IS Cite Spring 1990

Mr. Brown Keeps His Dreamhouse

No one ever accused Lou Kahn of encour-aging his clients to think small. His project for Rice University ( l % 9 ) yielded an arts and architecture building nearly l.(HH) feel long, its awesomeness over-shadowed only by his proposal to invest the adjoining acreage with a performing arts center that would have sufficed for a small city.' As Marshall Meyers, his project architect for both the Yale Center for British Art (1969-77) and the Kimbel l Art Museum in Fort Worth (1966-72), recalled: "Many times he designed a building that was too big. Yale was too big. He didn't think about size. His very first design for the Kimbell was six hundred feel on a side, and the director. Richard Brown, started comparing it to the scale of the Grand Canyon. It occu-pied almost three-quarters of the site." :

So it is not without a touch of irony that many of Kahn's admirers were moved to protesl I he recenllj proposed but since abandoned project for the expansion of the Kimbel l prepared by Mitchell CSiur-gola Associates, acting on the instructions of Edmund Pillsbury. As director of the Kimbell since 1980 and a previous tenant of Kahn"s while director of the Yale Center for British Art (1976-80). and before that curator at the Yale University Art Gallery (1972-76). Pillsbury. no less than Romaldo Giurgola, realized the delicacy of the situation and sought to preserve the integrity of Kahn's landmark.

No one can know what Kahn himself would have wished, though this scarcely inhibited speculation. Giurgola asserted that his proposed wings followed Kahn's all-but-exprcssed intentions for just such a contingency.' But Giurgola's set-back enfilade of Kahn-like vaults, held apart from the flanks of the original by "un-seamly" circulation notches, dispelled the three-bay taulness of the original, pro-ducing a five-bay-plus front that Paul Goldberger characterized as "stretch limousine architecture." 'The more pru-dent and conservative course, thai of leaving well enough alone, was reached only after a winter o f vocal discontent. As it so happened, the public laundering of the Kimbel l 's new clothes also mirrored the attitude of the Kimbell 's first director and client of record, Richard Brown, conveyed in a letter of July 1967 reacting to the size and scale of Kahn's init ial designs, It is reproduced here along with a diagram Brown prepared in November 1968 that compared the 450-foot-long front of Kahn's scheme of the moment with the 600-foot length of Eero Saar-inen's Dulles Airport.s The diagram was signed "Richard the Chicken Hearted." Ultimately. Kahn was persuaded to take less for an answer. The front of the Kimbell as built measures .11K feet, which Giurgola's expansion would have in-creased to a Dulles-like 558 feet.

Brown's fear of Hying at the Kimbell was by most accounts influenced by his appreciation of the congenial surround-ings of the Frick Collection, where he began his professional career as a researcher. According to Meyers: "He wanted the building to be like a large house, like a vi l la he would say, not like the Louvre, not a palace. He had worked many years earlier at the Frick in New York and that was his model: neither

residential in scale nor palatial, but some-where in between. You should feel the presence of the building hut not be over-whelmed by it. He reiterated this many times and made it sink in . " " As director of the Los Angeles County Museum of Art (1961-65). Brown had been frustrated in his attempt to secure Mies van der Rohe as architect of its new building on Wilshire Boulevard. But for the Kimbel l . he felt that Mies was unlikely to alter his own can-onically determined procedure to accom-modate "a totally new situation with a different climate and tight."7 Brown had also come to view Louis Kahn as "the architect whose style is germinal to the second half o f the twentieth century, just as Mies was the best architect of the first half."* Although other architects were considered, he succeeded in awarding the commission to Kahn, who he believed "wou ld approach the problem like Adam'" ' and whose neo-Roman tendencies were not inconsistent with Velma Kimbell 's ex-pressed hope that the building would be "o f classical design." '"

Kahn's "noble palazzo," as Brown later called i t . " was intended to conform to the director's requirement thai ii be "a building of such an organic integrity lihat i l | cannot be built in stages, with allowances and adjustments being made for future wings, extensions or added floor levels. The form of the building should be so complete in its beauty that additions would spoil that form: and all o f the requisite functional facilities should be articulated as compo-nents of that form so that, from the outset, the museum wi l l be able to operate as a complete and vital institution."'-' Brown's active and intelligent collaboration in the actual design of the Kimbel l is again con-firmed in Meyers's recollections, though Brown, speaking for the record, was al-ways solicitous of Kahn's authorship. The definit ive, almost hermetic, ideal Brown prescribed is not above question, and indeed Kahn would have been entitled and perhaps even disposed to reconsider the finality of their mutual arrangement some 20 years later. But in his absence. Brown remains a persuasive and cautionary critic. As Kahn himself reflected in private conversation several months before he died: "Much must be given to Rick B r o w n . " " And so it has.

