‘… there are qualities associated with ROBUSTNESS, such as strength and solidity, which are also the qualities of concrete. Used to lay foundations, to build sturdy bridges and muscular, architectural monuments, concrete, even in its most conventional use, is an undeniably robust material. There are other qualities associated with ROBUSTNESS, however, not conventionally associated with the sturdiness of concrete. Due to the growing importance of complex, adaptive behaviour in all areas of scientific enquiry, ROBUSTNESS has also come to define the degree to which living things, whether single cell organisms, flocks of migratory birds, or complex social systems like ant colonies or metropolises like Tokyo or Mexico City, adapt to changing environmental conditions and evolve over time. ROBUSTNESS, in these contexts, defines a new kind of strength and solidity based on flexibility rather than inflexibility, on suppleness rather than stiffness, on resilience rather than rigidity…’

Michael Speaks, curator

‘From the very beginning of cement and concrete, architects have been fond of the idea of using liquid stone to create monolithic seamless structures of almost any shape. As a consequence of industrialization in the construction sector, however, the potential was not exploited but restricted. With the use of state-of-the-art techniques, we can now enjoy new possibilities for three-dimensional design and production. We see similar developments in the aesthetics of surface qualities; material research and product development have resulted in unexpected possibilities, in colours, in textures, even in dynamic appearance, that are appreciated by the artistic sensibilities of architects and designers.

Schools of architecture can give a strong impetus to our understanding of concrete as an architectural medium. We – the cement and concrete industries – have been working on improving the links between concrete and architecture nationally. Developing open relations with teachers and students, who have a keen interest in building materials that can contribute to sustainable progress, is a key position in education.

We are convinced that an international design competition, which focuses on design intelligence with a strong link to material properties, is a good tool to stimulate students to be involved in architectural material research and in entering the adventurous world of concrete.’

Hans Köhne, coordinator

Concrete Design …

The Concrete Design Book on Robustness is the culmination of the Concrete Design Competition 2003/2004 – ROBUSTNESS. It’s a rather ambiguous title for an initiative that reaches far beyond its implied nature. The competition itself, the centrepiece of our ambitions, was the starting point for an ongoing exploration of ‘robustness’ and its implications for concrete in architecture.

The competition did not call for an architectural design or solution to a given condition. Rather, it asked participants to explore and exploit notions of robustness as a fundamental property of the material concrete. It asked them to test and present these ideas via a proposed architectural use. We received a wide variety of seemingly traditional proposals ranging from furniture to large-scale urban installations were submitted in the end. However, a range of new and exiting ideas on how to ‘bring out’ the robust nature of concrete, and on how this inherent property can enhance any given assignment: that was what we set out to achieve. Michael Speaks, curator for the 2003/2004 edition, introduced another interpretation of robustness to the competition when he defined it as an extra layer concerning design practice on a general level. Here, robustness indicates an approach to design that is more exploratory by nature than geared to ‘problem solving’. The combination of an apparently familiar and robust material like concrete with a robust and exploratory attitude to design and building truly calls for ‘Design Intelligence’, a notion introduced by Michael Speaks while investigating current shifts in design practices around the world.

345 Students studying in eight European countries – and representing many more nationalities – submitted a total of 245 competition entries. In the first round national juries scrutinized the entries and selected three nominees or winners that were then forwarded to an international competition platform. A total of 24 entries were thus presented to an international panel of acclaimed architects and engineers in the final round. In addition, the makers of the final 24 entries were invited to take part in the next stage of the ‘competition’. They came together in August 2004 for a crash course in robust design practice. The Concrete Design Master Class on Robustness, led by Michael Speaks, continued a very specific investigation into material – concrete – and design.

In an intensive six-day exercise in extensive material research combined with experimentation into production techniques, participants explored the possibilities of making objects in concrete shaped by computer-manufactured 3D moulds. Gathering basic information about a variety of types of concrete as well as learning how to use specialized software was just the beginning. Adapting to a totally new design approach involving rapid prototyping made the master class a scary and confusing experience for many. The goal of the six-day master class was to produce a series of prototypes at full scale! And even though the actual execution of the final concrete objects was done in the months after the master class, the production companies had to depart with crystal-clear instructions on what to make.

Finally, though in one sense it marks the conclusion of the 2003/2004 edition, the Concrete Design Book on Robustness aims to provoke continued exploration of the general theme. Besides presenting the 24 winning entries and documenting the events and results of the master class, the book contains more reflective contributions that explore our ambitions. In a series of seven interviews, seven prominent professionals from the design profession give their views on the topics under discussion. The interviews offer us insight into contemporary design practice and education. Fundamental to both is the need to use knowledge, skills, opportunities and materials intelligently.

The International Concrete Design Competition for Students was initiated by the national associations of cement and concrete industries in the participating countries. The project is supported and facilitated by a range of companies, schools and individuals. All partners and contributors are listed on the final pages of this book.

Siebe Bakker, editor and consultant