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l
I
I
I
I
I
i \
I
EXPLORING
M TERI LS
The
work of
eter Rice
Royal Gold Medallist 1992
Royal
Institute
of
British Architects
66
ortland
lace
London W
l
N 4AD
June 30th - August 25th 992
RIB
G L L ER Y
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CIT TION
Peter
Rice is one of
the foremost
structural engineers
of
his time. His
work hos greatly advanced
architecture, reaffirming the deep
creative interconnection between
humanism and sc ience,
art and
technology . His
many
distinguished
contributions started with his
appointment
as site engineer for
Ove
rup and Partners to the Sydney
Opera
House, after which he
designed the structure at the
Pompidou Centre in Paris, where his
innovative choice of cost steel
enabled the scale
of
this
large
building to be sympathetic to the
fabric of the city.
His
approach
to using materials hos
always been innovative
and
sympathetic to their nature. Yet he
hos never pursued innova tion
for
its
own sake, but to
improve
the quality
of buildings
and
human life.
Noteworthy in this context ore his
travelling workshops
for Otronto
in
Italy where, with his
partner
Renzo
Piano (himself a Royal
Gold
Medallist), he invented collapsible
fabric tents
to
provide the means by
having to leave their homes. His
collaborations with Piano hove
always produced work of the highest
order. Perhaps the most impressive
result
of
their
teamwork
is the De
Menil Collection Museum at Houston,
Texos, where his choice
of
ferro-
concrete
and
ductile
iron for
the
leaves
of
the roof,
allowed
a
marvellous quality
of
light in the
interior.
He hos worked with
many other
architects besides Piano. His gloss
walls at the Science Museum at
o
Villette in Paris incorporate
components
from
the
motor
industry to
allow
vistas
of great
splendour; his
canopy under
the
Grande
Arche
at o
Defense brings
human
scale to a huge
monument; his ingenious
collaboration
with
Michael
Hopkins
and
Partners in the design of the
Lord's
Mound
Stand enabled the
immemorial English village tradition
of
watching cricket
from
tents
and
pavilions to be reinvoked in our own
days for large numbers of people in
the middle of London.
which local inhabitants could
improve
He hos mode a
great
contribution
to
their own surroundings without
anchoring
the
art
of
architecture to
real life, real science
and
real
modernity. His contribution
to
the
creative process
is
continuous, both in
relation to other members
of
the team
for
a
particular
project
and
to the
art
of architecture in general. For him,
the creative process
is
not
linear but a
loop
between interactive disciplines.
The creation
of
architecture is
mode
up
of periods of silence, of sudden
intuition and of passionate teamwork,
and
the quintessence
of
this
is
Peter
Rice
. His passionate belief
that
technology
is
a tool to be used with
imagination for
the benefit
of
mankind
hos inspired a generation
of
designers of buildings
of
all
disciplines.
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N ENGINEER
S VIEW
We
live in a
time when
the
capacity
to design
and
construct
buildings is
increasing
doily
.
Often
the t
ime
lapse
between concept
and completion
of a
building is
no
more
than
18
months .
Time
is money and
the
emph
a
sis
is
increasingly
on
speed
of
design
and
construction.
n
the process much
of
the fun
and
personal ity hos been eliminated from
the
buildings
we build . I am
interested in the ways in
which
the
engineer con help to
bring
bock
some of the joy
and
excitement which
characterises
many of
the
buildings
we
admire from
the post.
Most
buildings hove or should hove a
life expectancy
greater than
man
and
people
therefore feel on
enormous
responsibility
for
the built environment
in a general sense. It
more
than
anything
else represents the legacy
of
our
time
.
Port of the
problem is
the sheer
power and capacity
of the
building
industry
of today and
the
philosophy
which und erlies it. The legacy we
leave behind
is more
a testament
to
the
power
of
our
industry
than
to
any
sensitivity to the role of
man
and the
environment. People con
no longer
see the relationship between
indiv
idual
capacity to
build
individual
inventiveness
and
the
physical
environment
being
constructed by industry
and
designed
by architects
and
engineers.
P
eople
hove always so
ught
to
build
quickly
. But
today
we con
do
it
more
quickly much
larger
and more
often
than
ever
before We
con
and do
destroy
and
recreate a
neighbou
r
hood
or
even a city in the
historical equivalent of the time to
wink on
eye.
o build quickly we must standardise.
We
must use industrial techniqu
es
.
Components
become industrial
elements which ore used
and
re-used
to create
giant
focodes .
Similar
buildings multiply
over the
landscape
and
the
building
components
dominate
the architecture
and
the
growth and power
of
technology
is
given the
blame
. To counteract this
architects
and
designers hove
returned to the forms
and
images
of
old. But to
do
this misses the point
and
the p
roblem
What
is
needed
is
something which returns the
human
scale
and human
involvement lo
buildings
.
t is
the feel i
ng that people
ore unimportant when compared to
the industrial process which
is
so
damaging
The Victorians succeeded
where
we
do
not.
Industry
and
its power and capacity
were
new to them
. Designers enjoyed
the
freedom to
experiment
to
enjoy
themselves to innovate to explore
the possibilities of this
new power to
manufacture and
create.
t
con be
seen in the best
of
those
buildings
which survive. Go to the Grand
Palois in
Pa
ris
and one
marvels that it
is
so fine
and that
we hove
foiled to
do as well since. And that is or
should be surprising.
We
hove
learned so much
about
steel
and
gloss
and how
structures
work
since
then . Where hos the knowledge
gone? Hos it
become
smothered by
industry
and
desire to standardise? I
believe so. The
languag
e
of
the
standard ised industrial product the I
Section the
tube
hos
dominated
the
ind ivid uality. The joy
and
the
delight
hove
become
smothered. These
elements have
got
to be returned.
That
is
the real objective.
And
the
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possibilities ore there. Computers and
computer logic ore being used to
improve efficiency but there is
another side to them and we should
exploit it.
Computers con be used
to
explore
structures and structural forms which
would hove been impossible before.
Techniques now exist to analyse
and
examine aspects of structural
behaviour which were considered
immutable before. Structures which
change their
topology
con be
considered. These ore structures
which hove one set of members
for
resisting one kind of load - soy self
weight - and another for a different
load
pattern - soy a westerly wind.
The computer by a process of
elimination con select on appropriate
member to
set
to resist any load .
Theoretically this was possible before
but it was
too
cumbersome. Now it is
possible. And the stability of systems
con be looked at in a new way.
Members con be allowed to buckle
to participate partially in the
resistance to load . There ore also
new materials. Polycarbonate teflon
fabric ductile iron ferro-cement and
many
others which con be explored
and offer different structural and
textural possibilities. All these
techniques should enable us
to
design
structures which ore truly modern in
the some way that Concorde is a
modern artefact
and
not lose the
desire
to
delight to surprise.
I talk a lot about structure which
is
natural in a way because I am a
structural engineer. But there is a
more fundamental reason.
Throughout history the struggle hos
been to understand materials and
make them stand up. Stone timber
gloss iron each
mode
their impact
gradually as the builder learned to
understand their physical
characteristics
and
what could be
done with each material. The
adventure of discovery is one of the
key elements
to
give value to
building
. o in a way
what
I
am
thinking is how con we recapture
some of that simple confidence some
of
the
form
of structural experiment in
this time when we hove so much
opportunity. That is something people
will understand provided the grip of
industrial monotony
is
broken a t the
some time. The designer should be
visible. The gothic stone mason
may
be unknown. But his presence is
permanent. We must use some of the
powerful tools we hove created
to
challenge the feeling that everything
is predetermined by some industrial
logic that no one con remember and
understand. And we must force
people to see
and
examine what
is
there.
There ore difficulties
of
course. Since
the beginning of the 2 th century
there hos been on enormous growth
in public requirement and control of
building . Buildings and structures ore
now
required not only to work well
and
perform satisfactorily but to be
checked to a complex set
of
codes
and
conditions which were often
written before the nature of the
modern building process was
understood. This is not however a
real obstacle. And it con be
surmounted with tenacity
and
core.
The real issue in design must be to
break the mould of industry controlled
predictability which dominates so
much. The reaction of the public hos
become conditioned. One way
of
doing
this is to take materials
and
change the context of their use .
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Another
is
to introduce new
and
unfamiliar materials into a normal
and predetermined context. We con
and
should take materials and by the
processes
of
design examine their
real nature. All these approaches
challenge the preconceived
prejudices. One con return to on era
where
people
hove
got
to examine
the structure
of
building to understond
how it works. The scale becomes the
scale of the observed detail. This
brings
forward
one
of
the most
unhappy
and complex issues
of
modern construction. It
is
often so
vast so high that people cannot and
do not
relate
to
it all .
Nowadays
most
buildings ore constructed
of
moteriCJls
and by methods which hove
no
room
for
fine detail.
One
challenge
is
therefore to find a way to reduce the
scale of buildings so that people feel
comfortab le being close to them.
Centre Pompidou with its extensive
use of cost steel on early industrial
product still much in use today is on
attempt to introduce a material into
building construction to change the
way a building
is
perceived. It
is
on
example
of
the use
of
new materials
to change the feeling
and
scale
of
a
large
and
monumental building . The
piazza
facode of
this
building
hos
nothing to decorate it but structural
elements.
y
using the costings as the
main
building joints the shapes
and form
were liberated from the standard
industrial
language
. The public could
see
the individual design preference.
Modern computers
and
analysis
techniques
and modern
testing
methods
mode
this possible. We
were bock to the freedom
of
our
Victorian forefathers . The individual
details were exploited to give a
personal design philosophy full rein .
