Gerhard Richter is a German visual artist. Richter has produced abstract as well as photorealistic paintings, photographs and glass pieces, he is regarded as one of the most important contemporary German artists and several of his works have set record prices at auction. Richter was born in Hospital Dresden-Neustadt in Dresden and grew up in Reichenau, Lower Silesia, in Waltersdorf, in the Upper Lusatian countryside, where his father worked as a village teacher. Gerhard's mother, Hildegard Schönfelder, gave birth to him at the age of 25. Hildegard's father, Ernst Alfred Schönfelder, at one time was considered a gifted pianist. Ernst moved the family to Dresden after taking up the family enterprise of brewing and went bankrupt. Once in Dresden, Hildegard trained as a bookseller, in doing so realized a passion for literature and music. Gerhard's father, Horst Richter, was a mathematics and physics student at the Technische Hochschule in Dresden; the two were married in 1931. After struggling to maintain a position in the new Nationalist Socialist education system, Horst found a position in Reichenau.
Gerhard's younger sister, was born here in 1936. Horst and Hildegard were able to remain apolitical due to Reichenau's location in the countryside. Horst, being a teacher, was forced to join the National Socialist Party, he never became an avid supporter of Nazism, was not required to attend party rallies. In 1942, Gerhard was conscripted into the Deutsches Jungvolk, but by the end of the war he was still too young to be an official member of the Hitler Youth. In 1943, Hildegard moved the family to Waltersdorf, was forced to sell her piano. Two brothers of Hildegard died as soldiers in the war and a sister, schizophrenic, was starved to death in the Nazi euthanasia program. Richter left school after 10th grade and apprenticed as an advertising and stage-set painter, before studying at the Dresden Academy of Fine Arts. In 1948, he finished vocational high school in Zittau, between 1949 and 1951, successively worked as an apprentice with a sign painter and as a painter. In 1950, his application for study at the Dresden Academy of Fine Arts was rejected as "too bourgeois".
He began his studies at the Academy in 1951. His teachers there were Heinz Lohmar and Will Grohmann. Richter married Marianne Eufinger in 1957, he married his second wife, the sculptor Isa Genzken, in 1982. Richter had two sons and a daughter with his third wife, Sabine Moritz after they were married in 1995. In the early days of his career, he prepared a wall painting for the refectory of his Academy of Arts as part of his B. A. Another mural entitled Lebensfreude followed at the German Hygiene Museum for his diploma, it was intended to produce an effect "similar to that of wallpaper or tapestry". From 1957 to 1961 Richter worked as a master trainee in the academy and took commissions for the state of East Germany. During this time, he worked intensively on murals like Arbeiterkampf, on oil paintings, on various self-portraits and on a panorama of Dresden with the neutral name Stadtbild. Together with his wife Marianne, Richter escaped from East to West Germany two months before the building of the Berlin Wall in 1961.
Both his wall paintings in the Academy of Arts and the Hygiene Museum were painted over for ideological reasons. Much after German reunification, two "windows" of the wall painting Joy of life would be uncovered in the stairway of the German Hygiene Museum, but these were covered over when it was decided to restore the Museum to its original 1930 state. In West Germany Richter began to study at the Kunstakademie Düsseldorf under Karl Otto Götz together with Sigmar Polke, Werner Hilsing, HA Schult, Kuno Gonschior, Hans Erhard Walther, Konrad Lueg and Gotthard Graubner. With Polke and Konrad Fischer he introduced the term Kapitalistischer Realismus as an anti-style of art, appropriating the pictorial shorthand of advertising; this title referred to the realist style of art known as Socialist Realism the official art doctrine of the Soviet Union, but it commented upon the consumer-driven art doctrine of western capitalism. Richter taught at the Hochschule für bildende Künste Hamburg and the Nova Scotia College of Art and Design as a visiting professor.
