COURSE
MATERIAL INVESTIGATIONS
CONCRETE IN SWITZERLAND
University of Basel, Urban Studies, MA Critical Urbanisms, Fall 2023
ROBERT MAILLART
SALGINATOBEL BRIDGE
ENGINEERED LANDSCAPE
MADE IN CONCRETE
This research is rooted in the distinctive features of the Salginatobel Bridge and contextualized within the structural practices of the early 20th century. It examines the methods of concrete construction prevalent at that time, with a focus on Robert Maillart’s innovative structural design.
The work explores how concrete interacts with nature and how people relate to this interaction in their understanding of the material. The Salginatobel Bridge serves as a case study to observe this re-creation, emphasizing the unique characteristics of concrete. How does the designed landscape acquire new meaning through the materials used in infrastructure? Does concrete act autonomously, or does the interplay between nature and concrete create a harmonious flow? Within the process of spatial transformation through materials, the interaction between people and nature occurs as the landscape evolves through concrete.
These aspects of Maillart’s work aim to summarize what defines the unique qualities of these concrete structures in Switzerland. The study is enriched by visual materials from personal visits to the bridge, resources from the ETH-Bibliothek Collections and Archive, and online descriptions available on the ETH-Bibliothek and Salginatobel Bridge websites.
*Robert Maillart was born in 1872 and practiced engineering from 1894 to 1940.
*The American Society of Civil Engineers declared the Salginatobel Bridge a "world monument." In a global survey, a renowned British trade journal voted it the most beautiful bridge of the century.
ROBERT MAILLART
SALGINATOBEL BRIDGE
CONCRETE IN SWITZERLAND
MEASURED, CALCULATED, AND NAKED
This is primarily a personal project, but it can also be seen as a poetic exploration aimed at deepening our understanding of what nature is. The ways in which people perceive nature, the values they assign to it, and their efforts to connect with it are examined through the lenses of engineering, design, and material—specifically concrete—within the context of Swiss infrastructure.
Switzerland is renowned for its natural beauty, and its approach to infrastructure differs significantly from that of other countries. One key reason is the independence granted at the cantonal level, enabling quick decision-making. This autonomy, combined with Switzerland’s relatively small size, facilitates efficient local processes and simplified bureaucracy. At the same time, infrastructure in Switzerland resembles a cultural technique, continuously reenacting relationships such as connection and disconnection, presence and absence, here and there, this and that, and interior and exterior.
MATHEMATICS OF NATURE
RAISING TO THE LEVEL OF SCULPTORS
A number of systems-thinking scholars define infrastructure as a series of networked scapes, or landscapes of transport, that mediate the relationships between nature, culture, and the production of the city (Reinhold Martin, 2016). Within this framework, the project examines Switzerland’s infrastructure and its relationship to concrete, focusing on the Salginatobel Bridge (1929–30), designed by Swiss engineer Robert Maillart. It considers the bridge from abstract conceptual dimensions to practical applications, exploring the capacities of concrete and Maillart’s renowned structural design. Reinhold Martin (2016) describes the bridge as creating a connection between two previously distinct domains, such as “nature” and “culture.”
At the time of its construction, the bridge represented a critical shift in structural design—a perspective that can also be seen in Maillart’s other groundbreaking works. Maillart developed innovative yet economical solutions that transcended the limitations of existing structures. For him, concrete was indispensable due to its accessibility, durability, and cost-effectiveness. Today, the Salginatobel Bridge is regarded as an architectural masterpiece. Originally, however, it was conceived to serve a practical purpose: providing much-needed pedestrian and vehicle access to remote mountain villages.
PERFECTED GRAPHICS
CALIBRATED WITH CONCRETE
In the summer of 1928, the cantonal building authority reviewed 19 proposals for the Salgina Brook crossing. Preference was given to the most economical option: Maillart’s project. The construction was commissioned at a fixed cost of CHF 135,000.
