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View of St. Peters in Rome, Italy, Louis Kahn, 1928/29 Sue Ann Kahn, Courtesy Lori Bookstein Fine Art, photo: Paul Takeuchi 2012

Ponte Vecchio, Florence, Italy, Louis Kahn, c. 1930

The White Church, No. 2, Rockport, Massachusetts; Louis I. Kahn; 1930-36; Watercolor on paper; 15 x 19 inches

Louis Kahn, Mountain N1, Woodstock, New York 1934 1935 Louis Kahn, Coastal Village N 2 Isle Madame, Nova Scotia, Canada 1937

An example of Kahns expressionistic license in his representation of ancient architecture. (Louis I. Kahn. Temple of Apollo, No. 3, Corinth, Greece 1951, pastel and charcoal on paper, 10 7/10 x 10 1/10 i.)

Large Baths, Hadrian's Villa, Tivoli; Louis I. Kahn, 1951; Pastel on paper; 7 x 8 inches

The Oracle, No. 2, Delphi, Greece; Louis I. Kahn; 1951; Charcoal pencil on paper; 11 x 14 3/8 inchesLouis Kahn, Interior, Parthenon, Acropolis, Athens, Greece, 1951, Pastel on paper

Louis Kahn | Temple of Amun-Re 1951 - Pastel on paper Via 1

Louis Kahn, Pyramids, No. 8, Egypt , 1951

Louis Kahn, Stepped Pyramid, No.2, Saqqara, Egypt 1951

A room is a room is a room. Or perhaps there is more than that. Among the various subversive operations against modernism credited to Louis Kahn, a fundamental one is his embrace of the archaic notion of the room instead of the radical idea of the plan libre.

Kazi K. Ashraf (2009) Louis I. Kahn: The Making of a Room, Journal of Architectural Education, 63:1, 141-142.

The SerapeumThe Serapeum is a large nymphaeum in the form of an exedra at the south end of the Canopus which recalls the Temple of Serapis located in the city of Canopus. This temple is partly dug into the hillside. Note the rectangular pool in front of the nymphaeum. "This was a large coenatio, as the presence of a stibadion (semicircular stone bench with an elevated surface), or banquet couch indicates, that, on the basis of its orientation toward the north of the complex and the presence of gardens, pools with small waterfalls and running water obtained by means of a complex pumping system on the dome that allowed a sheet of water to fall in front of the diners, was used during the hot summer months" (Adembri 87-88).The temple built into the hillside (and partly subterranean) consists of an apse with eight niches flanking an artificial grotto. According to Henri Stierlin, "the Sanctuary of Serapis, at the farthest end of the canopus, is a place of chthonian worship at Hadrian's Villa. A system of concentric canals and rooms that penetrate deep into the hill formed the stage for initiation ceremonies" (169).

The CanopusBuilt in a narrow valley, this area was designed to recall the Canopus canal, an arm of the Nile River between Alexandria and Abukir. Canopus was a port city on the Nile delta with a world-famous temple dedicated to Serapis.

In unforgettable prose, Brown explained that "[t]he form of the house of the image was the form of the cosmos with man at its center.Peter Kohane (2001) LOUIS KAHN'S THEORY OF INSPIRED RITUAL AND ARCHITECTURAL SPACE, Architectural Theory Review, 6:1, 87-95,When Louis Kahn drew The Room in 1971 (fig. 1), he acknowledged the influence of ancient Roman buildings as understood by Frank Brown (1908-1998), his guide to these in 1950/51. Brown, who wasan historian at the American Academy in Rome, believed that ritual was an an enacted in space that preceded and informed the shaping of architectural space.The single aim of moulding space led [the architects] to model their plastic surfaces boldly andto regard mass as a by-product. The spaces... were so proportioned as to clasp the activity they enveloped in a calmly finite encirclement, like that of a bell-jar. Space, above and at either hand, closed equidistant about man at the center.For Brown and Kahn, a ritual involves action of some sort. Its participants can sit to converse, as occurs in The Room, or move, both across an interior and along a path comprising a series of spatial events.Brown would often write from the vantage point of a citizen in the ancient city, who enters its streets, fora and buildings to behold, with every footstep, an unfolding of views. While the Pantheon was treated in this way, the finest description follows worshippers at the Sanctuary of Fortuna at Praeneste, as they rise by interconnected ramps, terraces and stairs to their destination. Brown wrote of "the processionalritual of a great oracular sanctuary [which] moved punctiliously up a hillside to the revelation of the rotunda at the top. It was set in an intricate choreography of space. In it the architect, like a ballet master, marked with inflexible symmetry the figures, the steps, and the tempo."19 Kahn could design buildings in a related manner, so that human action, understood as strident movement, was the basis for orchestrating discrete spaces. With the foothills of the Pocono Mountains as the site for the unbuilt Pocono Art Center project (1972-4), he located theatres, galleries and artist's studios on terraces, to order one's movement through space and time.20 The obvious source was the Sanctuary of Fortuna as described and illustrated in Brown's book.

plan pocono pa arts center maquette 01 1974 kahn l (nai rotterdam 2012)

MR . AND MR S . H. LEONARD FRUCHTER HOUSE, PHILADELPHIA , 1951 - 54, UNBUILT

Dominican Mother House, Media, Pennsylvania 1965-69, unbuilt

Relationship between modern and natural forms, showing mountains, building forms, ground, and sky. (Louis I. Kahn. Abstract of Planes in Landscape 1948-50, oil on canvas, 15 3/5 x 19 1/3 in

Louis Kahn | Library of the Washington University, 1956 Unbuilt