In 1983, Richter resettled from Düsseldorf to Cologne, where he still works today. In 1996, he moved into a studio designed by architect Thiess Marwede. With an estimated fortune of €700 million, Richter was ranked number 220 of the richest 1,001 individuals and families in Germany by the monthly business publication Manager Magazin in 2017. Nearly all of Richter's work demonstrates both illusionistic space that seems natural and the physical activity and material of painting—as mutual interferences. For Richter, reality is the combination of new attempts to understand—to represent. Richter's opinions and perspectives on his own art, that of the larger art market and various artistic movements, are compiled in a chronological record of "Writings" and interviews; the following quotes are excerpts from the compilation: "I am a Surrealist." "My sole concern is the object. Otherwise I would not take so much trouble over my choice of subjects. "My concern is never art, but alw
Downtown Fort Worth
Downtown Fort Worth is the central business district of Fort Worth, United States. Most of Fort Worth's tallest buildings and skyscrapers are located downtown. Sundance Square began as an effort by Sid Bass to revitalize downtown Fort Worth in the early 1980s. At the time, downtown Fort Worth was in decline due to suburbanization. There were many empty gaps between existing skyscrapers and historic buildings that resulted in a pedestrian-unfriendly atmosphere. During many trips to New York City, Sid Bass was fascinated with the urban atmosphere with retail shops, office buildings, museums all working together to form one cohesive experience for the public. Sid did not want to relocate his business to New York so he brought a little of New York to Fort Worth. Sid Bass employed Thomas E. Woodward, AIA, of Woodward & Taylor Architects, a Dallas architectural firm to design Sundance Square because of his experience with historic structures and commercial buildings. Lewis Faulkner, AIA was Manager for Woodward & Taylor.
Woodward & Taylor placed the Knights of Pythias Building on the U. S. Department of Interior's list of Historic Buildings & Places. Today, Sundance Square is a pedestrian-friendly cluster of blocks in a portion of downtown Fort Worth that features bars, museums and retail. Sundance Square has offices and residential units. Most buildings in Sundance Square are either historic or reconstructed, with two modern skyscrapers designed by Paul Rudolph, a hotel being exceptions. Sidewalks in Sundance Square are paved with brick. Lewis Faulkner, AIA Sundance Square Plaza is a 55,000 square foot plaza spanning two city blocks within Sundance Square; the plaza features four large Teflon umbrellas, a permanent stage built into the Westbrook building, jetted fountains that illuminate at night, various other fountains, a pavilion that can be rented. Sundance Square Plaza is bookended by two office buildings: The Commerce. Businesses within the Sundance Square Plaza include: Bird Cafe, Del Frisco's Grille, Jamba Juice, Silver Leaf Cigar Bar and Taco Diner.
Fort Worth Water Gardens - A 4.3-acre contemporary park, designed by architect Philip Johnson, that features three unique pools of water offering a calming and cooling oasis for downtown patrons. The gardens were used in the finale of the 1976 sci-fi film Logan's Run. Bass Performance Hall - Bass Hall is the permanent home to the Fort Worth Symphony Orchestra, Texas Ballet Theater, Fort Worth Opera, the Van Cliburn International Piano Competition and Cliburn Concerts; the Fort Worth Convention Center includes an 11,200 seat multi-purpose arena. The Tower the Bank One Tower, was damaged in the March 28, 2000 tornado, it was converted into a residential tower in 2004. Before the redevelopment, The Tower was covered in plywood and metal panels, considered to be demolished; the Tower now has a new facade and a new top feature that makes it the fourth tallest building in the city. City Center Development features two twin towers, the 38-story D. R. Horton Tower and the 33-story Wells Fargo Tower. From the top, they are shaped like pinwheels.
The Hilton Fort Worth opened in 1921 and is where U. S. President John F. Kennedy last stayed; the Fort Worth district of the United States Army Corps of Engineers is downtown. The United States Postal Service operates the Downtown Fort Worth Post Office at 251 West Lancaster Avenue; the Texas Second Court of Appeals is in the Tim Curry Criminal Justice Center in Downtown Fort Worth. Tarrant County Courthouse stands at the north end of Main Street, it has been remodeled over the years and the exterior was used in Walker, Texas Ranger. Downtown Fort Worth is the central business district of the city, is home to many commercial office buildings, including four office towers over 450 feet tall. Radio Shack has its headquarters in Downtown Fort Worth. In 2001 Radio Shack bought the former Ripley Arnold public housing complex in Downtown Fort Worth for $20 million; the company razed the complex and had a 900,000 square feet corporate headquarters campus built after the City of Fort Worth approved a 30-year economic agreement to ensure that the company stayed in Fort Worth.
