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page116from Building Ideas
described the importance of the sculpted
ground-plane, in the definition of a significant place. The dramatic
juxtaposition with a hovering roof-form, such as the outside of the Sydney
Opera House and the inside of the Bagsvaerd Church in Copenhagen, displays a
similar Heideggerian preoccupation with the building as an interface between
earth and sky. Norberg-Schulz also wrote on Louis Kahn, in another of his later
essays, discussing particularly his distinctive design approach which is
reminiscent of Husserl’s bracketing. When beginning a project for a school,
Kahn tried to abandon his preconceptions and to rethink the nature of the
institution in terms of its essential characteristics:
Schools
began with a man under a tree who did not know he was a teacher, discussing his
realization with a few who did not know they were students. The students
reflected on what was exchanged and how good it was to be in the presence of
this man. They aspired that their sons also listened to such a man. Soon spaces
were erected and the first schools became.20
Kahn
thought of these “institutions” as the basic structures of society and it was
the task of a meaningful architecture make them visible to humanity. At the
same time a building should make visible the essential “structures” of the
natural environment, particularly the characteristics of the local landscape
and the changing conditions of natural light. The buildings for the Salk
Institute in California and the Kimbell Art Museum in Fort Worth both reveal
these preoccupations in their overall layout and choice of materials. The Salk
provides a monumental plaza which opens the building up to view the wider
landscape, and – as Heidegger would appreciate – to “receive” the sky. At the
Kimbell, Kahn’s textured surfaces illustrate his idea of materiality as “the
giver of light”, and also echo his famous saying that the sun never knew how
great it was until it struck the side of a building.”21
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