ABSTRACT
Louis Kahn’s 1951 commission for the Yale University Art Gallery, New Haven, marked the turning point in his career. It was with this building that he first achieved the uncanny synthesis of form, technique and significance that was to give his later buildings their unique place in the history of architecture. He twice returned to the art museum and gallery form in the commissions for the Kimbell Art Museum at Fort Worth, 1966–72, and the Mellon Center for British Art also at Yale, 1969–74. In each scheme he embarked upon a reconsideration of the very fundamentals of the problem to arrive at a totally different solution. 1