The company sold the building and, as of 2009, had two years left of a rent-free lease in the building. The company intended to make $66.8 million in the deal with the city. By 2009 it made $4 million. Downtown Fort Worth is home to the headquarters of Pier 1 Imports, XTO Energy, TPG Capital. Downtown Fort Worth is well-served by controlled-access highways, with freeways and parkways converging upon downtown from seven different directions: I-35W from the north and south, I-30 from the east and west, SH 121 from the northeast and southwest, US 287 from the southeast. Other highways that serve the downtown area include Bus. US 287, SH 199, Spur 280, Spur 347; the primary mass transportation hub of Tarrant County is Fort Worth Central Station, located in the eastern portion of downtown at the intersection of Jones Street and 9th Street. About two dozen bus lines operated by Trinity Metro converge at this hub, as well as the Trinity Railway Express and TEXRail commuter rail lines. Bus service from Trinity Metro is free within certain downtown boundaries.
The T operates a downtown bus circulator known as Molly The Trolley, which uses a bus designed to look like a histo
Robert Motherwell was an American painter and editor. He was one of the youngest of the New York School, which included Philip Guston, Willem de Kooning, Jackson Pollock, Mark Rothko. Robert Motherwell was born in Aberdeen, Washington on January 24, 1915, the first child of Robert Burns Motherwell II and Margaret Hogan Motherwell; the family moved to San Francisco, where Motherwell's father served as president of Wells Fargo Bank. Due to the artist's asthmatic condition, Motherwell was reared on the Pacific Coast and spent most of his school years in California. There he developed a love for the broad spaces and bright colours that emerged as essential characteristics of his abstract paintings, his concern with themes of mortality can be traced to his frail health as a child. Between 1932 and 1937, Motherwell studied painting at California School of Fine Arts, San Francisco and received a BA in philosophy from Stanford University. At Stanford Motherwell was introduced to modernism through his extensive reading of symbolist and other literature Mallarmé, James Joyce, Edgar Allan Poe, Octavio Paz.
This passion stayed with Motherwell for the rest of his life and became a major theme of his paintings and drawings. At the age of 20 Motherwell traveled to Europe with his sister, they made a Grand Tour starting in Paris went to Amalfi, Italy. From Motherwell's own words, the reason he went to Harvard was that he wanted to be a painter, while his father urged him to pursue a more secure career: "And after months of a cold war he made a generous agreement with me that if I would get a Ph. D. so that I would be equipped to teach in a college as an economic insurance, he would give me fifty dollars a week for the rest of my life to do whatever I wanted to do on the assumption that with fifty dollars I could not starve but it would be no inducement to last. So with that agreed on Harvard then—it was the last year—Harvard still had the best philosophy school in the world, and since I had taken my degree at Stanford in philosophy, since he didn't care what the Ph. D. was in, I went on to Harvard."At Harvard, Motherwell studied under Arthur Oncken Lovejoy and David Wite Prall.
In fact, it was Berger who advised Motherwell to continue his education at Columbia University, under Meyer Shapiro. In 1940, Motherwell moved to New York to study at Columbia University, where he was encouraged by Meyer Schapiro to devote himself to painting rather than scholarship. Shapiro introduced the young artist to a group of exiled Parisian Surrealists and arranged for Motherwell to study with Kurt Seligmann; the time that Motherwell spent with the Surrealists proved to be influential to his artistic process. After a 1941 voyage with Roberto Matta to Mexico—on a boat where he met Maria, an actress and his future wife—Motherwell decided to make painting his primary vocation; the sketches Motherwell made in Mexico evolved into his first important paintings, such as Little Spanish Prison, Pancho Villa and Alive, both in the MoMA collection). It was Matta; the Surrealists deployed the process of automatism, or abstract “automatic” doodling to tap into their unconscious. This concept had a lasting effect on Motherwell, but it was conceptually changed, when Motherwell met Wolfgang Paalen in Mexico and decided to prolong his stay and to spend several months in his studio.