Drexel Turner

Notes

1 Stephen Fox. The General Plait of the William M. Hue Institute and lis Architectural Development, Architecture at Rice no. 2K 11 With. pp. S0-82,

2 "Lours I. Kahn: Yale Center for British Art." in I'nn esses in Architecture: A Documentation of Six Examples (Cambridge, Mass.: tlavden Gallery, MIT. 197*)). p. 37.

.1 Kimbell Art Museum, news release. JS July l'JH°, p. 4: ' " i l was almost us if Kahn Itad lefl "design intent" instructions for how the Museum could he expanded ul some later dale.'"

4 Paul GotdbergCT, New York Times, 21 December 1989,2:33.

.1 Brown to Kahn. 12 July 1967 and 5 November I'JoK. Correspondence. Dr. R. Brown. March 1966 through December 197(1. Box LtK XI. Louis 1. Kahn Col let lion, I niversilj oj Pennsylvania and Pennsyl vania Historical and Museum Commission. These were brought to my attention hy Patrick Peters. assistant professor at the University of Houston College of Architecture. Brown's correspondence is also noted in Patricia C. Loud, The Art Museums of Louis I Kalmi Durham: Duke University Press. I9H9), pp. 111-13, 131, 162, 164.

6 "Louis 1. Kahn: Conception and Meaning." Architecture ami Urbanism, extra ed., November 1983, p. 223.

7 "Interview with Richard p. Brown," Art in America, September/October 1972. p. 44,

X Peter Plagens, "Louis Kahn's New Museum in Fort Worth."Artforum. February I96K. p. 19.

9 "Interview with Richard F. Brown," p. 44. 10 Leonard Sanders, Tort Worth Star-Telegram,

9 November 1964. 11 Brown lo Kahn, 15 March 1971, Kahn Collection

(see note 5 above). 12 Richard F. Brown, "Kimbell Art Museum: Pre-

Architectural Program. 1 June 1966." in Richard Saul Wurman, ed.. In Pursuit of Quality: The Kimbell Art Museum (New York: Harry N. Abrams, 1987), p. 319.

13 I .ouis I. Kahn in conversation with Richard Saul Wurman, October 1973. in What Will Be Has Always Been: The Words of Louis Kahn (New York: Riz/ol i , 1986). p. 236.

The Kimbell Arr FiMiniirion. IVntWHlh una

VjJr* 400. Ftur Wo.* , Club Ktiding

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M i . L w n l , Kahn l » < Waln.,t SIMM PKiloaeljth.o, Penntrlronia

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Attrjr perhapt loo much t in*** ring an H*i nu iwM plant, and a id F innimerabli dJtcuuiont from time I D tim* ">th Board i v i b t i i , iingly o» In proupi, and flh»' d * l i t w i q t e " l u t i n g i ' of m r i n r n p u n j i _ • rK &rh«M l l p f l - n m L e n , and a f l a t l i y . n g

to find (on* concite way at wiring D W I .nbrief outlini Intm the letuhi of my limmeiirtgi, I find thol I con only limply tH dawn, and erito a letter and hope tho Ihoughh mafcr tenie and Com* out in w « e kind pf order.

Fint, rtobodr •rami to pud* ai rudi anything, bur I hove noted en increasing uneoiirteii on |h« pari p' nnpa*iant h a r d m*mb*i* about no* teeing any pTognt*. I heprm convinced thetTi Rial thingt ••ill be infinitely bellrr in (hr long rurt i l , ol thhi ttage, w» keep everything at f le* ibl i end at wide open at pottibl* v that n*a** thoughl can be applied fa botkl b*for« WB a** permitted1 la cryttol Italian* which wight not be .deerl Thii ihey buy, to tat, faul I don'r worn la reach a acini • htm • « might lot* their f»N confidant*. Knowing Kan oil reepamibli people ofwrotr wh*n they * u l l b* rvtpontiblr 41 • Q>Oup. I went lo avoid a point * r n r t everyone and hit gioftdmothei beglnt lo »gg*t t tolulloni tbenuelvat * h t n Ihey don't hove the laquiii l i background 10 lot** in* problem t tonfrtMlted.

