A New Era of American Architectural Concrete: From Wright to SOM

• Prologue – Surface Finishes by the Book: The Accomplishments of Architectural Concrete
• Chapter one. The Self-Built Construction of Wright and Residential Fabrication Systems – Wright’s Desert Concrete: Toward a Constructional Primitivism – Textile and Concrete Blocks for the Usonian Houses – The Experimental Residential Construction of Rudolph and Goldberg – The Monolithic Houses of Le Tourneau and IBEC – The Lift Slab Method by Youtz & Slick and by the Vagtborg Corporation
• Chapter two. The Primitive Frame of Mies – Beauty is the Splendor of Truth: Mies’s Chicago Debut – Belluschi’s Equitable Building: The Copy – The Promontory Apartments: The Degree Zero of the New Chicago Frame – Prototype Variations – Affordable Housing in Chicago, or the Miesian Aesthetic
• Chapter three. Prestressing and New Structures for Concrete – Prestressed Girders and the Walnut Lane Bridge – Wright’s Butterfly Bridge and Soleri’s Tubular Bridge – The Helio-Laboratory Tower in Racine – Pei and Severud’s Structure for the Helix Apartment Tower
• Chapter four. Kahn’s Space Frame – The Tetrahedron Floor System and Béton Brut of the Yale Art Gallery – Growth, Stratification, and Groove: The Impossible Monolith – A Space Frame for the City Hall Building
• Chapter five. Effects of Scale and Prestressing: Works by SOM and Mies – Goldsmith: Superstructure and Bracing – Learning from Nervi – SOM’s Quest for an Expressive Structure – The Bridges and Prestressed Girders of SOM and Khan – New Paths of Gravity: Goldsmith and Lin – Mies’s Reinforced Trilith
• Chapter six. The Skyscrapers of Mies, Kahn, and Wright – The Unclear Structure of Mies and Severud for the Seagram Building – Johnson and the Enigma of Diagonal Bracing – Kahn’s Tower of Triangular Concrete Frames – The Richards Laboratories: Prefabrication and Post-Tensioning – Wright’s Tripod Frame Construction and Molded Ornament – The Illinois Mile-High Cantilever Sky-City
• Chapter seven. Architectural Concrete Variations, from Breuer to Saarinen – Mo-Sai Precast Concrete Cladding Panels – The Bush-Hammered Concrete of Breuer and the Sandblasting of Anshen & Allen – The Ineffable Material Substance of Saarinen’s Concrete – SOM’s Experiments for a Concrete Skyscraper – Rudolph, Pei, Harrison & Abramovitz, and Prefabricated Panels – Saarinen’s rubble aggregate concrete – Applied ornament versus texture: plastic and transfers
• Chapter eight. Shells and Formwork: A New World of Forms – Neff’s Airform House – Wright’s Guggenheim Museum, or the Gunite Spiral – The Construction Site of the Monolith without Imprints – Kiesler’s Endless House and Johansen’s Sprayed Concrete House – Cosanti and Arcosanti by Soleri: Modeling Concrete with Earth – Saarinen, Nowicki and Yamasaki: The New Search for Symbolic Forms – The Rise of Shells and Candela’s Hyperbolic Paraboloid – Warped Surface Structures by Catalano and Caminos – The Prefabrication of Structural Shells in the Manner of Nervi – Breuer’s Hyperbolic Paraboloids and Pleated Walls – The Pleated Shells of Harrison & Abramovitz – Distinctive and Memorable: Saarinen’s Airport Terminals – Thin Shells in Sprayed Concrete at the New York World’s Fair – Cast and Prefabricated Earth Form Shells – The Diffusion of Gunite Shells – Empathic Shells by Johnson and Lautner
• Chapter nine. The Béton Brut and Architectural Concrete of Kahn, Breuer, Pei, Mies, and Le Corbusier – Kahn’s Concrete Blocks – The Béton Brut of the First Unitarian Church – The Concrete of Kahn’s Disciples – Graphic Textures of Breuer’s Begrisch Hall – The Cast-in-Place Technique Restudied by Pei & Associates – Prestressing and Sandblasting – Structure versus Plasticity: The Immutable Concrete of Mies and his Epigones – Le Corbusier Smooths His Style: The Carpenter Center
• Chapter ten. Truth and Disguises: Johnson, Stone, Harrison and Yamasaki – Concrete and the Reasoned Copy According to Johnson – Distorted Conjunctions: Non-Miesian Directions – Neo-Classicism versus Concrete – Edward Durell Stone and Concrete Veils – Accumulation of History – Harrison and the Egg – The Metaphors of Yamasaki
