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Dies ist ein Auszug aus dem US-Klassiker «Der Turm und die Brucke» von David Billington. Er umfasst das Geleitwort von Jorg Schlaich sowie die Kapitel uber Gustave Eiffel und John Roebling, auf deren wichtigste Bauwerke der Titel des Buches anspielt. Billington begrundet in «Der Turm und die Brucke» die neue, eigenstandige Kunstform Ingenieurbau (Structural Art), die er als gleichberechtigt neben der Architektur stehend proklamiert. In leicht lesbarem Stil und auf unterhaltsame Weise stellt Billington die Ideale, Prinzipien und Methoden der Kunst des Ingenieurbaus in ihrer historischen Entwicklung anhand der Bauwerke herausragender Ingenieure (z. B. Telford, Eiffel, Roebling, Maillart, Freyssinet, Menn) dar. Mit der Etablierung des Ingenieurbaus als Kunstform und der Explikation der inharenten Prinzipien gibt Billington dem Leser gut begrundete Argumente fur eine asthetische Diskussion im Bereich der Ingenieurbauwerke an die Hand.

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Long recognised as a classic in the USA, «The Tower and the Bridge» is now at last available in German translation. In his preface to the German edition, Jorg Schlaich writes. «This book is essential reading and a pleasure for the „structural engineering artist“, in whose structures the connection between form and force flow is visible and which are distinguished by the ideals of efficiency, cost-effectiveness and elegance.» Billington founded with this book structural art as a new, independent art form, which he considers equivalent to architecture. It is no coincidence that the title states the two classic domains of the structural engineer; in this case Billington is referring to two outstanding structures of the epoch, the Eiffel Tower and the Brooklyn Bridge. Billington describes in an easily readable style and in an entertaining manner the ideals, principles and methods of structural art during its historical development through examples of structures from outstanding engineers (e.g. Telford, Maillart, Freyssinet, Menn). With the establishment of structural art as an art form and the explication of its inherent principles, Billington gives the reader well founded arguments for the aesthetic discussion of engineering structures. This also provides a basis for criticism of the new art form; for the criticism of construction that has long been demanded. This timeless book thus has the potential to give a new impulse to the debate about construction culture and particularly the aesthetic aspects of structural engineering in German-speaking countries.

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