The final design was
of
course the
work of
more
than
one
person. Many
architects engineers
and
craftsmen at
the
foundry
contributed to the actual
shape of each piece. And each piece
was subject to the rigours of detailed
structural analysis to ensure that it
was
fit for
its
purpose
in every way
and this too influenced the shape and
the final configuration. But this does
not
matter. The pieces ore indeed
better
for
all the different expertise
which went into their make-up. They
ore more
logical
more
self-evidently
correct in their
form
.
What
matters
is
that they ore free
of
the industrial
tyranny. They require people to
look
and
perceive so that they
may
understand. This brings to
mind
andther myth
about
technology. The
feeling that technological choice
is
always the result of a predetermined
logic. The feeling that there
is
a
correct solution to a technical
question
is
very
common
But a
technical solution like any other
decision
is
a moment in time. It
is not
definitive. The decision
is
the result
of
a complex process where a lot
of
information is
analysed
and
examined and choices mode on the
evidence.
It is
a
moment
in time
and
place where the people their
background
and
their talent
is
paramount What is
often missing
is
the evidence
of human
intervention
the
block
box syndrome.
So
by
looking at new materials or
at
old
materials in a
new
way we
change
the rules. People become visible again.
Fabric structures require complex
mathematical analysis both to
demonstrate their resistance to load
and
to determine the
form and
patterns. The patterns ore particularly
important
because the fab ric flows
up
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to
3 under stress which means that
shape and
individual
patterns have
to
be
made smaller than
the final shape
in
order that
a structure can expand
to its correct shape in its
final
condition
. A
number of computer
programmes
exist
for do
i
ng
this
and
this
is
a
clear example
of what
can
now
be achieved
today
but
that
would
have been
difficult before
computers.
The IBM Pavilion explores the use
of
polycarbonate
as a structural
material
, in
addition to
its use as a
cladding . Polycarbonate is
almost
the
opposite
of
glass. It is
tough not
frag
ile. That
means
it is easy
to
handle and will not easily break.
But it
is not
very strong, in the
structural sense.
And
it loses strength
when heated even by sunlight. This
structural weakness
would mean
that
the
polycarbonate
element
would
buckle
if overloaded
. The
detailing is
designed
to exploit
the
characteristics
of
the
polycarbonate
while
protecting it
against
its
weaknesses. The blocks
are
glued to
polycarbonate.
This is the
opposite to
the glass
where bearings
are place in
the glass
plane
.
The
polycarbonate and
timber in the
Although straightforward
in
concept
lower
plane
of
the arch
are
separated the total effect
is one which is
very
by
an adjustable
steel strut. This
is modern
.
connected
to
the stainless steel
block
on
the
polycarbonate
through a
rubber
block
which permits some
movement
but prevents sharp
loading
change damaging
the
weaker
polycarbonate. The
character
and
physical nature
of polycarbonate
has
created the details
and
it
is
the details
which
give
character to
the design.
The Glass Passerelle
at
Lintas in Paris
joins
two
sections
of
an
internal
courtyard . The
roof of
a
blacked-out
glazed
dome
below
could not
be
touched
.
What
was
needed
was a
light
and
fragile
structure
float
ing
above
the covered glazed
dome.
The
solution used a glass
box
suspended
from
a prestressed structure which just
touches the
surrounding
buildings.
The structure uses
modern computer
programmes·in
the same
way
as the
Facade
Bio-climatiques
at La
Villette.
The glass
floor
the glass
roof
and the
glass sides
are detailed to
be as
ephemeral
and light
as possible. The
floor and the roof
permit
continuous
ventilation and a brise soleil is used
to
reduce
heat
gain
in
summer
.
The essential feature
of
these
examples is
that
they try
to break
the
mould of
technological
predictability
which is
normally associated with
structures
of
this type .
y
taking
an
aspect
of
the total design,
and
changing
the
way it
is
viewed and by
challenging
the assumptions normally
used in design
one
can
hopefully
attract people's attention,
for them to
look to
examine,
to become
involved. It is less important
whether
they like the result
than that
they
have
become
involved -
that
they have
stopped
and
looked.
Technology is
in
a
unique
position as a
component
in
the built
environment to
make
that
challenge.
Because
people
are
familiar
with
technology
in
other
products,
and enjoy technology
elsewhere in
cameras
, in cars, in
one
hundred
different
ways it need not be
the
intimidating
industrial
product
that
it has so often
become
in a
buildings
.
Modern
methods
make the challenge
possible . I
think
we should get
out
and
enjoy them
. R
987
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The Exhibition Exploring
Materials
reflects the
range of work of
Peter
Rice. A series
of
projects highlights
some
of
those explorations.
The new building for Lloyds of London
is
a rectangular block 68.4m x
46 .8m. The lower ground floor is set
slightly below street level and
contains public areas and a
restaurant together with the
reinstated Old Library. The level
above this
is
the Room which is
double height and above this are 12
gallery levels built
s
rings around the
atrium . A typical
floor
layout is made
up from a 1.8 x l .8m grid of 550 x
300mm beams supported on inverted
U-beams which span between
columns. The distribution of forces in
the grid
is
relatively uniform and the
beams span both ways. The U-beams
are prestressed s are the
550mm
beams in the corner bays.
The floor to floor height
is
4.
5m
of
which l .5m
is
the floor itself. Both the
structure and the services are
exposed with
no
false ceilings.
The
floor
grid design was developed
by observing the natural flow of
forces in the grid in particular the
attraction to the column line. The
beams on the column lines were
strengthened and stiffened to attract
load
while all the other beams were
made half depth. The column line
beams were inverted U-beams formed
by making the half-beams full depth
and closing across the coffer. It was
found that the reinforcement would be
too congested
so
they were
prestressed . This also helped control
deflection and cracking which is
important in exposed concrete.
At the corners of the building the
column arrangement did not permit
this solution . It was assumed that the
grid would not
span
l
6 .2m in two
directions and other arrangements of
full-depth beams were tried . Both of
these complicated the formwork and
services d istribution and looked
wrong . The solution came when the
decision was taken to prestress the
U-beams. It was realised that by
prestressing the half-beams in the
corner the deflections were controlled
and
a consistent solution could be
achieved throughout the
floor
plate.
The U-beams are supported from the
l 050mm diameter cast in situ
columns by precast concrete brackets.
Purpose-made bearings between the
U-beam and bracket carry both
horizontal
and
vertical loads.
The bearing
is
located in the centre of
a coffer and offset l .
8m
from the
centre
of
the column.
The final design was a simple
cantilever concrete bracket packed
with steel. The column and bracket
had to be positioned accurately
because of their relationship with
other elements while the joint had to
be very well made because it was so
visible.
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LLOY S
OF
LONDON LONDON
ENGLAND
Client: Lloyds
o
London lnsuronce)
Ltd
Architect: Richord
Rogers &
Partners
Consulting Engineers: Ove Arup
Partners
Lloyds,
designed
with Richard
Rogers
&
Partners, explores
new
ways of articulating concrete
structure . At the
time
of Lloyds steel
construction was
not
accepted by the
City
regulations, so a Centre
Pom p
idou
solution was not possible .
Q uality control
s
the essence of
concrete construction. To meet both
these requirements, articulation and
qu
ality control a strategy of
mix
ing
and alternating
precast
and
in situ
concrete was
adopted
where the
precast elements became the
articulation.
R
9
9
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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 Delouvr ier for
the Science
and
Industry Museum,
was that the build ing 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
2
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 la rge 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 imp lied particular de tailing 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.
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4
This project explores the use of
polycarbonate as a structural
material in addition to its use s a
cladding . Polycarbonate is almost the
opposite of glass. It is tough not
fragile. That means it is easy to
handle and will
not
easily
break
. But
it
is
not
very strong in the structural
sense. And it loses strength when
heated even by sunlight . This
structural weakness would mean that
the polycarbonate element would
buckle if overloaded . The
detailing
is
designed to exploit the characteristics
of the polycarl;>0nate while protecting
it
against
its weaknesses. Blocks
are
glued to polycarbonate . This is the
opposite to the glass where bearings
are place in the glass plane.
The polycarbonate
and
timber in the
lower plane of the arch are separated
by an adjustable steel strut . This is
connected to the stainless steel block
on the polycarbonate
through
a
rubber block which permits some
movement but prevents sharp
loading
change
damaging
the weaker
polycarbonate . The character
and
physical nature of polycarbonate has
created the details which give
character to the design.
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IBM P VILION
Client: IBM Europe
Architect: Renzo Piono Building Workshop
Consulting Engineer
s
Ove Arup &
Partners
Developed at the same time as La
Villette glass
facade
, a demountable
pavilion using timber polycarbonate
and cast aluminium the concept and
detailing reflect the
nature
of
polycarbonate as a material and the
multiple
use of the structure. Each
detail
hopefully
says
someth
i
ng
about
the way these materials work . It was
used many times in three years and
then destroyed . A
memory
.
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6
The project
of
J O. Spreckelsen for
the Grand Arche envisaged the
clouds spilling out onto the
esplanade. These clouds were
conceived as a series
of
overlapping
layers with a fluid, free form which
contrasts strongly with the monolithic
Grand
Arche.
However it was not envisaged to
construct such an animated form
without standardising it to a certain
extent. n particular the number of
different metal pieces and fabric
cutting patterns had to be limited. For
these reasons a geometric rule was
sought which respected the style and
rhythm of the clouds.
A module was created which can be
connected to itself in several ways.
Therefore a multitude of combinations
and shapes may be formed.
Nevertheless all these shapes share a
character which flows
from
the
geometry of the basic unit.
n
order
to obtain the fluctuations of
the clouds this module is part of a
skew surface - one of which is neither
flat nor orthogonal - l imited by
sinusoidal curves.
The development of such a complex
geometry was only possible with the
aid
of computers. This process is
analogous to the method of
constructing fractal images. The rule
of module inter-relation was
programmed into the computer and
each layer
of
the cloud was
composed by trying
out
various
possibilities produced by these
combinations.