Motherwell's famous Mexican Sketchbook visually reflect this conceptual change: while the first drawings are somehow analyzing copies of examples by Matta and Yves Tanguy, the drawings, done in Paalen's atelier or during his studies with Paalen show more plane graphic cadences, swelling ink-spots as a pictorial access to yet unseen or possible figurations, remembering the fumage-spots which relinquished traditional aspects of perspective and suggested swelling ephemeral shapes. It was Paalen who introduced Motherwell to André Breton with an introduction letter; the consequences and influences on various levels and on other American painters such as Jackson Pollock, Lee Krasner and William Baziotes, whom Motherwell befriended in New York after a trip to Mexico, are not explored. In 1991, shortly before he died, Motherwell remembered a "conspiracy of silence" regarding Paalen's innovative role in the genesis of Abstract Expressionism. Upon return from Mexico Motherwell spent time developing his creative principle based on automatism: "what I realized was that Americans could paint like angels but that there was no creative principle around, so that everybody who liked modern art was copying it.
Gorky was copying Picasso. Pollock was copying Picasso. De Kooning was copying Picasso. I mean. I was painting French intimate whatever, and all we needed was a creative principle, I mean something that would mobilize this capacity to paint in a creative way, that's what Europe had that we hadn't had. And I thought of all the possibilities of free association—because I had a psychoanalytic background and I understood the implications—might be the best chance to make something new which everybody agreed was the thing to do."Thus, in the early 1940s, Robert Motherwell played a significant role in laying the foundations for the new movement of Abstract Expressionism (or the New York School
Sundance Square is a commercial, entertainment and residential district in downtown Fort Worth, Texas. Encompassing 36 blocks, Sundance Square includes a wide range of restaurants, entertainment venues and residential buildings; the area is a few blocks from the Tarrant County Courthouse and a short distance from the Fort Worth Convention Center and the Intermodal Transportation Center, a regional hub for ground transportation. History- Sundance Square began in the late 1970s, when downtown Fort Worth was experiencing severe urban decay. In 1979, Bass Brothers Enterprises began to buy land and buildings in the center city, they renovated old buildings and built new ones, opened restaurants and nightclubs, started the transformation of downtown Fort Worth. In homage to Fort Worth’s past, they named the entire area after the Sundance Kid, who with his more famous partner, Butch Cassidy visited Fort Worth. In developing Sundance Square, major efforts were made to preserve the historical integrity of downtown Fort Worth, from the vintage bricks on Main Street to the careful restoration of structures built in the early 20th century.
Developers made sure that the area was friendly to pedestrians through generous sidewalks and storefronts facing the street. Arts and entertainment- The Nancy Lee and Perry R. Bass Performance Hall, a 2,056-seat space known for its fine acoustics and the two 48-foot limestone angels on the building’s exterior, is located in Sundance Square, it It hosts performances by the Fort Worth Symphony Orchestra, Fort Worth Opera, the Texas Ballet Theater and the Cliburn Concerts, as well as touring performers and Broadway shows. Sundance Square includes three live theaters – Circle Theatre, Jubilee Theatre and Four Day Weekend – as well as the AMC Palace 9 movie theater, Hyena’s Comedy Club and multiple venues for live music, including Scat Jazz Lounge and the Flying Saucer. Another attraction is the Sid Richardson Museum of Western Art, which houses an important collection of works by Frederic Remington, Charles M. Russell and their contemporaries. Shopping and dining- Sundance Square includes more than 30 places to dine, from upscale restaurants like Del Frisco’s Grille, Waters and Istanbul Grill to more casual fare like Riscky’s Barbecue, Five Guys Burgers and Fries and Razzoo’s Cajun Café.
Shoppers can choose from national stores like H&M, Overland Sheepskin Company and White House Black Market or locally owned boutiques like Willow House and Yours Truly. Many of these shops are located on Houston Street, a center of Fort Worth shopping in the 1950s and is once again a commercial hub. Sundance Square Plaza- Opened in 2013, Sundance Square Plaza is a 55,000-square-foot, European-style palazzo that hosts concerts, movies and other events, it includes multiple water features, including 65-foot wave wall. Four 32-foot umbrellas are another focal point. Constructed of telescopic masts, folding steel frames and Teflon fabric, the umbrellas create translucent shading during the day and at night are lit up with LED lights. Sundance Square Pavilion, a 1400-square-foot space designed to accommodate a varity of events, stands on the north side of the Plaza. Architecture- Many of the structures in Sundance Square were built in the early part of the 20th century and have been restored; the development includes constructed buildings designed to complement the existing architectural styles.
