THE SALK INSTITUTECONSERVATION PROJECT
CProject team carrying out apreliminary condition survey ofthe teak window walls.

ompleted in 1965, the Salk Institute for
Biological Studies in La Jolla, California is
one of architect Louis Kahn's finest works
and is widely considered to be a masterpiece ofmodern architecture with international significance. Kahn was commissioned by Dr. Jonas Salk,
developer of the polio vaccine, to design an inspiring campus for his new scientific research instituteon a coastal bluff over-looking the Pacific Ocean.
Kahn worked closely with Salk on the design,
which consists of two nearly identical wings oflaboratory, study, and office space mirroring eachother on either side of a paved central plaza. A key
design feature of the Salk Institute is the physical separation of the private study spaces—which
Kahn referred to as the "architecture of the oaktable and rug,"—from the collective workspaceof the laboratories with their “architecture of air
cleanliness and area adjustability.”¹
The innovative teak-clad “window wall” assemblies, set within the monolithic concrete walls of
the studies and offices, are significant componentsof the building. The use of individual window walls
constructed with teak, softwood framing, and interior oak paneling, for the studies, in contrast to thelarge expanses of stainless steel-framed windowwalls of the laboratories, helps to differentiate theprivate study spaces. The focus on the individual in
the studies is further expressed by the functionality of the various sliding components that allow
occupants to modulate light and ventilation within
their work spaces.

The design of these window walls expand upona language of custom exterior millwork establishedin Kahn’s office and used in projects from the Fisher
House outside of Philadelphia to the Library atPhillips Exeter Academy. Though the window walls
are prefabricated units—often thought of as anindustrialized process—Kahn innovatively synthesized industry and craft through the customizationof the units to fit many different openings in the concrete and the detailing of the teak wood by carpenters. The very use of wood together with concrete,"often conceived of as materials of opposite character,"² results in a contrasting but complementary

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CONSERVATION PLANNING AND CONCRETE
CONSERVATION WORKSHOPS

Above: View of the Institute’s iconic
central plaza looking out towards thePacific Ocean. Photo courtesy of theSalk Institute for Biological Studies
Opposite page:As part of theproject mock-up phase, different
finishes were trialed on sample
panels of existing weathered (left)
and new teakPrevious page: View of the study
interiors, with their oak panelingand floors and exposed concrete
walls and ceilings. Sliding louvers
and glazed window sashes allow
occupants to modulate light and air.
Photo courtesy of the Salk Institutefor Biological Studies

12effect, with the fine-grained detailing of the window walls with their narrow vertical tongue-andgroove boards and horizontal trims set in multiple
planes, contrasting with the larger expanses ofrelatively flat concrete walls.
Teak was selected for the exterior woodas it was thought to be a durable, relatively
maintenance-free material. Its weathered grayappearance was also thought to be compatible
with the color of the adjacent concrete. However,teak is a natural material and weathers differentially depending on orientation and exposure tothe environment. Thus, uniformity in this grayappearance could never be achieved across thebuilding if the weathering process were left tooccur naturally, due to the different exposures.
Most of the components of the window wall
assemblies remain unchanged from the timeof their original construction and retain a highdegree of integrity. However, due to decades ofexposure to a marine environment, the deterioration of the window walls is cause for concern. As
expected, they have weathered to a non-uniform
appearance, further exacerbated by surface erosion, fungal growth, and past cleaning practices.
Surface finishes, intended to protect and improve
the appearance of the teak, have differentiallyweathered, resulting in extreme color variations,while water infiltration and termite infestations

have damaged some of the internal wood framing.
In 2013, the Salk Institute partnered with the Getty
Conservation Institute (GCI) to develop a conservation program for the window wall assemblies.
“The Salk Institute is an architectural icon, andthe Getty was privileged to be invited by the Salk towork with them on the building’s long term preservation. Our access to the site, its archives, and theInstitute’s staff, some of whom have worked there
since the early years has been extraordinary,” said
Tim Whalen, director of the GCI. “The methodology
developed by the GCI will serve has a roadmap for
future conservation projects at the Salk Institute, as
well as a model for other Louis Kahn buildings andbuildings with similar conservation issues.”
As a first step, the GCI engaged in historicalresearch, including visits to the Khan archives andthe collection of oral histories in order to better
understand the significance of the window walls andKahn’s original vision for the site. It also exploredthe extent of damage to the window walls, and performed physical and laboratory analysis to identify
the materials used and the various causes of damage
and deterioration. Possible treatments for the woodand wood replacement options were also researched,
as well as design modifications to improve the overall performance of the assemblies. Finally, the GCI,
along with the architectural and engineering firm
Wiss, Janney, Elstner Associates, Inc. (WJE), which

