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>> In structural art, the forms for bridges, buildings, and long span restructures come

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from the imagination of the engineer.

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The structural artists that we will speak of -- engineers such as Roebling, Ammann, Maillart,

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Menn and others -- sought to integrate elegance into their forms.

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Beauty wasn't an afterthought;

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it was a conscious decision embedded in the process of design.

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The elegance derived by the form is based on engineering principles, not decoration,

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and elegance can be achieved without compromising efficiency and economy.

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Despite the discussion of elegance, I'm not talking about works of architecture

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in this course; I'm talking about works of engineering.

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There's a lot of confusion regarding the difference between engineering and architecture

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and the role in the design of structures.

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A perhaps too simplified way to explain the difference between structural engineers

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and architects is this; for engineers the form controls the forces whereas

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for architects, the form controls the spaces.

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Of course it's more complex than this but this difference is essential and it is

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in this selection of form that both architects

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and engineers have an opportunity to be creative.

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For buildings where both the forces and spaces must be controlled,

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collaboration between engineers and architects is essential.

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The final design benefits from both complementary approaches

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and from the integration of both disciplines.

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For bridges, however, the need to control the forces -- meaning the engineering task --

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becomes prevalent while the architectural contribution which is focused

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on aesthetic values must be subordinate to the structural concept.

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The bigger the bridge, the larger the forces to be controlled and, therefore,

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the more prevalent structural efficiency becomes.

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I believe that both engineers and architects should be educated so that they are adept

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at rapidly finding approximate dimensions using simple formulas.

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Further, they should study the development of structural forms and construction methods

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from times past to the present and also learn to critique structures

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from both a technical and aesthetic point of view.

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The study of history and criticism is not common in engineering education.

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There is little interest in the recent history of engineering; therefore,

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society tends to see engineering as a work of teams of technicians and committees of experts

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when in fact engineers are the heirs of centuries

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of technical progress achieved by outstanding minds.

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In summary, the neglect of history and aesthetics in the education

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of the engineer has had the effect of dehumanizing

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and discrediting modern engineering.

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The importance of civil engineering in today's world and my intention

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of crediting civil engineers for the value of their work and highlighting the role

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of structural engineers in the design

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of civil works are what have motivated me to teach this course.

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Believe me when I say that I would be satisfied if through this course I could transmit

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to you just a minor fraction of the talent, passion, perseverance, and ingenuity embodied

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by all these structural artists; by these engineers

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that still today deserve our deepest admiration.

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Just follow me and give me a chance to inspire you.

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I have a question for you; who designed the Millau viaduct; Michel Virlogeux,

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Norman Foster, both, or you have no idea?

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Don't worry about getting the right answer.

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I'm not giving you credit on the right answer; I'm just giving you credit on answering.