The scaffolding, highly regarded for its design, incurred an additional cost of CHF 45,000 and was assembled by a team of only six workers. Remarkably, the concrete was cast in just three months. All materials were mixed by hand and transported using wheelbarrows. The most delicate phase of construction involved casting the thin arch plate, which required absolute symmetry and uninterrupted work from both sides. After 40 hours of intense labor, this critical task was completed. By the middle of August 1930, the scaffolding was lowered, and the bridge was officially opened.
The Salginatobel Bridge is not merely a functional structure facilitating passage from point A to point B. It stands as an independent creation, deeply integrated with its natural surroundings. Through the highly optimized use of materials, the bridge achieves a harmony of form, integrity, and aesthetics, embodying a sense of mathematical perfection.
STRUCTURAL DESIGN
SIZE, BEAUTY AND TRUTH
It would not have been possible to build a structure in this form, at such a scale, length, and height, using any material other than concrete. Form is the foundation of this structure—it gives it life and sustains it. Sigfried Giedion (1941) demonstrated to his contemporaries, in the art world, that significant advancements were being made in creating structural forms with concrete.
Denis Zastavni (2012) elaborates that when reinforced concrete began to be codified in the early 1900s, what remained to be achieved was the synthesis of its unique properties into new, appropriate forms for structural arrangements. This was precisely where Maillart excelled. Zastavni describes Maillart’s specific approach to shaping these structures: “It is supported by graphics, geometry, and graphic statics. It implies the careful choice of reference loadings, recourse to geometrical patterns, recourse to specific geometrical curves to establish the structural arrangement, and subsequently the use of an equilibration configuration to improve structural behavior.”
In Switzerland, concrete is valued not only for its technical capabilities, developed through precise engineering and mathematical calculations, but also for its ability to convey a broader context of design. The Salginatobel Bridge exemplifies this perspective on engineered infrastructure in Switzerland, as it incorporates a significant design element into its creation. This process bridges the realms of nature, culture, and technique.
The role of a construction engineer is to ensure that a structure stands independently, while the goal of a designer is to make it both beautiful and functional. In this sense, the Salginatobel Bridge occupies an intriguing in-between position. It helps us realize that technique is essential to understanding, accessing, and discovering nature. Concrete, in this case, becomes an instrument that harmonizes these interconnections. It enables us to see horizons previously unseen, blending seamlessly with the majestic Swiss mountains.
CULTURE
REPRODUCTION OF NATURE
Although concrete is an artificial material, it becomes an instrument that connects people to nature, integrating them into it on another dimension. This contrast creates an experience that is equally wild, sharp, and unique, offering a broader understanding of nature. With its extraordinarily thin structure and calm presence, concrete represents a subtle transition towards the nature.
At what scale can we understand this bridge? Is it through its physical scale, perched on a cliff between mountains, about a hundred meters above a wild valley that simultaneously defies, overlaps with, and challenges nature? Or perhaps through its spatial scale, framed by the endless horizon created by the surrounding massive mountains? Or even its abstract scale, where one suddenly perceives everything as larger, farther, and higher than it seems?
Perhaps at its own human scale, one can only sense the integrity, fragility, and gravity of nature while standing on the Salginatobel Bridge. But can a bridge "produce" nature? Clearly, it does not in any empirical sense. As Reinhold Martin (2016) explains: “It does so in the sense that the act of bridging, or the system of bridging—the road, the terrain, the cars, the bridge itself—enables a physical and cognitive connection to be made, meaningful both symbolically and experientially, that could not have been made before. Infrastructure, therefore, helps us recognize the cultural production of what we normally call 'nature.'"
