In view of the repercussions that the work of Louis Kahn has had on contemporary architecture, it is difficult to consider him a minor figure, as Philip Johnson once judged him to be. Starting with the Yale Art Gallery in New Haven, Connecticut, his first important building, Vincent Scully examines the key moments of a career which combined a zeal for the permanence and spirituality of ancient classical architecture with a Faustian conception of the artist as someone who creates forms out of nothing, a characteristic notion of the Modem Movement…[+]