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NUAGES PARIS FRANCE
Client:
SEM Tele
Defense
Architect: . 0 . Spreckelsen and Aeroports de
Paris
Paul Andreu
Consulting Engineers: Ove Arup &
Partners
and
RFR
The Nuages is a structure in
fabric
and steel suspended in the volume
of
a
Grande Arche to give scale
and
measure to an immense volume. The
teflon fabric,
of
which it is
made
is
light but being only lightly translucent
it is difficult
to
perceive this lightness.
We
worked
with Paul
Andreu
who
succeeded Spreckelsen as architect to
the project when he resigned because
of
ill health. Fabric being a sheet
lacks body, but real clouds,
ephemeral, transient, occupy volume.
To achieve this duality the Nuages
was composed
of an
undulating
fabric
surface giving visual continuity
between, above
and below and
supported on radiating cables trusses
so
that the real volume occupied by
the
fabric
was joined by the virtual
volume
of
the steel structure giving a
large presence in the space. The
Nuages was not well understood
when it first appeared but as the
fabric has mellowed
and
people have
become used to it this has changed .
The detailing
of
the joints is used as
elsewhere to achieve the transition in
scale. R
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18
The concept of a theatre using purely
moonlight for
the stage
lighting
was
developed
by Humbert
Camerlo
with
Peter R e. The technical solution
involved a sophisticated computer
ana lysis of the
moon
s
ever changing
geometric
relationship
to
the outdoor
theatre site. This
determined
the
location
and
orientation
of the series
of
moveable
concave
mirrors that
track the moon in the sky and focus
the
light
onto a concentrated point
on
the stage. The
project
is an
ongoing
experimental
experience. Each
season
brings new explorations into
light,
new
reflective
materials
and
inventive constructions to use them as
well as
new performances
including
art, music, dance that are created
to
be seen in this ethereal l ight. This
year
it is hoped
to
achieve 400 times
the intensification of the full moon
light
. The mirrors are designed
according
to
the paraboloid that
reflects the moonlight
onto
a single
po i
nt
. For the purposes of the theatre
as the moon moves across the sky,
the
paraboloid changes direction
throughout each night and changes
its geometry with each moon . The
theatre is made by local artisans and
volunteer
help
and so the techniques
of
fabrication
must be simple . The
current design is based
on
9 panels
measuring
6 .Sm x 2.2m
that
move
on
curved tracks. The tracks follow a
specific shape that
automatically
turns
and inclines the
mirrors
as they move
tracking the moon .
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OONTHEATRE
FRANCE
Client: Ateliers de Gourgoubes Humbert Camerlo
Designer and Theatre
Director
Humbert Camerlo
Consulting Engineers : Ove Arup
Partners
ond
RFR
The
Moon
Theatre
s
the conjunction
of myth, ritual and reality. The theatre
in Provence s lit entirely by reflected
moonlight
. The complex calculation to
track the
moon,
define the geometry
of
the reflections which
form
different
theatrical functions - spots, sidelights,
footlights
and
so
on - was developed
in London and Paris, working with
Humbert
Camerlo,
a theatre director.
Otherwise all the development s the
product
of
craftsmen
working on
site.
Young engineers
don t
sit and
draw
in the office. They are all sent to the
theatre to participate
in its
development both physically and
mentally. A special lightweight
mirror
was developed using 1 Smm chemically
toughened glass as the base artefact
of
the assembly. It s
and
will continue
to be a place of experiment in theatre,
the psychology of light
and
the myth
of the moon. The committee de
l'Atelier de Gourgoubes has members
who include physicists, artists,
musicians, writers, choreographers
and dancers,
film
directors
and
senior
television producers,
and
myself an
engineer, to create a multi-varied
framework for research. All original
work must take place on site. It
s
a
project at its beginning . R
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The roof
of
the main terminal building
is formed from a series
of
three
dimensional arched triangulated steel
frames supported on raking tubular
legs. With a
main
span
of
82 .5m the
trusses continue towards londside
where a single vertical pinned leg
provides
another point
of
support as
the
roof
becomes a cantilever canopy
over the passenger
drop-off
area.
Towards oirside, the trusses curve
downwards and reduce depth to
another single support leg where they
merge into the wing structure.
Although
of
on unusual shape, these
trusses act in the conventional way
b·enefiting
from
their arched shape in
carrying vertical load .
The wing structure is not
conventionql. Here, the shape hos
been generated to enable a large
proportion
of
the vertical and lateral
forces to be carried in its surface by
shell action, minimising bending. This
enables the structural components to
be visually compact
for
the spans
they cover. They ore mode from steel
ribs defining the profile and
interacting with secondary beams
parallel to each
other and
extending
the length
of
the building. Diagonal
2
members complete the shell surface .
Every other rib, at
15m
centres, is
held in shape by a
diaphragm
formed from steel tension bars
arranged singly and in pairs. All
of
this gives a structure which is
remarkably
light,
airy and elegant
.
In this case because the structural
performance relies on the geometry,
analysis hos been by use
of
a non
lineor dynamic relaxation
programme
developed by Arup which con
simulate buckling and takes account
of
the deflected shape.
In the main hall the environment hos
been considered in two parts. The
first is the macro environment which
considers the entire volume
of
the
space in conjunction with the overall
level
of
natural
and
artificial lighting,
air movement and conditioning to
counteract the heat gains
or
losses
through the skin . The second port is
the micro environment where the
occupied zones such as around
check-in counters ore treated for
comfort
and
lighting levels
appropriate to the task being
performed locally. This
micro
system
is supplied with air from below the
floor
level. Air outlets and light fittings
ore integrated into check-in counters
and offices .
The macro system is served by large
diameter jets supplying conditioned
air
at high level in the canyon and
using the curve
of
the air shell
ceilings to deliver it some 60m across
the space. This provides general air
movement and fresh air ventilation.
Return
air
is token out
of
the space at
low level. Justification
of
the successful
operation
of
such a system, and the
design
of
the jets, hos been based on
three-dimensional fluid flow computer
modelling and large scale (1:10)
physical model tests . Arup completed
the computer simulations
and
the
model tests were carried out by
BISRI at their laboratories in Bracknell.
In the wings, a similar but less
ambitious macro-micro approach is
used . Air supplies at low level
adjacent to the gloss focode on both
sides
of
the wing blow air into the
space. Lights, P equipment and so
on ore mounted on posts to create a
street lighting effect
for
the
lounge
areas. A general level
of
lighting is
achieved by reflection from the roof.
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KANSAI INTERN TION L
AIRPORT
TERMINAL
JAPAN
Client: Kansai International Airport
Limited
Architect: Renzo
Piano
uilding Workshop
Consulting Engineer: Ove Arup
&
Partners
Renzo Piano, in his competition
concept for the terminal saw a giant
bird or plane alighting on the
artificial island Skm out in Kansai
bay.
To
this I
added
the spirit
and
detailing of the early
20th
century
Bleriot bi-planes to help make the
trans ition in scale to those
who
will
use it.
Once
the
form
of the roof
had
been defined it was used by
my
environmental engineering colleague
Tom Barker to create overall air
control, with a
large
scale air jet
ventilating the whole space
and
local
control w h ~ r the people are . This
was explored
and
proved
through
the
latest
computer
software
.
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The spider and structural engineer
both share similar requirements and
constraints when designing a new
structure. Whether designed to
resist
wind snow,
or
a large fast moving
insect, webs and buildings alike must
maintain their structural integrity
under
anticipated loads.
Both must minimise construction
materials. The spider produces a
limited supply
of
silk which it recycles
daily by eating its
web
. In addition
reducing construction time is not only
a cost-cutting measure, but possibly a
life-saving one, for the spider is
vulnerable to prey every
moment
that
it is
building
its web . Selecting the
most appropriate material is essential
too to allow a structure to function as
designed
and
the spider must choose
between at least eight dif ferent types
of
silk.
Spiders' silk
is
a very strong
natural
polymer which can absorb 100 times
the energy required to snap a steel
thread
of
equal diameter. It also has
the ability to respond to imposed
loads - a quick change in length
The properties of the silk change
depending on whether it is wet
or
dry.
Water
breaks down the
hydrogen bonding
between adjacent
polymer chains
and
the overall effect
is to increase the elasticity
of
the
thread . The spider uses both wet
spiral
and
dry
radial
threads in its
web. The spiral 'capture' threads are
coated with a special glue produced
by the spider. This glue provides the
'stickiness' required to entangle prey
and absorbs moisture from the
atmosphere . A layer
of
water grows
around the thread until it reaches a
critical diameter, then it suddenly
breaks into tiny droplets. These
'windlasses' are driven by the surface
tension
of
the droplets, and reel in
and
out the spiral thread to keep it
taut.
In
addition these tiny droplets
serve another unexpected function :
they increase air resistance, thus
doubling the energy absorbed by
aerodynamic
damping
.
The key to the structure
of
the spider's
web lies in its shape and stress
distribution . y allowing large
elongation
of
the threads, the
produces a large resisting force which maximum proportion
of
kinetic
slowly comes to equilibrium over time. energy from a flying insect is
absorbed as strain energy. The
multiple redundancy
of
the radial
threads ensures that the web will
function even if
many
radials break.
A distinct structural hierarchy in the
web is defined by the large
difference in prestress. Radial threads
are highly tensioned compared to the
spirals. If a bumble bee hits and sticks
to a few strands
of
spiral thread they
'break' the impact because
of
their
highly elastic nature. The load
of
the
bumble bee travels from the spirals to
the radials, where much of the kinetic
energy is absorbed and then
continues straight out to the supports.
Meanwhile the whole web gently
vibrates dissipating energy through
air resistance .
In
the past, possible applications
for
spiders' silk have been limited.
