM Pei, one after another, the big names appear, but it's one old man after another. When you look into their wet, cloudy eyes, hear the choked sobs in their throats, and talk about the death of their old man, everyone can feel the stinginess of time. In front of every tall and solid building they erected, the old architects were especially fragile and thin. Imagine that on the other side of the thick red brick wall of the Indian Institute of Management, a few strands of Kahn's white hair were limply shrugging from time to time. Being lifted up by the wind, the birth of the building is like a snake.

They were all young once, if one tried to remember.
Almost all architects have forgotten green years. They only made their first baby cries in the construction industry at the age of fifty, and they died only ten or twenty years ago. Already an old man. Kahn was left with a flabby, pale, round face, and IM Pei's age spots and Philip Johnson's wrinkles said everything about being a master.

We are young, yet so tragically young.

If you look for the shining eyes through the thick black-framed round mirror, you can always find it. As time passed, that light was buried deeper and deeper, but it became stronger and stronger. It's almost divine, you look straight at it and you're going to be shot through the heart.

Kahn always seemed alone, even though he was surrounded by hundreds of students and the lecture was his, he didn't seem to be there. He has never really integrated into any family. He has moved 17 times in the two months he first arrived in the United States. There is no love that can give him a sense of security, and no kind of waiting worthy of his care. He ended up dying in a toilet at the station, and no one knew where he was going.

Imagine Kahn as a silent person, and you can imagine him sitting side by side with his building, like old friends who know each other without too many words. Imagine Kahn as a coward who dared not stop anywhere, he had to build himself a strong fortress, and let the mysterious atmosphere choke people's throats, so to rest his lonely soul.

To this day, all those buildings seem to open their mouths to say something, but froze there dumbfounded. About them, their builders don't say much, "Kahn can be heard in the silence".

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Extended Reading

My Architect quotes

  • Louis Kahn: A work of art... is not a living thing... that walks or runs. But the making of a life. That which gives you a reaction. To some it is the wonder of man's fingers. To some it is the wonder of the mind. To some it is the wonder of technique. And to some it is how real it is. To some, how transcendent it is. Like the 5th Symphony, it presents itself with a feeling that you know it, if you have heard it once. And you look for it, and though you know it you must hear it again. Though you know it you must see it again. Truly, a work of art is one that tells us that Nature cannot make what man can make.

  • Louis Kahn: When you want to give something presence, you have to consult nature. And there is where design comes in. If you think of brick, for instance, you say to brick, "What do you want, brick?" And brick says to you, "I like an arch." And if you say to brick, "Look, arches are expensive, and I can use a concrete lintel over you. What do you think of that, brick?" brick says, "I like an arch."

    [Students laugh]

    Louis Kahn: And it's important, you see, that you honor the material that you use. You don't bandy it around as though you said, "Well, we have a lot of material around. We can do it one way, we can do it another." It's not true. You can only do it if you honor the brick, and glorify the brick, instead of just shortchanging it.

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