Notable buildings include: - Burk Burnett Building – Fort Worth’s first true skyscraper, built in 1914, restored in 1980 - Chase Bank Building – 12-stories, 207,600 square feet of Class A office space - Bank One Tower – 38-story, 819,929-square-foot glass tower, all Class A office space - Domino Building – built in 1885, reconstructed in 1981 - Knights of Pythias Club Building – constructed in 1881 - Wells Fargo Tower – 33-story tower offering 716,533 square feet of Class A space - Western Union Telegraph – built in 1930-31 - Woolworth Building built in 1926 Sustainability- Through its relationship with Green Mountain Energy, Sundance Square is Texas’ largest green power purchaser in the real estate industry. The development uses 100% renewable industry throughout all of its 42 buildings. Sundance Square recycles plastic bottles, aluminum cans, copy paper, cardboard boxes and other materials, amounting to 750 tons of waste being recycled every year. Honors and recognition #1 Best Downtowns of 2014 by LIVABILITY Award of Excellence 2010, Urban Land Institute Charter Award, CNU Distinguished Building Award, TEXO Downtown Fort Worth, Inc.
Trailblazer Awards· Placemaking o Bass Performance Hall Sundance Square Sundance Square Plaza Sundance Square Christmas & New Year’s Eve Celebration ·Sustainable Development o Sundance West & Sanger Lofts · Promotion & Marketing o Sundance Square Super Week o The Walking Guy o Sundance Square Mobile Application o Sundance Square Valet Program · Chairman’s Award o Molly the Trolley Golden Trowel Award from the United Masonry Contractors Association National Excellence in Construction Pyramid, Associated Builders and Contractors, Inc. Pinnacle Award, International Downtown Association Regional Award of Excellence in Sustainability for a Business, SPA Top 30 EPA Green Power Partners list 2017 International Making Cities Livable Honor Award Built Project Vandergriff Award, Fort Worth Chamber of Commerce List of Neighborhoods in Fort Worth, Texas Caravan of Dreams Reata Restaurant Sundance Square Reata Restaurant Sid Richardson Museum
Philip Guston, born Phillip Goldstein, was a painter and printmaker in the New York School, an art movement that included many abstract expressionists like Jackson Pollock and Willem de Kooning. In the late 1960s Guston helped to lead a transition from abstract expressionism to neo-expressionism in painting, abandoning so-called "pure abstraction" in favor of more representational, simplified renderings of personal symbols and objects, his existential, lugubrious images after 1968 employed a limited palette. Guston was a lecturer and teacher at a number of universities and so he is regarded for his words and teachings, collected in the 2011 book Philip Guston: Collected Writings and Conversations. Philip Guston was born in 1913 in Montreal. Guston moved with his family to Los Angeles as a child, his Ukrainian Jewish parents had escaped persecution when they moved to Canada from Ukraine. Guston and his family were aware of the regular Ku Klux Klan activities against Jews and others which took place across California.
In 1923 owing to persecution or the difficulty in securing income, his father hanged himself in the shed, the young Guston found the body. Guston's early art was representational, his mother supported his artistic inclinations and he made drawings in an environment of his choosing: a small closet, lit by a hanging bulb. Guston began painting in 1927 at the age of 14, when he enrolled in the Los Angeles Manual Arts High School. Both he and Jackson Pollock studied under Frederick John de St. Vrain Schwankovsky and were introduced to European modern art, Eastern philosophy and mystic literature. During high school and Jackson Pollock published a paper opposing the high school's emphasis on sports over art, their criticism led to both being expelled, but Pollock returned and graduated. Apart from his high school education and a one-year scholarship at the Otis Art Institute in Los Angeles, Guston remained a self-taught artist. At the Otis Art Institute, Guston felt unfulfilled by the academic approach which limited him to drawing from plaster casts instead of the live model.
