此外，这种特别皱的质量也称为物质铸造阴影，而阴影是属于光的。作为结论，可以说光是制造材料的责任，材料的目的是集中在投射阴影上。他将影子紧紧为了唤起敬畏和神秘的沉默[保罗，K.，农药，M.，2006，Louis Kahn是在哪里出生的？（爱沙尼亚语）。该ekspress。]。正如卡恩所说，黑暗导致了不可见的不确定性，与潜在的危险有关，它也激发了更深的神秘。建筑师的责任是唤起阴影、光线等元素的静默、戏剧或秘密，创造艺术的庇护所或阴影的宝库。因此，通过开口的串行行走，在沙克反映黑暗寂静的修道院院在门廊。黑暗的阴影洞和线条，从精确的方式定义的模具，提供了一个准确的纹理在巨大的墙壁上。灰色的水泥墙和白色的石头似乎呈现出一个三维度的单调的画布，与阴影一起演奏。阴影似乎正在变成一个重要的元素，揭示这个具体的形式和安排有关的整体体积卡恩[刘易斯，J. 1996。来源：路易斯·卡恩的游记。剑桥和伦敦：麻省理工学院出版社。尽管Kahn成功地在巴基斯坦和印度等暴露在极端阳光下的地区展示了一些建筑。没有的建筑被设计为从太阳保护用户，而是为阴影[ voolen，E.，2006相关的神圣的保护，犹太文化和艺术。Prestel。138页。爱沙尼亚出生的建筑师卡恩（1901 – 1974），1906随家人移居费城。他是一个非人工遮荫像brise soleils信徒。根据卡恩的说法，印度管理学院是建立在外部属于光，人们在内部工作和生活的方式。为避免被保护免受太阳，Kahn提出的理念来打造深拱保护酷影的发明。
In addition, this particularly crumpled mass also known as the material casting shadow, and shadow is a belonging of light. As a point of conclusion, it can be stated that light is responsible for making material and the purpose of material is to be focused on casting a shadow. He linked the mystery of shadow closely in order to evoke awe and silence[ Paulus, K., Pesti, M., 2006, Where was Louis Kahn born?, (in Estonian). Eesti Ekspress.]. As per Kahn, as darkness results in evoking the uncertainty of no visibility, related to potential danger, it also results in inspiring deeper mystery. It is the responsibility of the architect for evoking silence, drama or secrecy with the elements of shadow and light, for the creation of a Sanctuary of Art or a treasury of shadows. Thus, walking by the serial of openings, over the portico at the institute of Salk that reflects the silence of darkness as a cloister. Dark shadow holes and lines, from the molds defined in a precise manner, offering an accurate texture over the huge walls. The grey concrete walls and the white stone seems to be presenting a monotone canvas of three dimension for playing with the shadows. Shade seems to be turning into an important element for revealing this specific form and arrangement related to the monolithic volumes of Kahn[ Lewis, J. 1996. Drawn From The Source: The Travel Sketches of Louis I. Kahn. Cambridge and London: MIT Press.]. Even although Kahn had been successful in presenting a number of building within regions that are in exposure to extreme levels of sunlight, like Pakistan and India. None of the buildings had been designed for the protection of users from the sun, but instead for the protection of sanctity related to the shadow[ Voolen, E., 2006, Jewish art and culture. Prestel. p. 138. The Estonian-born architect Kahn (1901–1974), who immigrated with his family to Philadelphia in 1906]. He was a non- believer of artificial shade like the brise soleils. According to Kahn, the Indian Institute of Management is built in a manner that the outside belongs to light, and people working and living in the inside. For avoiding being protected from the sun, Kahn made an invention of the idea to build deep intrados protecting the cool shadow.