Louis I. Kahn and Richard Kelly: collaborative design in creation of the luminous environment

Abstract

Editor names and surnames have been written as full. AQ18:The resolution of figure(s) 1,2,3 is too low. Please resupply the figure(s) in a resolution of at least 300 dpi. Reply: Figure 1, 2 and 3 as high resolution JPEG files have been attached. Comments:[COM1]Can we write the name of the gallery with capital letters as 'The Yale University Art Gallery'? Thank you for your review.

Norm and form. The “window” element as an example of revision of Turin’s regulatory system

“…The result of the work proposed in this article is to offer a tool to facilitate the use of existing building regulations, and to accompany the designer in managing the union between standard and form, not the determination of a new replacement formula compared to the sector's literature, which deals with natural lighting (Boubekri 2004;Imrie 2004Imrie , 2007Jalilzadehazhari et al, 2019;Kacel and Lau 2018;Kangas 2018;Mardaljevic 2008;Mardaljevic et. al., 2011).…”

“…This is because of the relationship between the internal characteristics of the buildings and the characteristics of the fabric in which they are inserted. Even if this proposal is a purely technical action, the introduction of RAI-Enhanced can feed the debate on the transformation of the ordinary city and lead to greater aware-cupa di illuminazione naturale (Boubekri 2004;Imrie 2004Imrie , 2007Jalilzadehazhari et al, 2019;Kacel and Lau 2018;Kangas 2018;Mardaljevic 2008;Mardaljevic et. al., 2011).…”

La geometría moderna de Boullée frente a la geometría clásica de Kahn: Una contradicción aparente = Boullée's modern geometry versus Kahn's classical geometry: An apparent contradiction

“…La condición de modernidad del tamaño del Cenotafio tiene en cambio un acceso clásico, predecible, visible, directo, si lo comparamos con el acceso de la Biblioteca de Exeter. Surge una analogía en el acceso a ambos edificios, basada en un recorrido, en una galería que se comprime en distintas alturas, que desemboca en un espacio interior, y que, en la Biblioteca concretamente, se traslada desde el acceso, como una prolongación a las plantas superiores, en un trayecto de distintas alturas desde la luz natural de la fachada del edificio hasta el gran espacio central de luz natural indirecta (Kacel, 2018).…”