Before leaving the school, Guston spent a night in the studio making drawings of the figurative plasters scattered all over the floor. In 1931, the 18-year-old Guston produced an indoor mural with Reuben Kadish in an effort by the local John Reed Club of Los Angeles to fundraise money in support of the defendants in the Scottsboro Boys Trial; this mural was defaced by local police forces, known as Red Squads. The subsequent court ruling found no fault on the part of L. A. police though irreversible damage was sustained to many works of art. This marks just one instance of political corruption witnessed by Guston, a theme which he would return to paint in his late style. In 1934, Philip Goldstein, along with Reuben Kadish, joined poet and friend Jules Langsner on a trip to Mexico, where they were given a 1,000-square-foot wall in the former summer palace of the Emperor Maximilian in the state capital of Morelia. A two-page review in Time magazine quoted Siqueiros's description of them: "the most promising painters in either the US or Mexico".
In Mexico he met and spent time with Frida Kahlo and husband Diego Rivera. In 1934-35, Guston and Kadish completed a mural that remains to this day at City of Hope Medical Center, a tuberculosis hospital at the time, located in Duarte, California. In September 1935, at 22 years of age, he moved to New York where he worked as an artist in the WPA program during the Great Depression. In 1937 he married artist and poet, Musa McKim, whom he first met at Otis, they collaborated on several WPA murals. During this period his work included strong references to Renaissance painters such as Piero della Francesca, Paolo Uccello and Giotto, he was influenced by American Regionalists and Mexican mural painters. In 1938 he painted a post office mural in the US post office in Commerce, entitled Early Mail Service and the Construction of Railroads. Italian painter Giorgio de Chirico was a powerful and enduring influence, who Guston acknowledged throughout his career. Guston's daughter, Musa Mayer, recalled how the artist kept a de Chirico monograph in his studio in her book Night Studio: A memoir of Philip Guston, he would refer to it.
Guston's first foray into teaching was as an artist-in-residence at the School of Art and Art History at the University of Iowa from 1941 to 1945. He completed a mural there for the Social Security building in Washington, D. C. before turning to easel painting. He had his first solo exhibition in 1944. Afterwards, he was an artist-in-residence at Washington University in St. Louis, Missouri until 1947, he continued with his teaching at New York University in New York City and at the Pratt Institute in Brooklyn. Much from 1973 to 1978, he conducted a monthly graduate seminar at Boston University. Among Guston's students were two graduates of the University of Iowa, painters Stephen Greene and Fridtjof Schroder, as well as Ken Kerslake, who attended the Pratt Institute. Rosemary Zwick was among his pupils at Iowa. Among those who attended his graduate seminars at Boston University were painter Gary Komarin and new media artist Christina McPhee. In the 1950s, Guston achieved success and renown as a first-generation abstract expressionist, although he preferred the term New York School.
During this period his paintings consisted of blocks and masses of gestural strokes and marks
Fairmount–Southside Historic District
The Fairmount–Southside Historic District is a 340-acre historic district, listed on the National Register of Historic Places since 1990. Structures in the district represent Late 19th and Early 20th Century American Movements architecture, Late 19th and 20th Century Revivals architecture, Late Victorian architecture, it includes the Meredith Benton House, the Johnson-Elliott House, the South Side Masonic Lodge No. 1114 which were listed on the NRHP. The Benton House and Masonic Lodge are Recorded Texas Historic Landmarks along with the Grammer-Pierce House, the Gunhild Weber House, the William Reeves House; the listing includes one other contributing structure. It is asserted to be the largest historic district designated in the southwestern United States; the webpage title for the entity describes itself as "Fairmount National Historic District", while the webpage itself names it "Fairmount Historic District". National Register of Historic Places listings in Tarrant County, Texas Recorded Texas Historic Landmarks in Tarrant County Media related to Fairmount-Southside Historic District at Wikimedia Commons
Louis Isadore Kahn was an American architect, based in Philadelphia. After working in various capacities for several firms in Philadelphia, he founded his own atelier in 1935. While continuing his private practice, he served as a design critic and professor of architecture at Yale School of Architecture from 1947 to 1957. From 1957 until his death, he was a professor of architecture at the School of Design at the University of Pennsylvania. Kahn created a style, monumental and monolithic. Famous for his meticulously-built works, his provocative proposals that remained unbuilt, his teaching, Kahn was one of the most influential architects of the twentieth century, he was awarded the RIBA Gold Medal. At the time of his death he was considered by some as "America's foremost living architect." Louis Kahn, whose original name was Itze-Leib Schmuilowsky, was born into a poor Jewish family in Pärnu in Russian Empire, but now in Estonia. He spent his early childhood in Kuressaare on the island of Saaremaa part of the Russian Empire's Livonian Governorate.
