路易斯·卡恩（Louis I. Kahn，1901-1974）坚信建筑在社会中的价值和重要性。卡恩认为，精心设计的建筑可以影响和改善人们的生活。他以其不朽的建筑项目而闻名，也因其作为建筑艺术家，教师和哲学家的角色而闻名。乍一看，卡恩的作品在形式和程序上显得过于简单（Paulus等，2006）。然而，经过更仔细的调查，令人难以置信的程序复杂性和设计创新的层次变得明显。卡恩（“娄”，他的朋友和亲密的同事）在他的哲学坚决认为，建筑是思想的空间设计，其设计可以而且应该同时揭示其建设的故事，满足居民的审美和功能需求他们（Paulus等2006）。他坚信，建筑不仅要求实际和审美的需要，而且要追求服务人民和社区的人文需求。他不断地努力创造空间，引起一种精神感，这种感觉在当时的建筑环境中是缺乏的。
这种成功修复旧观念的例子之一就是卡恩对对称性的喜爱，现代建筑师通常认为这种对称性是缺乏想象力和顺从性的。卡恩设计了位于加利福尼亚州La Jolla的Salk研究所（Vollen 2006），作为建筑群的复合体，在中央喷泉的两侧相同。这样的对称是美术风格的特征，但是卡恩却没有受到这种明显倒退的影响。他说：“如果人们想看美术，那对我来说就没有问题。 “我和其他人一样对建筑感兴趣。”
Louis I. Kahn (1901–1974) believed strongly in the value and importance of architecture in society. Kahn felt that well-designed buildings could influence and improve people’s lives. He is known for his monumental building projects and also for his role as an artist, teacher, and philosopher of architecture. At first glance, Kahn’s work appears simplistic in its form and program (Paulus et al 2006). Upon closer investigation, however, layers of incredible programmatic complexity and design innovation become apparent. Kahn (“Lou,” to his friends and close colleagues) was resolute in his philosophy that architecture is the thoughtful making of spaces whose design can and should simultaneously reveal the story of their construction and meet the aesthetic and functional needs of the people who inhabit them(Paulus et al 2006). He believed strongly that architecture should appeal not only to practical and aesthetic needs but also to the humanistic needs of the people and communities it serves. He was continually striving to create spaces that evoked a sense of spirituality, a sense he felt was lacking in the built environment of that time.
One example of this successful rehabilitation of old ideas was Kahn’s affection for symmetry, which modern architects usually saw as unimaginative and conformist. Kahn designed the Salk Institute in La Jolla (Vollen 2006), California as a complex of buildings, identical on either side of a central fountain. Such symmetry was characteristic of the Beaux-Arts style, but Kahn was unperturbed by this apparent regression. “If people want to see Beaux-Arts it’s fine with me,” he said. “I’m [as] interested in good architecture as anybody else.”