Is it possible to assert the existence of a timeless material in architecture from an aesthetic standpoint? Undoubtedly, wood and concrete emerge as strong contenders, not only due to their representation of the solidity, volume, and mass of buildings but also because they provide a broad range of aesthetic possibilities in projects. Concrete, in particular, exhibits greater malleability in comparison to wood. While wood already offers flexible solutions, such as through CLT systems, concrete is derived from a blend of liquid, powder, and an aggregate—a paste that can be poured into a mold, spread over a surface and shaped into various forms.
The texture of the material, coupled with its grayish color, produces a visual effect of sobriety, emphasizing the contemporary trend toward brutalist aesthetics. In today's architecture, exposed concrete surfaces within homes serve as a subtle yet elegant component, contributing to a neutral "foundation" upon which layers of more pronounced elements are constructed. These may include furniture with bold shapes or colors, objects, and textiles that either complement or contrast with the inherent rigidity of the base.
Despite its apparent simplicity, concrete exhibits diverse traits influenced by manual manufacturing, curing methods, and contact during production. Consequently, it inherently presents tonal variations, appearing lighter or darker based on factors like the proportion, origin, and batch of cement or aggregates. Exposed concrete, therefore, boasts a unique color profile in each instance. Nonetheless, it can be chromatically enhanced as per project requirements. In burnt cement, where cement powder is applied directly to fresh mortar, coloring is achieved through natural or synthetic pigments during mixing. In polished concrete (granilite), involving a cement base with natural stone granules and surface polishing, pigmentation occurs in both the mass and the aggregate selection, where the stones themselves contribute to the coloring effect.
The addition of pigment to concrete imbues it with a distinct significance. It transforms sober to extroverted within the constraints of pigmentation while retaining its inherent tectonic character and unique texture. Whether applied to the floor in the form of polished concrete or burnt cement, it offers commendable durability along with the admired neutral and relatively uniform base favored by architects. Despite this, the governing idea in the project's design may call for alternative tones that enhance or reinforce the building's character. This is where pigmentation plays a crucial role, complementing a color palette and contributing to the project aesthetics—such as alluding to the earth, capturing the local light, or creating a specific ambiance—or even standing out as a prominent visual texture.
Polished concrete or pigmented burnt cement floors may appear understated compared to their application on walls and structures. This subtlety could be attributed to the fact that entire buildings constructed with colored concrete tend to exude a more vibrant tectonic quality. Nevertheless, the exploration of color on floors has historically been intertwined with various design elements such as layouts, carpets, and even epoxy paint. Pigmented concrete offers an alternative. It does not necessarily have to function solely as a literal neutral and nearly invisible base; instead, it can play a more prominent and expressive role in the overall design.
Duas Casas em Paraty / Julio Katinsky + Ruy Ohtake
"By removing the doors, what was previously a kitchen built into a cupboard began to define a large space, becoming the highlight of the house. It is the space that marks the entrance to the building and extends across the entire width of the house. The floor is made of yellow burnt cement."
Villa Berg / R21 Arkitekter
“The project has clear references to the neighboring garden city through the choice of materials and colors used. The plinth is cast in red-pigmented concrete which can meet and adapt to the terrain. Solid and durable materials such as red brick, copper, and oak are used to contribute to a timeless house with a unique atmosphere.”
Rammed Earth House / Estudio Piloti Arquitetura + Stepan Norair Chahinian
“Materials left in their natural state were chosen to dialogue with the rammed earth: the floors are made of hardwood and burnt cement, and white marble was used for the bathrooms. The paint on the few masonry walls is whitewashed. The floor of the outdoor area is stone São Tomé Rosa.”
Barão de Tatuí penthouse / Pianca Arquitetura + Sabiá Arquitetos
“The project avoids neutral colors and avoids a more sober character: the new internal floor is made of reddish burnt cement, in the bathrooms hydraulic tiles are used – pink with green details in the main bathroom and yellow and pink in the secondary bathroom – finally, in the main bedroom, an ornamental tile carpet with blue, yellow and pink tones is made. On the balconies, the burnt cement extends into the covered areas – seeking to blur the boundaries between internal and external. The rest of the terrace has a large presence of gutters filled with green pebbles and concrete floors with embedded pebbles.”
House MF / alarciaferrer arquitectos
“The house is entirely built in pink pigmented concrete that allows it to subtly tune in with the mineral tones of the surrounding mountains. The passage of time has allowed the work to take root definitively in the place thanks to the advance of the vegetation and the wear of the stained concrete.”
Upper Albert Residence / SAOTA
“The interiors introduce a new dimension of complexity and interest to Philip’s engagement with materials, often including extensive research and development, innovation, and collaboration. The materials he’s chosen for the interior finishes introduce a thoughtful dialogue with the living heritage inherent in the skills of artisans and craftsmen. The polished polymer concrete floor, used extensively over the living room, floors, staircases, and exterior paving, is made with a green stone aggregate that is a byproduct of the historic copper mines in the Namaqualand area in the Western Cape.”
2005_MNB House / Gabrielle Vinson Architecte
“As the existing materials are of good quality and in relatively good condition, they are reused wherever possible. The different floor tiles on the ground floor are preserved, sometimes partly removed to accommodate utility lines, and then reinstalled. Wall partitions are filled in with concrete, and then polished.”
Los Pinos House / Fantuzzi + Rodillo Arquitectos
“The polished concrete slab has plan dimensions of 615cm wide and 1590cm long and on its sides, anchors made of 5mm metal sheet. They receive the pillars so that the wood is not in direct contact with the ground. ”