Second, I think it it tli l l p*rl*tl1r tnj» to POT A W ' " * bain p'inciplp aF daiiajn and «victpl>on <?f th« building, at pfvwnltd 10 For, it wholly ond cartiplvlsly liknJ M o t f"tm Brat if i i found *KCH*ing and In ebnalut* haman r _ l th >haT -* of* * n * iiloning, and *>»• m* axpaGl to K/ncllon Ih I I . In athar wardt, * • ar* "A-O.K.".

Th* aftly aa^act of rh* eoncvpf ton to which lh« -o td "appfahwntlva" ntlghl ba appl l td It th* SIZE I Four-JmndWd *w*t tovo™ U o "»**l of a big *qv«n>, snd Ir mighl ia*m, In ifip wt l inn, tYn citj. and in rotalHon to n«ighbcning iniillullont„ *< t . , JM't plain mi«ntaliDut. WiHiin that big tquan you * Ind up wiHt an enfiil

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Far left: Richard F. Brown with model of penulti-mate design for the K imbe l l Art Museum, October-November 1 9 6 8 .

Left: Richard F. Brown to Louis I . Kahn, 1 2 July 1 9 6 7 .

Thr Ktthhrll j \«-

M i . louit I. Kahn July \3, « w ; Pop* 1

c ipcii:* il r-nmfi'tiDnad, i'luminaiad, ate. ,r and acn t af float ond •roll tunlaca thai Tiuit b* c l*an*d, * a i t d , «napp*d, murfp^pd upnn accation, a t e . , »tc. ; all af which coiti ntonty ond laboi ra do, and I n»ont at Auch tiotay at pPHrbla tavad Iran tnainfananc* to I can bur mc-n> and mar* arf at lrt« f * a n poll hf. n«r jvfi ka*p up ih* hauia. And I *anl iha la ta ' prknatlly appUad la putling

tvlatad lo th* t i i * qua i l l on It th* ir icklt i ana af SCALE. (I don't knew anS*rh*r other p*opl* t*p4tQta hilt and K a l * r a» nhalhar any ana will Inav whol 1 moan bp delng » ; but I will trw *a atuCldant I Th* Gtitnd Cdnytm it ^ntl rt<d \ti icale 11 erattfi I'lQhl barauta 111 nwtl «rfacllya natuta LI to b* awatam*lr hug*; t i ia and « a l * a n in balanc*, at hamgny^ fat datinrd afntCt. Th* Rococo chuich al ffin it liny hacout* il t i t i in a M M U vollty whan nalur* it "maniaurad' down ICT tha poihl what* it Ii Ih* anall cllppad and culllvarrd a*ta-(t fhot -count, bacauw rha social and r*Pigioui fr* lmg n.ri*n il * 4 t built * m a w in whitfi rh* w b l U w a H '*rinam#ntt w a n what cammunicatad; and bacovH • rflryfhing on il and in it i.ai CAfv*d( painrvd at inald#d w ttigl ttvlitat y gi datall it a primary tiaant of ochi*v Ing aaith*tic inlvgiHty — a contplalant-u and a unity ai u l « l irtg {1 C4R « M now rhat I ihquld hov* utad High RmaUtanca and Baroqv* Si. PwnW*! Intliad at rha Grand Canron. O * , walll> I h * Giand Canyon a* Si- r*»i^'t at m*qnT h> b* a w ful l , wh*i*ai rh« taniilH-r* tointi and pink-tallad charvbi^i In Wirt * * r * wppawjd h> >nala thai pal 11* and cov'tly old iawarianr -.+i.l« trtoc-Ting thpuugh Sunday H r i l U j l*al at MCi/ft and inilntni* -inS Gad antf th« w i t u m at doat a -ram bath b*hlnd a doof ballad ogoimt any pouibl* nlruiion. Th* a**tdg* t i t * pi£i»r* an th* >nJIi of rh* KAM m[II b* afaavl 3 1,7 f t * l in on* dlncllon and 3 or 4 4a*r in 4h*orh*r. 'Soma a) h\*n> p f . f . l HH-Of l£th Cantvry lio'ion panvft) a n all of 12 inchai in th* large-it dimaniion. In addition, matt af th* bait picrur*t put of th* otigiiyil p' i .at* 4oll*crion mad* by |h* Kiipballi at* wry "g*nhr*l", "polit*" rap n w n fat ion I al fan lodiaij linear H i l l * chifdnn and lifwjulorly pv>* yOung man. And p*opl* lodojr (• . * , lha iwuHurn vitilar^ a n ganarally only about i 1/3 n a t hrgh, and they ha>i a iraa-itm lot n t . m , ^ of O M K * raih*r than * ipani iv*n*t t .

