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No longer the material of choice for just factories and industrial buildings, concrete is now fashionable and chic, adorning shops, restaurants, homes, and landscapes with its desirable, tactile surfaces. This reversal of fortune can be attributed to its use in luxurious homes and the discovery that concrete can provide stimulating or soothing environments for a range of leisure activities. Organized around the themes of Home, Work, Play, and Landscape, all the examples chosen celebrate the intrinsic qualities of concrete and how they work to make the places in which we live, work, and play and to shape the wider landscape that surrounds us. A range of projects from around the world includes a private house in Osaka by Tadao Ando, Canary Wharf Underground Station in London by Foster and Partners, the Museum of Asian Art in Paris by Henri and Bruno Gaudin, and recent work by Morphosis and Antoine Predock in the United States.

Tabla de contenidos provista por Syndetics

• List Of Contents: Introduction(p. 6)
• Chapter 1 Home(p. 24)
• Bearth and DePlazes Family Home in Flasch
• Switzerland
• Estudio Alberto Campo Baeza House, Sevilla de La Nueva
• Spain
• Naoko Hirakura Architect and Associates Tokiwadai House
• Japan
• Un Studio/Van Berkel and Bos Mobius House
• The Netherlands
• Kazuhiro Kojima/C A Space Blocks, Kamishinjo
• Japan
• Atelier H25/Georges Sandweiler Loft in Sandweiler
• Luxemburg
• Donovan Hill C House, Brisbane
• Australia
• William Russell Bacon Street House, London
• UK
• Jim Jennings Visiting Artists' Home
• USA
• David Hertz Tiltup Slab House
• USA OIKOS
• Peter Herrle and Werner Stoll House in Berlin
• Germany
• Chapter 2 Work Consoni, Rorschach
• Primary School in Au
• Switzerland
• Axel Schultes Architekten
• Federal Chancellery, Berlin
• Germany
• Foster and Partners
• Canary Wharf Station, London
• UK
• Kisho Kurokawa
• Ehime Art and Industry Museum
• Japan
• Morphosis
• Diamond Ranch High School, CAUSA
• Miguel Roca
• School of Arts, Cordoba University
• Argentina
• Bernard Tschumi
• Convention Centre, Rouen
• France
• Hild und K Architekten
• Paint House Kemeter, Eichstatt
• Sammeln Landshut
• Germany
• Herzog & de Meuron
• Laban Dance Centre, London
• UK
• Architectus
• Mathematics, statistics and Computing Building, Christchurch
• New Zealand
• Anin Jeromin Fitilidis & Partner
• Look-Up Office
• Germany
• Javier Garcia Solera
• Lecture Block 3, Alicante University
• Spain
• Drescher Kubina Architekten
• Haus der Architekten, Munich
• Germany
• Tadao Ando
• Teatro Armani, Milan
• Italy
• Chapter 3 Play RCR Arquitectos
• Bathing Pavilion, Olot
• Spain
• Remi Marciano
• Ruffi Sports Complex, Marseilles
• France
• Sn0hetta
• Fishing Museum, Karmoy
• Norway
• Page and Park
• Loch Lomond Visitor Centre, Scotland
• UK
• Gigon and Guyer
• Oskar Reinhart Centre, Switzerland
• Estudio Cano Lasso
• La Corna swimming pool
• Spain
• Tod Williams, Billie Tsien & Associates
• Museum of American Folk Art, NYUSA
• Tadao Ando
• Pulitzer Art Collection, St Louis, USA
• Morger and Delago
• Art Museum, Vaduz
• Liechtenstein
• Schneider & Schumacher
• Innside Hotel, Dusseldorf
• Germany
• Chapter 4 LANDSCAPE Sancho-Madridejos
• Residence/Chapel and hunting pavilion, Ciudad Real
• Spain
• Rafael Moneo
• Los Angeles Cathedral
• USA
• Carlos Ferrater
• Barcelona Botantical Gardens
• Spain
• Allied Works
• Portland Oregon Maryhill Overlook
• USABAAS
• Architecture
• Municipal Mortuary, Leon
• Spain
• Lapena and Torres
• External staircase, Toledo
• Spain
• Patel Taylor
• London Thames Barrier Visitor Centre
• UK
• Marco Ciarlo
• Extension of the cemetery at Borghetto, Santo Spirito
• Italy
• Scott Tallon Walker
• Oulart Monument Co Wexford, 1999
• Ireland
• Notes(p. 230)
• Project credits(p. 231)
• Index(p. 233)
• Picture credits and acknowledgements(p. 240)

Extracto provisto por Syndetics

House Sevilla de la Nueva, Spain, 2000 Estudio Alberto Campo Baeza This house stands on rugged terrain with views north to the distant Sierra de Gredos mountains.It is a hostile environment, with little vegetation. Rather than try to tame the setting, Campo Baeza has produced an elemental solution emphasizing the barren beauty of the place and hinting at the innovation and excitement of a basic homestead, a pioneering venture in a newly found land. But this is no primitive shack. A platform makes the steep site traversable and provides a magnificent viewpoint, as well as somewhere to sit on or shelter under. A glazed structure on top gives protection from wind, and a carved-out space beneath serves as a refuge from winter cold and summer heat. 'I needed to express the stereotonic character of the basement piece,' explains Campo Baenza. 'The podium should declare its continuity with the earth, like a cave.' He decided that concrete was the best aesthetic solution, as well as being the cheapest and structurally the most straightforward. He likes concrete because 'it gives great unity. It is strong.It is silent.' He compares working with concrete to 'creating the earth'. Excerpted from Concrete Architecture by Catherine Croft All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Notas de autor provistas por Syndetics

Catherine Croft is Director of the Twentieth Century Society and is a regular contributor to a number of architectural journals, including Building Design. She lives in the United Kingdom.