served as the historic preservation consultant to the Salk
Institute, developed a series of on-site trial mock-ups toevaluate different repair approaches and conservation
treatments and indentify the best way to move forward.
“We sought to address issues on a long-term basis
while preserving cultural significance and addressing theneeds of those managing the site,” said Sara Lardinois,
project specialist at the GCI. “Our aim was to help the Salk
Institute incorporate a conservation approach into its
overall site management at a critical point in the building’s
history—the fifty-year mark often coincides with the needfor a first major repair in modern buildings.”
Drawing upon the results of the GCI’s earlier researchand the trial mock-ups, WJE has fully developed the repair
andconservation treatment of the window walls, withinterventions ranging from in situ cleaning and treatment,
to selective repairs, and replacement of deteriorated elements using like for like materials. Construction work iscurrently underway and is estimated to be completed inspring 2017. Work is also nearing completion on a comprehensive conservation management plan for long-term careof the site, funded by a grant from the Getty Foundation’sKeeping It Modern initiative.
“As stewards of this designated historic architectural
landmark which attracts visitors from around the world,
we needed a long-term conservation plan to preserve
the integrity of the Salk Institute for years to come,” said
Tim Ball, Salk’s senior director of facility services. “Thethorough insights and expertise provided by the GCI areinvaluable for helping us move forward in repairing andmaintaining these remarkable buildings.”¹ Kahn, Louis I. Form and design. 1961. Architectural Design 31 (April): 151.
² Brownlee, David B. and David G. De Long. Louis I. Kahn: In the Realm of Architecture. 1997. GrandRapids: Universe, p. 100

In late July, the GCI with the Getty Foundationand the United Kingdom–based Twentieth Century
Society held two workshops in London for granteesof the Foundation’s Keeping It Modern initiative,
which is dedicated to the conservation of twentieth-century architecture around the world. Theworkshops—supported with a Getty Foundation
grant to the Twentieth Century Society—brought
together owners and professionals currently working on projects exemplifying a range of conservation
challenges of twentieth-century built heritage toexchange knowledge and learn new skills.
The first workshop, on conservation management plans, involved more than thirty participants
and fifteen outstanding works of modern architecture, including the recently listed World Heritage
Site, L’appartement-atelier de Le Corbusier in Paris;
Pierre Jeanneret’s Gandhi Bhawan building in
Chandigarh, India; the Salk Institute for BiologicalStudies in La Jolla, California; and the Arthur Neiva
Pavilion in Rio de Janeiro, Brazil. While conservation management plans are a fundamental tool inconservation practice, they have not been universally applied to modern heritage. The workshop
provided the opportunity for practitioners to discuss a range of challenges specific to modern heritage, establish a network of colleagues, exchange
ideas, and expand their understanding of thisimportant methodology. The workshop included
site visits to the National Theatre and the Barbican
Centre and the opportunity to meet British colleagues engaged in this area of work.
The second workshop, which convened some ten
projects dedicated to the conservation of concrete,
included sites such as the Sydney Opera House,
the Miami Marine Stadium, Frank Lloyd Wright’s
Unity Temple, and Charles Rennie Mackintosh’sHill House in Scotland. Given the growing numberof listed concrete buildings and their conservation
challenges, this subject is of increasing importance to the field. Participants shared information
on diagnostic and investigative tools and methods, and colleagues from Historic England andthe Laboratoire de Recherche des Monuments
Historiques in France presented their advisory andresearch work. A number of site visits to recent
concrete conservation projects provided an opportunity for participants to observe recent approaches
in this challenging area of conservation.

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