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MENIL COLLECTION MUSEUM, TEXAS, USA Client: Menil Foundation Architect: Renzo Piano Bu ilding Workshop Consulting Engineers: Ove Arup & Partners "Ferro-cement and ductile iron were two materials that Renzo Piano and I hod experimented with in the days of Piano Rice . One as on alternative to the hard edge of precost concrete, the other to the rough texture of cost steel. In combining them we sought to weave together the porcelain-like fragility of the ductile iron with the soft grainy texture of the ferro-cement into a continuous melded whole." PR 92 11
In 1980 Adrien Fainsilber won the competition for the Science Museum and surrounding park at La Villette in the l 9th arrondissement in Paris. In September 1980, he contacted Peter Rice who then formed the RFR team. In 1981, preliminary design work began but the project did not get under full steam until 1982. The architect had been particularly inspired by Norman Foster's project for Willis Faber Dumas at Ipswich in England. Peter Rice's co-directors Martin Francis and Ian Ritchie had made significant contributions to this project, with Martin Francis notably as author of the suspended glass wall system in collaboration with the supplier Pilkington Glass. The Ipswich project, designed in the early 1970s, was a stepping off point for the structural glass work at La Villette. The brief set by the client body, the 'Etablissement Public du Pare de La Villette' headed by Paul Delouvrier for the Science and Industry Museum, was that the building itself be an example of the performance of French industry at its best. Th is idea was enthusiastically followed by those involved in the realisation of the greenhouses, the shop windows of the museum. Fainsilber's brief was to 'make the greenhouses as transparent as possible. He wanted a minimum of obstruction of the view to the park. The Ipswich precedent used an all glass facade with glass fins as mullions. But at La Villette, it was decided very early on that the horizontal view would be obstructed by the large quantity of glass that would be necessary in the fin solution. The designers looked for a solution using horizontal mullions with a minimum of visual obstruction. Cable trusses were adopted as the most suitable structural concept for this application. The use of cable trusses implied particular detailing for the glass connections. The detailing experience at Ipswich and an awareness of the structural potential of glass gave the designers confidence in the capacity of the glass to adapt to a bracing structure with significant deformation. The glass is suspended as curtain using small vertical connections fixed to bolts in the corners of each pane. The bolts are countersunk with the heads flush with the outer plane. The bolts employ spherical bearings in their heads such as to ensure that any deflections of the glass or cable truss system do not create local bending effects in the glass. 12
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Page 50 and 51: BUILDINGS AND PROJECTS A CHRONOLOGY
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peter rice

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