• Chapter eleven. The Liquid Stone of Rudolph and Kahn – The Highly-Textured Surfaces of Rudolph – Graphic Surface Effects or Concrete Techniques – The Sieve Tray Device and the Nature of the Material – Corduroy Concrete: Grooving and Chipping – Concrete Block with Chipped Grooves – The Discovery of Concrete Dripping – Ready-made Transfers: The Horrors of Double Casting – The Liquid Stone of Kahn: the Construction Site of the Salk Institute – The Philosophy of the Panel: Juncture Strip, Pour Joint, Shrinkage Joint, Cold Joint – The Erasure of Wood Imprints – Post-Tensioned Shells for the Kimbell Art Museum – Research into the Inherent Properties of the Material
• Chapter twelve. Against the Metallic Curtain Wall – The Exotic Farce of Modernity, from Hawaii to Kentucky – The Prefabricated Panels of Gropius and Emery Roth & Sons – The Schokbeton of the American Architects, from SOM to Breuer
• Chapter thirteen. SOM and the Vital Spirit of America – Structures in Concrete or Steel: Prototypes in Chicago and Houston – The Era of Exposed Reinforced Concrete According to Bunshaft – The Power of Prestressing and Post-Tensioning: Exceptional Measures of Space – The Oakland Coliseum: The Building of a Roman Dream—and Its Variations – The Arbeton of Shilstone and SOM
• Chapter fourteen. In Search of New Structural Systems – The Spirit of Building: Saarinen’s CBS Building – The Tube Concept and the Transfer Girder of Khan and SOM – Rigid Tube Projects – True Structural Expression: The Formless Masterpieces of Graham and Khan – New Facades for Exposed Concrete for Skyscrapers – According to Breuer – Yamasaki’s Anti-Acrophobia Mullions for Skyscrapers – The Teachings of Goldsmith and Khan at the Illinois Institute of Technology – Space Grid Structures at the Massachusetts Institute of Technology – Aesthetics and Technology in the Works of Nervi and Belluschi
• Chapter fifteen. Slip Forms for Skyscrapers, from Goldberg to Roche & Dinkeloo – Goldberg’s Marina City: A Structure for the Slipform System – “Structure Follows Space”: Variations – Condit and the New Chicago School – Ornament and Slipform Construction: Bay View Terrace – The Knights of Columbus Building by Roche & Dinkeloo – Johnson’s Hollow Cores and Their Disguise – Kahn, Catalano, Pei and the Slipform – Eccentric Structures for Towers and Skyscrapers
• chapter sixteen. Monolithic, Sculptural, Graphic: the Concrete of Pei and Breuer – Pei’s Ribbed Concrete: Searching for the Monolithic – The Style of Perfection – The East Building, Cabinet Makers’ Concrete – Ramified Pilotis and Molded Panels: Breuer’s “Depth of Facade” – Sculptor in Concrete and Cladding – The Ultimate Surfaces of Sympathetic Textures
• Chapter seventeen. The Monuments of Roche & Dinkeloo, Johnson, and Kahn – Roche & Dinkeloo’s Viaduct Structure – Johnson, or the Death of the Idée Fixe – Kahn’s Concrete: “nothing else”
• Chapter eighteen. Composite or Non-Linear Structure: The Enigmas of SOM – Bunshaft’s SOM and the Triumph of Exposed Concrete – Khan’s Composite System – Non-Linear Structures: Netsch’s Field Theory and Béton Brut
• Chapter nineteen. Nostalgia for Béton Brut – Architectural Concrete: Trends and Achievements – Textured Beton Surface and the Anti-Establishment Years – Johansen’s Irreverent Brut – An Epigone of Béton Brut: Sert – The Boston City Hall: Difficult Architecture
• Chapter twenty. Epilogue: The Grid and the Mask – Hejudk’s Nine Square Problem and Rowe’s Chicago Frame – Eisenman’s “Formal Structure” – Venturi’s Pop Icons
• Name Index
• Illustration Credits

Editeur : EPFL Press English Imprint

Auteur(s) : Roberto Gargiani

Collection : Architecture

Publication : 19 novembre 2020

Edition : 1^ère édition

Support(s) : Livre papier

Nombre de pages Livre papier : 916

Format (en mm) Livre papier : 170 x 240

Poids (en grammes) : 2950

Langue(s) : Anglais

EAN13 Livre papier : 9782889154029