Today, however, the technology
exists
to
biosynthesize the silk, This
discovery opens up a range
of
possibilities - perhaps it will soon be
possible to build very light, highly
elastic structures which actively adapt
to their changing environment
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SPIDERS
WEBS
A collaboration between
Peter
Rice Ove Arup & Partners and
r
.
Frit
z
Vollrath
When I was invited by Fritz
Vollrath
and
his team
at
the
Zoology
Department of
Oxford
University to
join
him
exploring
how spiders' webs
work
I accepted
immediately
.
Open
ended research leads to the most
exciting results
and
stimulus.
So
far
we have discovered
that
the spider
is
using the techniques of the late 20th
century engineer, but with much
more
elegance
and
precision . Here
too
we
are at
the beginning
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The Pabellon del Futuro - Pavilion of
the Future - is one of the principal
thematic pavilions to feature at Expo
92 in Seville. The architects wanted
to create a spectacular eastern
facade structure, supporting the
pavilion s roof which would capture
visitors
imaginations
.
The possibility
of
building the facade
using natural stone as its
primary
structural material was seen as an
opportunity to challenge
contemporary perceptions of stone as
purely a cladding or facing material
and to demonstrate how modern
analytical, fabrication and
construction methods can exploit the
properties of this ancient building
material in a new and innovative way.
The outline form of the structure
recalls that of Roman aqueducts such
as that found at Segovia . However,
its detailed composition and its
structural combination with a three
dimensional steel lattice structure for
its lateral stability distinguishes it from
its ancient predecessors . The facade
structure is completely self-stable. It is
used to support the curved lattice roof
beams over the Pavilion which are
4
suspended from the stone arches via
a tie-system which applies uniform
radial
loading to
the arch, and
therefore a thrust-line which follows its
circular geometry.
Arup s specially developed software
for
non-linear
structural analysis was
a key element in being
able to
justify
the stability of the stone arch without
it being braced . Thus the stone joints
within the arch were
properly
modelled to represent the potential
flip-flap mechanism of hinging either
about its intrados or extrados.
The open stone units featured in the
structure were assembled
from
solid
blocks of osa Porino granite. This
was done at the stoneworks by gluing
and dowelling with no internal
reinforcing to the granite pieces.
Precise cutting of the granite was
achieved by modern computer
controlled machines.
The means of constructing the facade
structure was an
important
consideration during its design.
The erection of the facade on site
was achieved without the use of
temporary
supports.
Sections
of
the structure were lifted
into position by crane after pre
assembly at
ground
level.
Once
the
facade was completed, the roof and
canopy beam loads could be
transferred to the
hanger
ties under
the arches.
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The choice
of
the structural system for
a new church is a
major
element
of
the design. The important nature
of
the
Padre io church, its size
and
location,
calls
for
a very particular structural
solution for supporting the roof.
For the Padre
io
church it
is
proposed to use a series
of
arches in
natural stone to provide a distinct
primary structure from which a
secondary roof structure will be
supported. The arches will be set out
on a
radial plan
converging
towards
a focus at the altar
of
the church. Two
sets
of
primary arches, inner and
o uter, will be used . Inner arches, with
approximately 50m spans, will fan
out from the focus point to support the
roof over the central part
of
the
church whilst a set
of
smaller outer
arches will span over the outer part
of
the floor which will vary in width
around the central zone.
Although largely ignored as a
possible choice for most
contemporary buildings, natural stone
can have strength and durability
characteristics which make it a valid
modern structural material if it is used
properly and where geometric forms
6
are
not
constrained by conventional
building requirements . The successful
cathedrals built in stone demonst rate
the strength
of
natural stone and the
types
of
form
for
which it works best.
Essentially, natural stone is a material
which should be used for its
good
compressive strength. The avoidance
of
tensile strains within stonework can
be achieved by finding a suitable
geometry which allows load
transmission by primarily compressive
thrust. Thus, for larger spans, the arch
form is an obvious preference for
stone structures.
The roof system between the arches is
proposed to be
of
timber
construction. A variety
of
options
exists
for
the precise geometry and
structural configuration for this part
of
the roof and the final choice
of
construction may be influenced partly
by environmental and acoustic
considerations within the church . The
roof level structure will be used to
provide the lateral stability necessary
to the primary arches. These
stabilising forces will be transmitted
via a three-dimensional intermediate
transfer structure between the arches
and roof.
The project combines the strong
traditions
of
material use
and
craftsmanship associated with church
buildings, with the application
of
the
most modern technology to structural
design
and
construction.
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PADRE PIO CHIESA PUGLIA ITALY
Architect: Renzo
Piano
uilding Workshop
Consulting Engineers : Ove Arup &
Partners
When seeking inspiration for the
large basilica-like church at Son
Georgia de Rotondo in south central
Italy we naturally chose stone, on
authentic base material with close
connections
to
church architecture.
The project s still in its early stages
and
the final
form and
shape that this
will creole
s
not yet clear. The nature
of the place where earthquakes con
occur will become on important
factor
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8
Alessandro
Mendini
the architect of
the new
Groningen
Museum in the
Netherlands, asked the artist Fronk
Stello to design the
upper gallery
of
one
wing
of the museum. The
museum
s
located in the city centre
on o
mound and s
surrounded by
water.
Fronk Stello developed the
architecture of the museum in his
studio in New York
and
mode the
initial models
from aluminium
pieces.
The project consists of two
intersecting leaves that
float
above
the gallery floor. Each
leaf
hos the
some undulating geometry and one s
defined
from
the other by o rotation
and
o translation . The pattern of the
leaf
veins governs the floor pion
and
the position of the partitions. The
edges of the leaves overhang
and
o
continuous strip of gloss runs around
the gallery. The veins are laminated
wooden
beams tha t intersect
at
their
support points. Between the beams, a
grid
of
wooden
joists creates a
surface over which two layers of
teflon coated fabric are stretched . The
walls are found either at the vertical
projection of the edge beam or are
set perpendicular to the surface at the
edge. In the latter case, an inclination
of the edge wall
s
created all
around
the
building.
· The geometry of the leaf was
researched according
to
the plastic
form
desired by Stella
and
then the
structure was defined .
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3
Located between
Terminal
2 and the
future
Terminal
3, the
TGV railway
station at
Charles
de Gaulle Airport
in Paris
is composed of four
steel
and
glass constructions symmetrical
about
the ax
is
of the terminals. Each
roof is
l m long and 50
to
?Orn wide . The
outer
glazed
roofs
are
at
ground
level
while
the inner roofs are
inclined
,
emerging
from the underground
stati
on up
towards
the
central axis.
The structure is a transposition
of
the
levitation image . It is completely
detached
from
its facades and
s
upported
in the centre . The layers
of
constructive elements are : a fritted
glass plane float i
ng
on
articulated
struts, crescent-beams and fan shaped
pylons . These layers move apart
and
transform
as they ascend
towards
the
central axis. The curved glass profile
becomes gradually flat, the crescent
beams
get
deeper and
the pylons
become
trees with three then four
branches. The crescent-beam
is
composed of
a strong curved double
bottom boom
and a thin
top
tensile
element
. It
is
supported in the centre
and maintained against uplift by
lateral cables . To
control
its sensitivity
to
settlements of the supports the top
tie
is
made more flexible by slender
high strength steel bars and springs
are placed at the base
of
the lateral
ties . The beam
is
prevented from
buckling
out
of
plane by connecting it
at its edges
to
the
rigid
glass
plane
The undersurface of strong curved
elements reinforces the impression
of
levitation and its
thinning
out permits
a
clear
view out of
the
station from
the platforms.
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GARE TGV ROISSY FRANCE
Client: Aeroports de
Paris
and SN F
Architect: Aeroports de
Paris
Paul
Andreu
Consulting Engineers :
RFR
and Ove Arup
&
Partners
Ro issy,
Charles
de Gaul le is
an
international interchange where air
high
speed rail, buses and other
surface transport meet. Paul Andreu
the ch ief architect for Aeroport de
Paris, wanted th is to be symbolised in
the glass roof of the TGV station . The
structure has a central
support
line, so
as not to enclose the station, but
instead provide visual
and
psychological contact with the
airport
all
around
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3
The construction of Lille Cathedral
began in the eighteenth century but
the building was left unfinished and
the west facade is currently an
unsightly temporary infill .
Monseigneur Vilnet, the Bishop of
Lille,
is
instigating a refurbishment
of
the cathedral and a new west
front
.
Pierre-Louis Carlier, a prominent
architect in Lille, has assembled a
team with a developer Cogedim an
artist, Ladislas Kinjo and Peter
Rice
as
engineer
to create a new facade.
Pierre Louis Carlier s new facade
consists of a tower on the left side
which houses a belfry, a central bay
designed by
R R
and a re-surfacing
of the remaining existing structure in
copper leaf.
The central
bay
is entirely in stone
with a stainless steel tension bracing
system. The arch
is
curved in section
for bending stability. It is in the same
pierre bleu used
for
the original
cathedral. The bracing structure is
prestressed such that the stone is
always in compression as the strength
of stone is its compressive capacity.
In tension
or bending
it is very weak.
A glass and stone facade is
suspended from the stone arch. A thin
marble layer is bonded to glass such
that it acts as a light filter. Seen from
the inside, the
grain and colour
of the
stone enrich the quality of the light.
Varying the nature and thickness of
the stone varies the light
colour and
intensity.
The rose window is conceived by the
artist Kinjo. It is in stained glass made
by a descendant of the Gruber family
of stained glass artists. The traditional
stained glass t ~ h n i q u e s are
integrated with a modern engineering
solution for the bracing structure using
pre-stressed cables. The geometry of
the cable structure was composed in
collaboration
with the artists as a
relief element in their composition.
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Originally
conceived to recall a
Japanese style footb ridge, this
pedestrian
bridge
spans l OOm
between buildings
on
either side
of
a
busy
main
rood at o Defense, Paris.