All thai h> vry that I'm >o<'i*d aboui h laohittg ol oui l i Inch & a . r w t l dl Pea that which goat up to JO n* t .

v a l-til» old lady Imm Abilene +i going ID hnf I an a «e l l 15 f**' * * r t lce l , with a voull abov*

fo realty gal ut between tqvote Kxitoge "t fleo< Diler a '

ihe bull't Komi, I now etuil My tttal we need *n*ty inch aF Ipac* pnrtently allecafable re gaJleti**, eudltetiuevffTicei, el

4ui , how about thLt 7 IF th* renlcel gollaty wellt « t * reduced re 13 feet, froaorflun and K O U af | h * other ditnenilani rhuit Jirink too, not fni t could "igk • tcole men airuned to n>* ledT from Ahilma and Gievanni di r*a«lo Th*nr to ivdece m e and cubic tpoce, - i thoui i*duc<ng touai* footage of that* too e n ^ t n *•* need l l e>otl fat our lunclian: 1 indut* i l ie t oj inn*r *nc1oted covri|PoriFt a bit , 2. i h m * a lot war* inlo i h * ground l ive l wett of the parking v u c t . putting olficei. libraiy, e t c . , * rc . afewrtd Ih* larget courfyatd at tower level, 3. npduoe the wtdth of rh* control

It* KMU .' •• M i . - L o y l t l , Kehn July I ! . W

chFculotionert.iT. rh* "gallerio", coniidetabfy. Thii latter taorun hoi been wpttylngj me conttdetebly, II %,,w 1, "Imperial- m it tionaS tw*- 60>4uOtea lJ Whew 111 It would give a lirtl Impieuion, to anyone aniering th* muteun r̂cm «i|h*r direcllon, the feeling of a pretty empty muteum. Finding ih* klndt ol «ri abjeeH that could go Into a tpot- Irk* fhot it pretty nigh -mpouible theta doyt, tine* Pergemon Allort or Ithtqi Calet at* nat coming out anymore The idea, of rhii p a c * , Irt location, the way IF would function, * i c . | nilt |ov». but I'm tcared by ih* l i te and (he Ka le .

A|1 of the above hat to do alio * ilh ih/le. We wanr in* direct, timplr. «panli thell at tlrvgtvral ToLdlFv and tntegiily, which ii inherently then ol ready Pul tamthow w* alia mutt gch l * * * the warmth and charm I exka ol In the orogrom. We can't do Il with Bailed boiteri* , Vjtluvien pldlter and point, FJyJan! rn* 111* a, Colhic Papat' n ie i . The ti<e>Kele quetllan, Jf ad|wtled tucceuhilfy, wil l help, then moierioh end th.ir irrqtKHii; colot and lenhitet. Matt af the a b j K h o n eehlbit in the bulfd-Ing will be of the kind rhot look puti great In en IFJth century French chateau ol ejfall* tephltticated elegance ond dchneu; we can't do rhot I Put, within rh* integrity gl thii building * • tgrh* feeling thrxild prevail.

Further ittoughl about |h* "one (Toot level* mania af nine: Ihifft In I * * N I would be iirtr Fine if they OCtui between go! Ii*y floor and a oouiryard at tight well o> etiNilot loggia, lu l J tlill hold la the principle thpt the Hwor ol th* main level, -nude, and where the gallery circulation it , mutt be without o tingle ifep, f i le , drop, lippc, ihrethufd, hwmfi at pintpl*

I * . th* nanvw irrip * y l igtit and ihe long utility con beneath: rhii i, t l i l l a brllllofii Hlutlon ir « ten Find the right r/vapa far the con and the light nlatlamfilp la- rh* vault to thai | | hefpt the effecrt I ' .e been talking about above. Do vou nol ly thin* w* ihould da a tcole mock-up? Ugh I But maybe w* would have it. in pidjat to i n n

I have lofi of other ideae, but the above quoilloni. I think, wSpild get pH*ed fir«i Then maybe ihingi which, if brought up now, would muddy the eo ten , aftirwatd mighl eotily fall into place.

All belt regaidt, and 1*t me know nrten w* cqn g*i r«gj*th*r (or o -real big powwow and Moil really rolling.

Sincerely,

hch«rdF_ l r e . n

Oi-ectar

Below: Richard F. Brown to Louis I. Kahn, 5 November 1968 .

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Ftlimi^lJi l l lMii l l i l i-.v UWJg I K J I I I I ( ' i i l l rL l i in . Univi-IMH m [Vruni K.I I I I . I j m l IVllli.v h j l l i . l o l i i a l ami Museum ru ramiu iun .