At the age of three, he was captivated by the light of the coal. He put the coal in his apron, which burned his face, he carried these scars for the rest of his life. In 1906, his family emigrated to the United States, as they feared that his father would be recalled into the military during the Russo-Japanese War, his birth year may have been inaccurately recorded in the process of immigration. According to his son's 2003 documentary film, the family could not afford pencils, they made their own charcoal sticks from burnt twigs so that Louis could earn a little money from drawings. He earned money by playing piano to accompany silent movies in theaters, he became a naturalized citizen on May 15, 1914. His father changed their name to Kahn in 1915. Kahn was trained at the University of Pennsylvania in a rigorous Beaux-Arts tradition, with its emphasis on drawing. After completing his Bachelor of Architecture in 1924, Kahn worked as senior draftsman in the office of the city architect, John Molitor.
He worked on the designs for the 1926 Sesquicentennial Exposition. In 1928, Kahn made a European tour, he was interested in the medieval walled city of Carcassonne and the castles of Scotland, rather than any of the strongholds of classicism or modernism. After returning to the United States in 1929, Kahn worked in the offices of Paul Philippe Cret, his former studio critic at the University of Pennsylvania, with Zantzinger and Medary in Philadelphia. In 1932, Kahn and Dominique Berninger founded the Architectural Research Group, whose members were interested in the populist social agenda and new aesthetics of the European avant-gardes. Among the projects Kahn worked on during this collaboration are schemes for public housing that he had presented to the Public Works Administration, which supported some similar projects during the Great Depression, they remained unbuilt. Among the more important of Kahn's early collaborations was one with George Howe. Kahn worked with Howe in the late 1930s on projects for the Philadelphia Housing Authority and again in 1940, along with German-born architect Oscar Stonorov, for the design of housing developments in other parts of Pennsylvania.
A formal architectural office partnership between Kahn and Oscar Stonorov began in February 1942 and ended in March 1947, which produced fifty-four documented projects and buildings. Kahn did not arrive at his distinctive architectural style. Working in a orthodox version of the International Style, he was influenced vitally by a stay as Architect in Residence at the American Academy in Rome during 1950, which marked a turning point in his career. After visiting the ruins of ancient buildings in Italy and Egypt, he adopted a back-to-the-basics approach, he developed his own style as influenced by earlier modern movements, but not limited by their sometimes-dogmatic ideologies. In 1961 he received a grant from the Graham Foundation for Advanced Studies in the Fine Arts to study traffic movement in Philadelphia and to create a proposal for a viaduct system, he described this proposal at a lecture given in 1962 at the International Design Conference in Aspen, Colorado: In the center of town the streets should become buildings.
This should be interplayed with a sense of movement which does not tax local streets for non-local traffic. There should be a system of viaducts which encase an area which can reclaim the local streets for their own use, it should be made so this viaduct has a ground floor of shops and usable area. A model which I did for the Graham Foundation and which I presented to Mr. Entenza, showed the scheme. Kahn's teaching career began at Yale University in 1947, he was named as the Albert F. Bemis Professor of Architecture and Planning at Massachusetts Institute of Technology in 1956. Kahn returned to Philadelphia to teach at the University of Pennsylvania from 1957 until his death, becoming the Paul Philippe Cret Professor of Architecture, he was a visiting lecturer at Princeton University School of Architecture from 1961 to 1967. Kahn was elected a Fellow in the American Institute of Architects in 1953, he was made a member of the National Institute of Arts and Letters in 1964. He was awarded the Frank P. Brown Medal in 1964.
In 1965 he was elected into the National Academy of Design as an Associate Academician. He was made a member of the American Academy of Arts and Sciences in 1968 and awarded the AIA Gold Medal, th