The structure is steel with a precost
concrete deck covered by a
3m
high
glazed
walkway
. Taking into account
the inability
of
the supporting build ing
to take significant horizontal thrust,
the
bridge is
designed as a tied arch .
The
main
arches ore
9 mm
fabricated
triangular
sections, and the
tendons
2
mm diameter
solid bars.
Arches and tendons
follow parabolic
curves modified
to
take account
of
the
real self
weight
distribution so as
to
minimise arch bending under dead
load
. Whilst the
bridge is highly
stable against
uniform
vertical load,
the presence
of
the glazed
walkway
gives rise
to
high
wind
loads wh ich
load the
bridge
laterally
and
in
torsion
about
its axis. The lateral
loads
ore
token simply by the braced
plane between the tendons,
and
the
torsion transmitted via action of the
two arch-tendon planes.
The principal nodes, which form the
connection between tendons, hangers
and deck support structure, were
originally
envisaged as cost pieces.
For ease
of
erection the contractor
chose the solution
of
forged demi
nodes , th readed onto the tendons
and bolted together on site. The use
of
such hi
gh
steel thicknesses
for
such
critical tension elements led to the
specification
of
very high notch
toughnesses
for
the steel to ovoid
potential problems
of br
ittle fracture .
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JAPAN
BRIDGE
PARIS
Client Sari
Group
Architect:
Kisho
Kurokawa Japan
Consulting Engineers :
R R
and Ove Arup
Partners
The
origin l
idea
of
Kisho Kurokawa
was changed with his
greement
to
produce a tors ionally stiff
form
to
resist the wind loads found at
La
Defense, which is a difficult wind
environment
.
PR 92
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6
sch sur Alzette is the second
town
of
Luxembourg . Where Luxembourg City
itself is dominated by banks
and
European affairs,
sch
is
dominated
by the steel industry. It is the
home
of
Arbed
. The
town
grew on the banks
of a small river called the Alzette, but
as the industry
and
the town grew the
river became smaller and is now
channelled underneath the
main
street, the rue de l Alzette . The
commercial
and
cultural heart of the
town is the rue de l Alzette with the
town hall at one end and a theatre at
the other end .
RFR
were invited to design a series of
lighting masts for the rue de l Alzette,
that would reflect the identity of the
town.
Arbed s production is primarily
laminated profiles. The masts are
found on the standard Arbed range
but
are taken
out
of
the rolling
process in a semi-finished state . This
gives them a curious and unfamiliar
dog-bone profile form which
creates a special and original profile
for the particular application .
Fixed to some of the masts are small
fabric light reflectors or birds as they
are called . The density of the birds is
greater
at
the end of the street where
the cultural facilities of the city are
concentrated and which is paved
such as to be accessible to
pedestrians only .
The geometry of the composition is
based on the almost perfect arc
followed by the street of a radius of
approximately 6 kilometres . The
heads of the masts are inclined to
meet this p r f ~ t geometry while the
feet follow the real imperfect arc
traced by the street. This gives every
mast a different angle breaking the
monotony of conventional street
lighting masts.
The critical design condition for the
masts is the wind loading . The long
thin H profiles have a tendency to
flutter
under
certain wi
nd
directions .
The holes at the top of the masts are
necessary to break up the wind flow
patterns that would otherwise
accelerate the vibration
of
the
profiles .
A
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ESCH LUXEMBOURG
Client:
Town o Esch
sur Alzette
Architect and
Town Planner
:
Prof
Sievents
Designers and Engineers: RFR
\
Esch,
the
second
town of
Luxembourg, s
famous
but
unknown
.
It s the home of
rbed
, which makes
the finest large steel profiles in the
world .
When
invited
by
the city to
propose
a street symbol
for
the city
we
thought to
use a
standard profile
in
an
unconventional way
by
interrupting the rolling process
and
making
the lampposts of a partially
completed section. The perforations
at
the top
provide torsional wind
stability
by aerodynamic
damping
. R
9
7·
I
'/
7
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The Pyramide lnversee
is
a skylight
above the square
formed
by the
intersection of the
underground
galleries of the Carrousel at the
Louvre. The pyramid points
downwards , its l 3 .3m
square
base
being on ground level and its apex
hanging
l
.
4m
above the gallery floor.
The shape of the Pyramide lnversee
maximises the amount of natural
daylight admitted, as light
is
reflected
from
the inclined glass surfaces. The
characteristics of this sheltered prism
lead to a different structural solution
to that of the existing Grand Pyramid.
Tne work is separated into two
independent parts - the roof, a very
flat pyramid which is designed to
withstand crowd-loading and the
inverted pyramid which is sheltered
from external wind-effects, and which
is intrinsically stable under its self
weight .
These two sections are both
connected to a metal caisson which
surrounds the square base ,
supporting the weight of the glass
and
the cable anchorage forces. This
box also contains the services -
lighting, ventilation supply and extract.
8
The structural and geometrical logic
was determined in order to minimise
the variety of nodal connections and
also the amount of on-site adjustment
required . This principle led to a
hierarchical structure with primary
and secondary sections.
The roof, wh i
ch
is almost flat, is flush
to the level of the roundabout of the
Carrousel. The glass
is
supported by
tetrapod castings, which pick up the
corners of each panel. These
tetrapods are attached to struts which
are stabilised by cables which are
themselves supported by a series of
horizontal cables. Thus, the principle
of tensegrity, as defined by
Buckminster Fuller in the 50s, is
applied - all compression elements
being separated from each other by
tension elements.
The
hanging
glass is structural, as in
La
Villette . Each glass lozenge
is
articulated from the others by
spherical bearings positioned at their
corners, the bearings being linked
together by stainless steel cross
shaped pieces.
Each panel is picked up at its centre
by a fine cable which is linked to a
flying post. These flying posts are
supported by cables which tie back to
the edge beam .
The primary internal structure consists
of
eight vertical struts held by cables
which are themselves attached to five
layers of very fine cables keeping the
glass surfaces flat.
The
hanging
panels are tempered,
laminated white glass; the roof panels
are
30mm
bright annealed laminated
glass with all panels having
chamfered edges.
s the
light
changes
and
the sky is
reflected, the pyramid will harbour
the
aura of
a signal suspended in
time, a remnant
of Napoleon
s
original
hall.
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PYRAMIDE
INVERSEE
LOUVRE
PARIS FRANCE
Client: Etoblissement Public du Grande
Louvre
Architect: l M Pei
Consulting ngineers :
RFR
As n
architect
I.
M .
Pei
likes
complexity which can
moment rily
become simple.
By
choosing a
tensegrity structure
not
fully authentic,
it should
look
complex
from
some
angles but then become simple
nd
al igned
from
certain key directions.
This project provoked research into
glass
det iling . R 92
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THE
COLLABORATOR S VI W
Making Architecture, since the very
beginning
of the profession, has been
an inter-disciplinary adventure -
one
with no
boundaries
between concept
and
action, dream
and pragmatism
between design and
engineering
.
And
since the
beginning
, architecture
has been achieved
not only
with the
involvement of architects, but with the
contributions of builders,
philosophers, historians
and
of
course , engineers .
The time has come for
us
now to
recognise the inter-active spirit which
is the very origin of our discipline .
Peter
ice
is one of those engineers
who has greatly contributed
to
architecture, re-affirming the deep
creative interconnection between
humanism and
science, between
art
and technology .
Architecture is ar t : a
contaminated
one
. Life, society,
tradition
modernity
technology
and science
are
the contaminants
that
go
together to
make
this art alive. This is
the reason why architecture provokes
the interest and passion of
so
many
people and this is
why
it is closer
to
the
public
than any
other
discipline .
Peter
ice
has made a
great
contribution to
anchor
the art of
architecture to real life, real science
and real modernity .
enzo Piano Architect
Genoa taly
I cannot
remember
when I first
met
Peter. Frei Otto gave me his name
back in the late 60s when we tried
to
persuade Chelsea Football Club that
what they really needed was not just
a new East Stand but a lightweight
retractable tent enclosing the whole
ground . The result was an unmitigated
disaster but it led some
two
years
later
to
Peter and Ted Happold, the
leader of Arups lightweight research
group asking Renzo and I to enter
the Beaubourg competition . And so it
began . Since then there has
hardly
been a week when I haven t worked
or talked with Peter.
Peter
is
not
like
any other engineer
.
He does not wait for the architect
to
develop his ideas and then offer
options of how to prop them up . He is
a strategist who is at his best working
on understanding the nature
of
the
client s wishes . He is there at the first
meeting listening, thinking and
questioning. His
drawn
and spoken
responses are elegant and concise.
I have witnessed Peter time and time
again convincing the most sceptical
client that a more innovative solution
would carry
less
risk than a mundane
one because
to
innovate one must
start
from
basic principles with
nothing taken for granted .
Peter is a true virtuoso . Optimistic and
open to new challenges, always
pushing the boundaries a little further
yet totally conscious of his
professional responsibilities . Steel,
stone, wood plastic, concrete or
carbon fibre are all his materials.
Like his great predecessors whether
Brunel or Brunelleschi, Peter is able to
step outside the confines
of
his
professional training transferring
technical problems into poetical
solutions. His design combines order
with
delight
science with
art
. He
is
so
much a part of the design team that it
is invidious to highlight specific areas
where his involvement changed the
direction
of
our thinking but I will
isolate a few; Beaubourg s original
double column and steel structure was
developed into a single column with
4
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on outer plane of fine tension and
compression members, the planes
separated by great steel brackets; the
low cost solution
for
a large car
showroom
and
garage of
o barrel
vault supported by numerous skewers
which made the building look like a
porcupine; the beautiful
roof
in the
form
of
a wave for our BAA terminal
competition; or the ferro-cement
concept for
pre-fabricated housing in
Korea.
