PERHAPS THE LESS SAID, the better? In college, I was both
saved and bored by Louis Kahn.
Kahn is a hallowed figure in the field of architecture, perhaps
the last heroic, “form-giving” Modern Master. As his son Nathan-
iel portrayed him in the 2003 documentary My Architect, Kahn was
the ultimate “architects’ architect” — an exemplary, almost mysti-
cal practitioner of the building arts. But when I first encountered
Kahn’s projects as an undergraduate at Yale in the mid-1980s, I