1924年,他获得了学士学位从宾夕法尼亚大学的架构。卡恩研究个人在一个著名的建筑师在美术学院的教育——保罗•Cret专家古典空间设计方法(McQuaid,m . 2002)。,Cret卡恩无偏清晰和空间的方法,使创新设计,处理每一个项目的不同生活必需品。他毕业后,卡恩找到了一份工作作为一个绘图员在一个建筑公司在费城,在那里他把抛光设计技能。路易斯·卡恩的工作正在架构的原则历史的一个元素,它充当一个动机在旧的基础和现代建筑(罗恩,h .等人。1977)。操作后作为费城举行的首席设计师结构在1926年,他前往欧洲各地之间的“1928 – 1929”。最终在1935年,在许多公司的操作后,他在私人办公室在费城根深蒂固的建筑实践。他被许多当代建筑师的创作动机,计数弗兰克·劳埃德·赖特,勒·柯布西耶,和路德维希·密斯·凡·德·罗,同样对古代以及古典的建筑形式。他将现代和古老的建筑形式,巨大的类型,阐明过去但与现代设计和施工方案(罗恩,h .等人。1977)。
In 1924, he received a bachelor’s degree in architecture from the University of Pennsylvania. Kahn studied personally under a well-known architect educated at the École des Beaux-Arts- Paul Cret, who was an expert of classical approach to space design (McQuaid, M. 2002). Altogether, Cret and Kahn unbiased clarity with a spatial approach, enabling for innovative designs that handles the varying necessities of each project. After his graduation, Kahn got a job as a draftsman at an architecture company based in Philadelphia, where he put his polished up designing skills. Louis Kahn’s work is being an element of the principle of architecture history, and it acts as a foundation of motivation in old and present-day building (Ronner, H. Et. al. 1977). After operating as a chief designer for Philadelphia’s Sesquicentennial structures in 1926, he travelled all over Europe between “1928-1929”. Ultimately in 1935, after operating at many companies, he entrenched architectural practice in his personal office in Philadelphia. He was motivated by the creative work of many contemporary architects, counting Frank Lloyd Wright, Le Corbusier, and Ludwig Mies van der Rohe, and was similarly fascinated to ancient as well as classical forms of building. He amalgamates modern and old building forms by drawing colossal types that articulate the past but matched modern design and construction solutions (Ronner, H. Et. al. 1977).