There
is
an inner sense of peace
about Peter which
is
reflected in
_verything he does. He
is
a humanist
who has enriched my life.
Sir Richard Rogers Architect
London
It is a long time now since I met Peter
ice but I remember my surprise at
our first encounter.
It was
during
the construction
of
the
Centre Pompidou . The architects had
described him to me as an
outstanding mathematician who
overcame all problems. Instead
of
someone clean-shaven and cold in
aspect, I found myself opposite a
hirsute individual his gaze smiling
4
and sensitive, looking more like a
poet
or
an artist than those correct
mannered technical experts whom
one often comes across in public
administration .
Experience was to confirm my
perplexity. In-depth discussions
proceeded to take place between
Peter
ice
and the insurance
companies, who wanted irrefutable
proof
of
the integrity of complex
structures since their equilibrium
resulted from internal tensions
between various elements.
Peter ice responded with a display
of
intellectual gymnastics which I had
a great deal
of
trouble following
despite my mathematical pretensions,
and thus triumphed over all the
objections.
In Peter s att itude there was a passion
which
took
me
aback
. The
building
which he was
championing
was part
of
himself, he loved it, and as he
explained the calculations which had
allowed it to be built as it should be, I
realised that he fully felt its quality.
The bald statement
of
the figures
translated directly, in his own mind
its tangible appearance as it would
appear
to the eyes
of
visitors. Later,
when he built other buildings, he was
to retain the same behaviour. And it
is because Peter ice shows himself in
this way to be a great humanist, in
the full sense of the word, that he
deserves
our
profound
gratitude .
obert
ordaz
former President pour
le realisation du
Centre ompidou
I have found in Peter
ice
the
sensitivity
of
Q great artist . Peter
knows above all how to observe and
captivate the essence
of
an
architectural concept. This approach
completely free
of
any preconceived
idea, allows Peter to absorb the spirit
of
a project, and then to translate it
brilliantly by creating and using
original building techniques .
My
relationship with Peter
is
one
where words are almost unnecessary.
Peter consistently transcended my
original
visions and exceeded my
expectations.
To attain the objective
of
maximum
transparency for the bioclimatic
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their motives remain obscure
and
unfathomable.
Responding to
what
now seems to
have been a pretty far-fetched
proposal
I
built
a l Oft .
wide model
of
a footbridge - a spray
painted
jumble of
aluminium
whose
enlargement
was
meant
to span the
Seine. Since it
matched
his
brightly
coloured
vision,
my
Parisian
agent
was pleased. He wanted to show it to
France's
Minister
of Public Works,
but
first he needed
an
engineering
opinion . He asked Peter
to
look
at
my
model.
Surprisingly, Peter showed
up
.
Well,
what
do you
want to
know?
he asked after walking
around
the
maquette a few times. I
thought Oh
boy, I'm really in
over my head
now
but
managed to ask as casually as
possible Do you think it 's
buildable?
He
looked at
the
model
of
the
bridge again and
responded
Yes . I didn't believe
him
for a
second . Then I began
to
realise what
Yes
meant
. Sure it was buildable -
buildable
by
him, not
me . But,
fortunately, there was
more
to it than
that. Somehow, even though he
communicated a questioning,
perhaps cond itional, sense of
approval
he did it in such a way
that
the recollection makes me
happy
to
this moment . It seems the
Yes
implied
that
the model
might
be worth
developing if we could
work
it through,
if, first, I could only
make
myself clear
about
my
idea for the
bridge
.
We
never got very fa r on the
bridge,
but later we
did
get pretty far
on
a
museum proposal for the Dutch town
of
Groningen.
On
that
project I
got
lucky. A simple,
communicable
idea
popped out at
me
from
a Dover book
of Chinese lattice designs . Twisting
one
of
its
leaf
shapes
made
a
wonderful roof plane for our building
model. When
Peter asked
me what
was the idea behind the wavy roof I
could
say proudly It's like a leaf
.
Once he
had
a handle, once he
could grasp the image, Peter just
rolled on like a juggernaut, crushing
the obstacles
of
practicality
and
cost,
making
it possible for us to build
what we liked .
I guess it's obvious that Peter is a
national treasure but I feel the truth is
that he is a universal treasure . Just to
be
around him
makes you want to
think,
think as hard
as you can.
Even
when the results are worthless
and
the
efforts futile Peter has helped me
realise
what
a privilege it is to be
able
to
think
at
all.
Frank Stella Artist
California USA
A conversation with Peter Rice is
always for me a great moment. His
language
is a mirror of himself:
friendly, clear, fa ir, never bombastic,
always fascinating
and
fascinated .
One
of his greatest qualities is , I
believe, to
~ s t l l
a real
dialogue
where the quality of that which he
gives
is
equal
to his
capac
ity to listen .
He is the same with every architect
who wishes lo work with
him
.
Wh
i lst
respecting the integrity of the concept
of each project
and
of each personal
style, he nourishes the project,
pushing it to its limits such that the
orig
i
nal
i
dea
is reduced to its
essential purity. He
manages
to
adapt
himself to his counterpart without
losing
any
of his own integrity. He
uses technology
only
as a
tool
wh ich
serves the project at
hand
.
In the office, when he trusts people, it
is a total trust. He encourages each
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person
to
express his own ideas and
wishes , and offers his own real
support
.
Peter is a person whom I profoundly
admire and I am proud to work for him .
Nicolas Prouve
Student
Paris France
Sometime in
1989
Sir Jack's inimitable
and much missed daughter Marion
Zunz suggested that Peter might be
interested in my work on spiders'
webs . I well remember the first
meeting at Arups office, with Peter
getting more and more excited about
the intellectual
and
artistic
challenge
behind spiders' webs, and Jack
getting more and more cautionary
about the costs in manpower and
computer time of studying them .
Peter used two lines of reasoning .
First, the spider 's web is a perfect
example of a
lightweight
net that -
given a
proper
analysis -
should lead
us to novel insights into the
engineering of net structures; after all,
the web had gone through
180
million
years
of
research
development in absorbing kinetic
energy
. Second, the web
provides
a
wonderful
opportunity
for thinking
and
learning
about alternative
architecture; this he saw as part of a
training that would benefit his
engineers. Peter persisted, visited
Oxford to see
our
spiders in action
and their handiwork and then
succeeded in securing an in-house
grant
to finance a preliminary study.
The first results, modelled
and
analysed by Peter's assistant Lorraine
Lin, a re extremely interesting for us
biologists and - I believe - for
engineers as well. For the first time,
and only because of Peter's vision
coupled with Ove Arup 's generosity,
do we biologists now have the
chance
of
a better
understanding
of
the forces acting upon the spider's
web - for instance when a bee hits it,
the constraints that affect the spider
and the tricks that it uses to overcome
some of those constraints.
r
F Vollrath Zoologist
University of Basel
and
University
of
Oxford
s
a Contractor
making
steel
structures which
are
generally
strongly
visually expressed
and
consequently need
to have
carefully
developed
details, working with Peter
Rice
has been
an
almost
unique
experience. Peter's structures are
often very
complex
and yet he has
the special ability to communicate his
ideas without a mass
of
statistical
data which can so easily blind the
real concepts which underpin any
structural design and are essential to
be transferred for construction. Young
engineers could greatly profit from a
study
of
this particular gift and
attempt to develop a similar
engineering style.
Peter has always been an enthusiast
in the use of steel and sympathetic to
the needs
of
the structural steelwork
contractor
with a
detailed
understanding
of what can and
cannot be achieved . Nevertheless, he
always insists firmly on those details
which are essential in order to create
structures
which
he considers will
have
both
his personal stamp and a
universal appeal Whether he is
successful
or
otherwise has
to
be
judged by the observer from the steel
structures
which
he has conceived
and built. For my part, I
think
that
Peter
Rice
usually is .
J
Locke Watson Steel
Structural Steelwork Contractor
Manchester England
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BUILDINGS ND
PROJE TS
CHRONOLOGY
1957
Sydney Opera House, Sydney,
Austral ia
Architect: Jorn Utzon,
Hall Todd
Littlemore, Hanson Todd Pty Ltd,
New South Wales Government , C.P.
Wedderburn
Rudder Littlemore
Rudder
Pty
td
Consulting Engineers: Ove Ar
up
Partners
1967
Crucible Theatre, Sheffield
Architect : Renton Howard Wood
Associates
Consulting Engineers: Ove
Arup
Partners
1969
Amberley Road
Children
's Home,
London
Arch itect : Renton Howard Wood
Associates
Consulting Engineers: Ove
Arup
Partners
Henrion Associates Consultancy
Advice
Consulting Engineers: Ove Arup
Partners
197
National
Sports Centre, Crystal
Palace, London
Proposals for a new stadium roof
structure
Arch itect: Greater London Council
Consulting Engineers: Ove
Arup
Partners
Circus 70 Victoria Embankment,
London
Arch itect: Casson Conder Partners
Consulting Engineers: Ove
Arup
Partners
New Arts
Centre
Warwick
University, Coventry
Architect: Renton Howard Wood
Levin Partnership
Consulting Engineers: Ove
Arup
Partners
Perspex spiral sta ircase, Jeweller's
Shop, Jermyn Street, London
Architect:
Godfrey
H.
George
P.
Grima
Consulting Engineers:
Ove Arup
Partners
Super Grimentz Ski Village Valois,
Switzerland
A new ski village for 5000 visitors,
including a skating rink, swimm ing
pool
and car park
Architect : Godfrey H. George P.