CONCRETE AND NATURE; A DIALECTICAL RELATIONSHIP
A VISION FOR RESEARCH
This research places Maillart’s work within the broader context of Swiss infrastructure. Concrete, often perceived as a purely utilitarian material, assumes an elevated role in the Salginatobel Bridge. Maillart’s innovative use of reinforced concrete showcases its potential not only for structural efficiency but also for aesthetic and cultural significance. The bridge exemplifies how engineering can harmonize with nature, offering a fresh perspective on the landscape. It raises questions about the role of materials in shaping our perception: Is concrete merely an inert material, or does it actively mediate the dialogue between human ingenuity and the natural environment? How can materials like concrete deepen our connection to nature? Can infrastructure transcend functionality to inspire and provoke reflection? This research seeks to explore these questions, uncovering the deeper implications of engineering as a tool for cultural and environmental engagement. It advocates for rethinking infrastructure as a cultural technique that not only connects but also transforms.
VISIT TO THE BRIDGE
December 2, 2023
VISIT TO THE ETH ZURICH BIBLIOTHEK
COLLECTIONS AND ARCHIVE
December 7, 2023
RESOURCES
Reinhold, M. (2016). Infrastructure and Mediapolitics. University of Minnesota Press. https://www.jstor.org/stable/10.5749/j.ctt1g69w99.14
Zastavni, D. (2012). Maillart’s Practices for Structural Design: ETH-Bibliothek’s Virtual Exhibition. Université catholique de Louvain, Louvain-la-Neuve, Belgium. https:// dial.uclouvain.be/pr/boreal/object/boreal%3A106876/datastream/PDF_01/view
Fairclough, C. (2018). Discovering the Art of Civil Engineering. Comsol Blog. https://www.comsol.de/blogs/happy-birthday-robert-maillart/ Robert Maillart. Die Brücken. http://www.bernd-nebel.de/bruecken/index.html?/bruecken/2_pioniere/maillart/maillart.html
Conzett, J. (2014). Robert Maillart in der Ukraine. Das Guckloch Nr. 2/2014. https://www.ingbaukunst.ch/file/436/Guckloch_02-2014.pdf Billington, David P. (1997). Robert Maillart, Builder, Designer and Artist. Cambridge University Press, p. 331, ISBN 9780521571326
Bruun, Edvard P.G. (2014). Robert Maillart: The Evolution of Reinforced Concrete Bridge Forms. University of Toronto, Canada. https://www.researchgate.net/profile/ Edvard-Bruun/publication/328725279_Robert_Maillart_The_Evolution_of_Reinforced_Concrete_Bridge_Forms/links/5bdde24f4585150b2b9d3ae1/Robert-Maillart-The- Evolution-of-Reinforced-Concrete-Bridge-Forms.pdf
Museum of Modern Exhibits Swiss Bridges Remarkable for Beauty and Engineering: Robert Maillart: Engineer. MoMA. https://www.moma.org/calendar/exhibitions/3212
Salginatobel Bridge Official. https://www.salginatobelbridge.co
Scientist: Robert Maillart. https://www.lindahall.org/about/news/scientist-of-the-day/robert-maillart/
Robert Maillart (1872–1940) Structural Engineer and entrepreneur. ETH Zurich ETH-Bibliothek. https://library.ethz.ch/en/locations-and-media/platforms/short-portraits/ robert-maillart-1872-1940.html
Robert Maillart and Structural Reinforced Concrete. http://scihi.org/robert-maillart/
Fivet, C. and Zastavni, D. (2012). Robert Maillart's key methods from the Salginatobel Bridge design process (1928). Journal of the International Association for Shell and Spatial Structures 53(171):39-47.
Structures & Technologies LAB: Robert Maillart. https://uclouvain.be/fr/instituts-recherche/lab/struct-a
Robert Maillart: Betonvirtuose. https://vdf.ch/robert-maillart-betonvirtuose.html
Robert Maillart Lagerhaus der Magazzini Generali 1924–1925. https://www.atlasofplaces.com/architecture/lagerhaus-der-magazzini-generali/
Robert Maillart. https://structurae.net/en/persons/robert-maillart
Concrete: The building material of the 20th Century. https://www.swissinfo.ch/eng/culture/concrete--the-building-material-of-the-20th-century/47310640
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