CHAPTER 18 - Notes
[396]. See Concrete and Constructional Engineering, II (January 1956), special anniversary number reviewing the history of concrete. More important later studies are: Raafat, A. A., Reinforced Concrete in Architecture, New York [1958]; and Collins, P., Concrete, The Vision of a New Architecture, New York [1959]. See also Kramer, E. W., and Raafat, A. A., ‘The Ward House, Pioneer Structure of Reinforced Concrete’, Journal of the Society of Architectural Historians, XX (1961), 34-7.
[397]. See Baudot, A. de, L’Architecture, le passé, le présent, Paris, 1916, and Baudot, J. de, L’Architecture et le béton armé, Paris, 1916.
[398]. See Huxtable, A. L., ‘Progressive Architecture in America: Reinforced Concrete Construction. The work of Ernest L. Ransome, Engineer—1884-1911’ and ‘Factory for Packard Motor Car Company—1905, Detroit, Michigan, Albert Kahn, Architect. Ernest Wilby, Associate’, Progressive Architecture, 38 (1957), 139-42 and 121-2.
Such research is revealing that Albert Kahn (1869-1942) was not such a pioneer in concrete factory construction as has been generally supposed. However, the ‘Kahn Bar’ developed by his brothers’ engineering firm was a major technical contribution, and undoubtedly his motor-car factories were among the earliest major industrial works in the new material. For the alternative use of steel in American warehouse and factory construction, see Eaton, L. K., ‘Frame of Steel’, Architectural Review, CXXVI (1959), 289-90.
[399]. The detailed history of the concrete grain elevator cannot be given here. The prototypes for the great monuments of Buffalo, Minneapolis, and Duluth were certainly French. These monolithic cylinders are, of course, very different from the motor-car factories with their post-and-lintel construction, but the history of the elevator undoubtedly runs nearly parallel to that of the factory. See [Torbert, D. R.] A Century of Minnesota Architecture, Minneapolis, 1958, unpaged.
[400]. In the last few years the innovations of such engineers as Pierluigi Nervi (b. 1891) in Italy, Eduardo Torroja (1899-1961) in Spain, and Felix Candela (b. 1910) in Mexico have revolutionized earlier conceptions of the possibilities of ferro-concrete (see Chapter [25]). For Torroja, see The Structures of Eduardo Torroja, New York [1960], and Torroja, E., The Philosophy of Structures, Berkeley, 1958. (See [Epilogue].)
[401]. See Pfammatter, P., Betonkirchen, Cologne and Zurich, 1948.
[402]. By reaction many of the same architects, notably Le Corbusier, have in the last few years consciously sought the brutality of industrial concrete finish—he calls it béton brut—even in monumental work (see Chapter [25] and [Epilogue]).
[403]. The atelier was founded in 1928.
[404]. The team that worked with Perret on Le Havre consisted of P. Branche, P. Dubouillon, P. Feuillebois, A. Heaume, J. Imbert, M. Kaeppelin, G. Lagneau, M. Lotte, P.-E. Lambert, A. Le Donné, A. Persitz, J. Poirrier, H. Tougard, and J. Tournant, all of whom seem to have shared responsibility for the buildings flanking the Place de l’Hôtel de Ville. Poirrier, Le Donné, and Lambert were, however, joint architects-in-chief. Specific attributions are perhaps not very significant in this kind of situation, but the characteristic Hôtel Normandie (1950) is by Poirrier and the whole sea front by Lambert.
[405]. See Garnier, T., Une Cité industrielle, Paris [1918]. The basic project goes back to 1901, but was much elaborated in the intervening years. Although it was unpublished, many architects were certainly familiar with its general character. See Wiebenson, D., ‘Utopian Aspects of Garnier’s Cité Industrielle’, Journal of the Society of Architectural Historians, XIX (1960), 16-24.
[406]. See Garnier, T., Les Grands Travaux de la ville de Lyon, Paris, 1919.
[407]. This applies particularly to the work of Michel Roux-Spitz (b. 1888), who became in the thirties the acknowledged leader of the profession in France.