Grima
Consulting Engineers: Ove
Arup
Partners
1971
Conference Centre Mecca
Architect: Rolf Gutbrod Architects
Consulting Engineers: Ove
Arup
Partners
Special structures advice
to
Frei Otto
and
o t h ~ s on
pneumatic and
cable
structures i ncl ud ng
'The
City
in
the
Arctic '
Architect: Frei Otto
Consulting Engineers: Ove
Arup
Partners
Centre Pompidou, Paris
Architect: Piano Rogers
Consulting Engineers: Ove
Arup
Partners
St Katharine Dock, London
Architect: Renton Howard Wood
Levin Partnership
Consulting Engineers:
Ove Arup
Partners
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1972
World Trade Centre, London
Conversion of
St
Katharine Dock
House
Arch itect : Renton
Howa
rd Wood
Associates
Consulting Engineers:
Ove rup
Partners
1976
Johannesburg Jumbo Jet
Hangar
,
South Africa , project
Consulting Engineers: Ove
rup
Partners
1977
Shelter Span
Peter Rice Consulting Engineer
Fruili Housing, Italy
Architect :' Renzo Piano
Bu
ild ing
Workshop
Consulting Engineers: Ove
rup
Partners
Pilkington study
Study
to
carry
out
prototype
development of roofing units using
gloss fibre reinforced cement
Architect: Richard Rogers Partners
Consulting Engineers: Ove
rup
Partners
8
1978
Hammersmith Interchange, London
Architect : Foster Associates
Consulting Engineers: Ove
rup
Partners
Lloyds of London Redevelopment, City
of London
Architect: Rcha rd Rogers Partners
Consulting Engineers :
Ove rup
Partners
Industrial ised construction system for
Vibrocemento , Perug io, Italy
Piano
Rice
II
Rigo
Quortier
, Perug io, Italy
Piano Rice
Fiat VSS Experimental Vehicle , Turin,
Italy
Piano Rice
Fleetguord, Quimper, Fronce
Architect: Richard Rogers Partners
Consulting Engineers: Ove rup
Partners
Potscentre, Pr inceton, NJ, USA
Architect: Richard Rogers Partners
Consulting Engineers: Ove rup
Partners
1979
Victoria C ircus Shopping Centre,
Southend-on-Seo,
Esse
x
Architect : lan Stanton
Consulting Engineers: Ove rup
Partners
Educational Television Programme ,
RI Televis ion : The Open Site
Piano
Rice
An experiment in Urban
Reconstruct ion for UNESCO, Otronto
Piano
Rice
198
Desi
gn
for
Surano Island , Venice
Piano
Rice
Fabric roof canopy, Schlumberger
Headquarters, Montrouge, Fronce
Architect : Renzo Piano Atel ier de
Paris
Consulting Engineers: Ove rup
Partners
1981
Serres
and
Toiture Accueil de lo Cite
des
Sc
iences et lndustrie, Lo Villette
Architect : drien Foinsilber
Consulting Engineers: RFR and
Ove
Arup Partners
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IBM Pavilion
Architect : Renzo Piano Building
Workshop
Consulting Engineers: Ove
Arup
Partners
Stansted
Airport
Terminal Building
Architect: Foster Associates
Consulting Engineers:
Ove
Arup
Partners
Menil Collection Museum, Houston,
Texas
Architect : Renzo Piano Building
Workshop
Consulting Engineers : Ove Arup
Partners
982
Alexander Pavilion, London
Architect: Terry Farrell
Consulting Engineers: Ove Arup
Partners
Peter Rice Consulting Engineer
983
Alton Towers, Alton, Staffordshire
Jet Star 2 Building
Architect: Griffin Jones Associates
Consulting Engineers: Ove Arup
Partners
Clifton Nurseri
es
roof, Covent
Garden , London
Architect: Terry Farrell
Consulting Engineers: Ove
Arup
Partners
Pavilions, Tate Gallery, London
Architect : Alan Stanton
Consulting Engineers:
Ove
Arup
Partners
984
l
22 St John Street, London
Architect : Eva
Jiricn6
Consulting Engineers:
Ove Arup
Partners
Environment and motorway Berlin,
West Germany
Feasibility study for motorway
acoustic protection system + solar
heating for adjacent properties
Architect: Pascal Shonning
Consulting Engineers: Ove Arup
Partners
Ballsports stadium, Berlin ,
Germany
Architect: Christoph Langhof
Architekten
Consulting Engineers: Ove Arup
Partners
985
Emplacement, North Queensferry,
Lothian, Scotland
Architect : Ian Ritchie Architects
Consulting Engineers: Ove Arup
Partners
Louvre, Paris
Design
of
steel structure to carry a
glass roof over courtyards
Architect: l.M .Pei with Michel Macary
Lord's Mound Stand, London
Architect: Michael Hopkins Partners
Consulting Engineers: Ove
Arup
Partners
Aztec West Reception Building
Bristol
Architect : Michael Hopkins Architects
Consulting Engineers: Ove Arup
Partners
Roy Square, Narrow Street, London
Architect :
Ian
Ritchie Architects
Consulting Engineers: Ove Arup
Partners
Atrium roof, Conflans, Saint Honore
France
Architect : Valode et Pistre
Consulting Engineers: Ove Arup
Partners
9
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986
Fabric
Canopy
St Louis/Bosle,
Fronce
Architect : Aeroport de Paris/Paul
Andreu
T ete Defense, Lo Defense, Paris,
Nuoge Leger
Architect:
J.O.
Spreckelsen
and
Aeroport de Paris/Paul
Andreu
Consulting Engineers: Ove Arup
Partners and R R
Nuoge Parvis, Paris Lo Defense
Architect: J.O. Spreckelsen and
Aeroport de Paris/Paul
Andreu
Consulting Engineers :
R R
and Ove
Arup
Partners
Posserelle Lintos, Paris
Architect:
More
Held
Consulting Engineers: R R
Goleries
du
Pore
de
Lo Villette, Paris
Architect: Bernard Tschumi
Consulting Engineers: R R
Central House, Whitechopel High
Street, London
Architect : Ion Ritchie Architects
Consulting Engineers:
Ove Arup
Partners
5
Football Stadium, Bari, Italy
Architect : Renzo Piano Building
Workshop
Consulting Engineers: Ove
Arup
Partners
IBM 'Ladybird ' Travelling Exhibition,
Italy
Architect: Renzo Piano Building
Workshop
Consulting Engineers: Ove
Arup
Partners
Apartment
for
John Young, London
Architect: John Young
Consulting Engineers: Ove
Arup
Partners
Opera Bastille, Paris
Studies for acoustic ceiling
Architect: Carlos Ott
Consulting Engineers: R R
Usine Centre, Epone, Fronce
Steel warehouse hypermarket
structure
Architect: Richard Rogers Partners
Consulting Engineers:
Ove Arup
Partners
Usine Centre, Nantes, Loire-
Atlontique, Fronce
Steel warehouse
hypermarket
structure
Architect : Richard Rogers Partners
Consulting Engineers: Ove
Arup
Partners
Floating Restaurant, Jubilee Gardens,
London
Architect : Richard Rogers Partners
Consulting Engineers : Ove
Arup
Partners
European Synchotron Radiation
Facility,
Grenoble
Fronce
Architect : Renzo Piano Atelier
de
Paris
Consulting Engineers:
Ove
Arup
Partners
987
Pore Citroen Cevennes, Greenhouses,
Paris
Architect : Patrick Berger
Consulting Engineers: R R
Posserelles Front
de
Seine, Paris
Design
and
Consulting Engineers: R R
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Couverture du
Choteou
de Foloise,
Normandy
Architect: Decoris
Consulting Engineers:
RFR
Verriere,
Musee
des Beaux Arts de
Clermont-Ferrand
Architect: A Foinsilber and
Gaillard
Consulting Engineers:
RFR
Solle Polyvolente, Nancy, Fronce
Design for 70 metre span coble
broced roof
Architect: Foster Associates
Consulting Engineers: Ove Arup
Partners
58 metre Motor yacht
Computer aided design work for the
stability of the yacht
Naval Architects :
Mortin
Francis
Consulting Engineers: Ove Arup
Partners
Rovenno Sports
Holl
Rovenno, Italy
Architect: Renzo Pi
ano Bu
ild ing
Workshop
Consulting Engineers: Ove Arup
Partners
Competition for
Aircraft hangars
Abu
Dhabi ,
United
Arab Emirates
Architects : Aeroport de Paris/ Paul
Andreu
Consulting
Engineers: RFR and Ove
Arup Partners
Azobu Tomigoyo Structure,
Tokyo
Architect : Zoho Hodid
Consulting
Engineers : Ove Arup
Partners
Office/ apartment block, Lecco, Italy
Architect: Renzo Piano Building
Workshop
Consulting
Engineers: Ove Arup
Partners
G .R.
C.
Mossy, Essone, Fronce
Architect : Richard Rogers Partners
Consulting
Engineers : Ove Arup
Partners
UNESCO Laboratory/Building
Workshop
Genoa
, Italy
Architect: Renzo Piano Building
Workshop
Consulting Engineers: Ove Arup
Partners
Atrium , Offices
for
Bull, Avenue
Gombetto Paris
Architect : Volode et Pistre
Consulting Eng ineers:
RFR
and Ove
Arup Partners
988
Lo
Grande
Nef Tete Defense, Paris
Architect: Jeon-Pierre Buffi
Consulting Engineers :
RFR
TGV/
RER
Charles de Gaulle , Roissy
Architect:
Aeroport
de Paris/ Paul
Andreu
Consultin_g Engineers :
RFR
and Ove
Arup Partners
Tours de Liberte, Paris
Architect : Hennin et Norm ier
Consulting
Engineers:
RFR
and Ove
Arup Partners
Focode de lo B.P.O .A. Rennes
Architect: 0. Decq + B. Cornette
Consulting Engineers :
RFR
Fronconville , Fronce
Architect : Cuno
Brullmon
d'Arch itects
and Arnaud Fougeros Lovergnolle
Architects
Consulting
Engineers: Ove Arup
Partners
5
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Spiders
'
Webs
Research Project
Zoologist
:
Dr
Fritz Vollrath
Consulting Engineers:
Ove Arup &
Partners
Office building,
Stockley Park, London
Architect : Ian Ritchie Architects
Consulting Engineers:
Ove Arup &
Partners
Kurfurstendamm, Berlin,
Germany
Facade study
Architect : Zaha Hadid, Stefan Schroth
Consulting Engineers: Ove
Arup
&
Partners
and R R
Mitsubishi Tokyo Forum,
Competition
Architect: Richard Rogers
Partnership
Ltd
Consulting Engineers:
Ove Arup
&
Partners
New East
Gallery,
Natural History
Museum, London
Architect : Ian Ritchie Architects
Consulting Engineers: Ove
Arup &
Partners
54
Villette Serre Study, Serres de La
Villette, Paris
Architect: Kathryn Gustafson
Consulting Engineers: Ove Arup &
Partners
Utsurohi,
La
Defense, Paris, France.
