central feature in the iconographic scheme for the Museum to be read
as a “Book of Nature” ’.^16
Structure visually dominates the interior to such an extent that it may
detract from the pre-historic animal skeletons on display. Both the
metallic and the animal skeletons possess similar visual properties of
complexity and delicacy. However, unlike the natural forms, the court-
yard structure is elaborated by decorative detailing that serves to
strengthen its relationship to natural history.
At the Law Faculty Extension, Limoges, structure both provides and
expresses enclosure. Two bulging forms that protrude through the
glazed skin hint at the rounded lecture theatres within (Fig. 6.40). The
curved concrete ribs of the larger lower theatre support a smaller and
lightweight version above.
Curved glue-laminated timber structure defines the interior volume of
the smaller theatre (Fig. 6.41). Orthogonally orientated ribs accentuate
its three-dimensional curvatures and visually emphasize the form of the
womb-like interior. Primary and secondary ribs express enclosure as
they wrap over and around the volume. Due to their significantly
greater depth, the primary ribs play a stronger visual role. The horizon-
tal confinement expressed by the continuous rings of secondary ribs is
reinforced by the horizontality of the timber board wall-lining. Organic
form, small scale, the sympathetic configuration of the structural elements,INTERIOR STRUCTURE 127
▲6.39 Courtyard, Oxford University
Museum, England, Deane and Woodward,
- Courtyard interior.
▲6.40 Law Faculty Extension, Limoges, France, Massimiliano Fuksas, 1997. Walls of the
interior lecture theatres protrude from the exterior wall.