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008			210128s2021 enk ob 001 0 eng
010			_a 2021003892
020			_a9781003173298 _q(ebook)
020			_z9781032001241 _q(hardback)
040			_aDLC _beng _cDLC _erda _dDLC
042			_apcc
050	0	0	_aNA737.K32
082	0	0	_a720.92 _223
100	1		_aBarizza, Elisabetta, _eauthor.
240	1	0	_aForma tangibile. _lEnglish
245	1	0	_aLouis I. Kahn in Rome and Venice : _btangible forms / _cElisabetta Barizza.
264		1	_aAbingdon, Oxon ; _aNew York : _bRoutledge, _c2021.
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	0		_aRoutledge research in architecture
500			_aTranslated by Michael Riddell from the Italian language edition: La forma tangibile published by Franco Angeli, 2017.
504			_aIncludes bibliographical references and index.
505	0		_aThe idea of organism in the works of Louis Kahn -- Philadelphia and the teaching of Paul Cret -- "How'm I doing, Corbusier?" -- Kahn and Rome. The essence of the notion of organism -- "The word order is a beautiful word" -- "Architectural order implies integration of space, structure and mechanics" -- A dialogue with the architecture of the past -- The significance of the idea of city -- Original words: Kahn at UIA, International University of Art of Venice, 1971.
520			_a"This book examines the idea of organism in the work of Louis I. Kahn, from the turning point of Rome to the project for Venice. It presents an original interpretation of the work of Louis I. Kahn during one of the most fruitful periods of his career, when he was working on a particular design method based on an entirely novel way of interacting with the past. Beginning with a meticulous documentation and analysis of Kahn's experiences in the twenty years 1930-1950, the book sheds new light on the relationship between Kahn's work and the modern movement. The arguments are supported by case studies, including that of the Palazzo dei Congressi in Venice based on Kahn's words (like his lessons in Venice at IUA, International University of Art, in 1971) and others as the Trenton Bath House, the Salk Institute (La Jolla), the Kimbell Museum (Fort Worth), the Yale Gallery and the Mellon Center for British Art (New Haven) and more. Unlike much of the by now well-established literature on Kahn's work, Louis I. Kahn in Rome and Venice suggests that the basic premise of Kahn's invention is the idea of spatial, constructive organism, which explains how he created forms that were inextricably anchored in the past, without imitating any one kind of ancient architecture. The main objective of the book is to explain Kahn's methodology to architects and students showing how he was able to design an architectural object with the characteristics of the best designed objects: organisms, in which each part contributes with the whole to create "something made of indivisible parts""-- _cProvided by publisher.
520			_a"This book examines the idea of organism in the work of Louis I. Kahn, from the turning point of Rome to the project for Venice. It presents an original interpretation of the work of Louis I. Kahn during one of the most fruitful periods of his career, when he was working on a particular design method based on an entirely novel way of interacting with the past. Beginning with a meticulous documentation and analysis of Kahn's experiences in the twenty years 1930-1950, the book sheds new light on the relationship between Kahn's work and the modern movement. The arguments are supported by case studies, including that of the Palazzo dei Congressi in Venice based on Kahn's words (like his lessons in Venice at IUA, International University of Art, in 1971) and others as the Trenton Bath House, the Salk Institute (La Jolla), the Kimbell Museum (Fort Worth), the Yale Gallery and the Mellon Center for British Art (New Haven) and more. Unlike much of the by now well-established literature on Kahn's work, Louis I. Kahn in Rome and Venice suggests that the basic premise of Kahn's invention is the idea of spatial, constructive organism, which explains how he created forms that were inextricably anchored in the past, without imitating any one kind of ancient architecture. The main objective of the book is to explain Kahn's methodology to architects and students showing how he was able to design an architectural object with the characteristics of the best designed objects: organisms, in which each part contributes with the whole to create "something made of indivisible parts""-- _cProvided by publisher.
588			_aDescription based on print version record and CIP data provided by publisher.
600	1	0	_aKahn, Louis I., _d1901-1974 _xCriticism and interpretation.
650		0	_aOrganism (Philosophy)
776	0	8	_iPrint version: _aBarizza, Elisabetta. _tLouis I. Kahn in Rome and Venice _dAbingdon, Oxon ; New York : Routledge, 2021. _z9781032001241 _w(DLC) 2021003891
906			_a7 _bcbc _corignew _d1 _eecip _f20 _gy-gencatlg
942			_2ddc _cBK-EN _n0
999			_c5699 _d5699