Sculpture
Artist : Iyo
Miyawaki
Consulting Engineers:
Ove Arup &
Partners
199
Competition for Station Square,
Oberhausen, Germany
Design Engineering :
R R
Auvent et Facades
du
CNIT, Paris
Consulting Engineers:
R R
Campanile,
Place d'ltalie, Paris
IMAX Cinema and Leisure Building,
Liverpool
Architect: Richard Rogers Partnership
Consulting Engineers: Ove Arup &
Partners
Groningen Museum, Groningen ,
Holland
Preliminary study
of
structure
of
roof
Architect : Alessandro Mendini
Artist : Frank Stella
Consulting Engineers : Ove Arup &
Partners
Padre Pio Chi ' sa,
St
Giovann i
Rotondo, Puglia, Italy
Architect : Renzo Piano Building
Workshop
Consulting Engineers: Ove Arup &
Partners
Tower structure with sculpture Centre Culture de la Pierre Plantee
Architect : Kenzo Tonge, Macary,
Menu
Bibliotheque, Vitrolles, France
Artist/ Sculptor: Thierry Vide Architect: Ian Ritchie Architects
Consulting Engineers:
Ove
Arup
&
Consulting Engineers:
Ove
Ar
up
&
Partners Partners
Atrium roof
,
Grand
Ecran, Place
d ltalie
, Paris
Architect : Kenzo Tange
Consulting Engineers:
R R
Mobile Sculpture, Genoa 500
Artist : Sasumo Shing
Consulting Engineers:
Ove Arup
&
Partners
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Development
of gloss system with
Asahi Gloss,
Japan
Design :
RFR and Ove Arup
Partners
99
Aeroport
Charles de
Gaulle
Terminal
3, Roissy, Fronce
Architect : Aeroport
de
Paris/ Paul
Andreu
Consulting Engineers:
RFR
Atrium
Centre D'Art Conlemporoin ,
Luxembourg
Arch
itect :
I
M .
Pe
i
Consulting Engineers:
RFR
Lamp
post,
Esch
sur Alzette,
Luxembourg
Architect and Town Planner:
Prof. Sievents
Desi
gn and
engineering:
RFR
Pyromide lnversee,
Grand
Louvre,
Paris
Inverted gloss
pyramid
sculpture
suspended over
underground
public
circulation area
at
museum
Architect : I
M. Pei
Consulting Engineers: RFR
Japan Bridge, Paris
Arch itect: Kisho
Kurokawa
Consulting Engineers :
RFR and Ove
Arup
Partners
Piscine, Levollois Perret
Architect :
Cuno
Brullmon
Consulting Engineers: RFR
Rempe R4/T4, Pore
de
lo Vi llette
Architect: Bernard Tschumi
Consulting Engineers: RFR
Posserelle, Monies-lo-Jolie
Architect:
Michel Mccory
Consulting Engineers:
RFR
Ligne
Meteor
Architect: Bernard Kohn
Consulting Engineers: RFR
Aerogore de
Luxembourg
Architect: Poczowski
Consulting Engineers: RFR
Hotel Module d'Echonges, Roissy ,
Fronce
Architect :
Aeroport de
Paris
and
Paul
Andreu
Consulting Engineers:
RFR
Cothedrole
Notre Dome
de lo Treille,
Lille, Fronce
Arch itect: Pierre-Louis Corlier
and
Artist
L
Kinjo
Consulting Engineers: RFR
Bus Fluvioux, Lyon
Architect: Semoly
Consulting Engineers: RFR
Technocentre Renault,
Guyoncourt
,
Fronce
Architect:
Volode
et Pistre
Engineeri ng : Ove
Arup
Partners
and
RFR
Lille TGV Station, Lille Roof design
Architect: SNCF Jeon-Morie Duthilleul
Consulting Engineers: Ove
Arup
Partners
and
RFR
Demountable pavilion , Museum of the
Moving Image
, London SE 1
Architect: Future Systems
Consulting Engineers:
Ove Arup
Partners
Brau Brunnen Tower, Berlin,
Germany
Architect : Richard Rogers Partners
Consulting Engineers:
Ove Arup
Partners
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Atr
i
um
glaz ing , 5
Avenue
Montaigne
, Paris, France
Architect : 0 . Vidal
Consulting Engineer
s
RFR
Atrium
for new Renault
Headquarters
Architect: Valode et Pistre
Consulting Engineers : RFR
Grand
Louvre, Louvre
Museum
, Paris
Natural lighti
ng
system
for
new
museum
Architect:
Pe
i Cobb Freed Partners
Consult
i
ng
Engineers: Ove Arup
Partners
Ajaccio Airport
Architect: Aeroport de Paris
and
Paul
Andreu
Consulting Engineers : RFR
Glazing
for
Dig ital
Headquarters
,
Geneva , Switzerland
Technical assistance
to SIV
, Italy
Consulting Engineers:
RFR
Fabric Sculpture, Sainsbury's,
Plymouth, Devon
Architect : Dix
on
Jones
Consulting Engineers : Ove Arup
Partners
6
992
Facade pour l'extension du Palais de
Congres, Paris
Architect :
Olivier
Clement
Consulting Engineers : RFR
Passerelle, Levallo is-Perret, France
Architect : Caubel
Consult i
ng
Engineers : RFR
Atrium ,
Museum
of
Modern
Art,
Strasbourg
Architect: Adrien Fainsilber
Consulting Engineers : RFR
Albert, France
Architect: Ian Ritchie Architects
Consulting
Engineers: Ove Arup
Partners
PETER RI E
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Peter Rice was born in
Ireland
and
studied engineering at Queens
University in Belfast and Imperial
College. He
joined
Ove Arup
&
Partners in 1956 and since then hos
advised on the design of some
of
the
most significant buildings of our time.
He become a Director
of
Ove Arup
&
Partners in 1978 . Between 1977 and
1979 he was a Portner of Piano
Rice
and he hos been a Director of RFR in
Paris and the Ove Arup Partnership
since 1984 .
Peter
Rice
's work hos been
characterised by on innovative use of
materials . Some
of
the
more
important projects he hos worked on
hove included the Sydney Opera
House where he was resident
engineer on site in the 1960s; Centre
Pompidou
, Paris with architects Piano
and Rogers, where he was the
designer of the steel structure and
introduced
the use
of
cost steel; the
Gloss Serre
at
the
Museum of Sc
ien
ce
and Industry,
Lo
Villette , Paris, with
the architect
Adrien Fo
insilber; the
Mound Stand
at
Lords, London
working with architect Michael
Hopkins and Partners; Lloyds of
London, designed by the Richard
Rogers Partnership; the Menil
Museum
Houston , Texas,
where
he
explored the use
of
ductile iron and
ferro-cement; the Son Nicolo Football
Stad ium Bari, Italy and the BIGO
sculptural symbol of the Colombo '92
Festiv
al
,
Genoa
, Ita ly,
all
with Renzo
Piano Building Workshop, Genova ,
Italy; Kansai International A ir port
Terminal , Osako , Japan with Renzo
Piano Building Workshop ,
Japan
and
the fabric 'Clouds ' at the Grande
Arch, Paris with architects
J 0 .
Spreckelsen and P. And reu. A recent
project, the Pavilion of the Future in
Expo '92 Seville,
Spain
explores the
use
of
stone in on
original
structural
way. The architects were Martorell
Bohigos MocKoy . Studies of des igns
for natural
lighting
for new galleries
at the Louvre, Paris, and the gloss
enclosures to the Sculpture
Courtyards Paris, were recently
developed in close collaboration with
I
M.
Pei
Architects ,
New
York
.
In 1988 Peter
Rice
was mode on
Honorary Fellow
of
the Royal Institute
of British Architects
and
two years
later on Honorary Member of the
Royal Institute of Architects in Ireland .
He was awarded
Lo
Medoille
d'Argent de lo Societe
d'
Encourogement
pour l'lndustrie
Notionole
in 1987 and in 1989
received
Lo
Medoille d'Argent de lo
Recherche et de lo Technique from
the Acodemie d'Architecture. He was
joint author with Hugh Dutton
of
'
Le
Verre Structure ' published by Editions
du
Mon
iteur in 1990 and hos been a
contributor to numerous international
books and journals on architecture,
design and engineering .
Peter hos been on
examiner
at the
Architectural Association and the
Royal College of Art in London . He
hos also been a
port-time
tutor in
Design at the Engineering Deportment
of
Cambridge
Un iversity .
7
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We ore extremely grateful to many people working in
many places for their enthusiastic collaboration ,
generosity and help in the preporation of this catalogue
and the exhibition Exploring
Mater
ial
s
.
PR/ BC
June 992
Th is catalogue and the exhibition Exploring Materials
held at the
RIBA
Gallery were prepared
by
the
Ove Arup Parlnersh ip
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