“It fascinates me to answer questions to which I do not know the answer”. For Louis Kahn, as with other great artists of the past and of today, all things lead back to a focal point: the idea of a search, be it for understanding of things greater than oneself, for that which is unknown, or for a deeper understanding of that which is seemingly known. All paths of inquiry are at once parallel while they may curve and splay in infinitely varied directions – for the poet, the author, the artist and the Architect are all engaged in the same art – that of drawing out that which is within … By that I mean this: that whether a man is engaged in a painting, a drawing, a building, a piece of sculpture, or the problem of composing a musical piece, a work of literature or even the way he will spend his day, that he does so ‘in art’. It could then be said that through these (be it infinitely varied) artistic expressions we begin to grasp the meaning of life: “to express … to express hate … to express love … to express integrity and ability … all intangible things”. A major recurring theme for Kahn seems to be the ‘realization’ as an extremely critical moment in an individual’s consideration of a certain question or observation of a specific entity. While speaking on the evolution of or emergence of the singular column from the massive wall, Kahn states that “such realizations come out of nothing in nature. They come out of a mysterious kind of sense that man has to express those wonders of the soul which demand expression.” – in short, if man did not desire the expressive act, the ‘discerning opening’ mentioned in this process of the emerging column would never have come about … man would have stopped at the crude opening in the wall and felt compelled to do nothing more. However, it is through such realizations (stemming as they may from such desires to express) which lead to the uncovering of the nature of, and in turn the order of, a certain thing or idea.