Architectural and Design Elements of Today’s Public Library

Buildings

By
Vera Fijan
S2733625

Supervisor: Dr John Flood

27 June 2016
Word count: 15257

Master’s Dissertation Literary Studies.

Programme: Writing, Editing and Mediating,
University of Groningen
Abstract

This dissertation focuses on some of the main changes in public library design, as a result

of the changing role of these institutions in today’s society. For many years public

libraries were the places where people would go to have access to information and books.

However, the fast development of digital technologies and electronic information

services led to several changes in the way public libraries provide information.

Consequently, as libraries offer a much wider variety of services and materials, library

buildings had to be adapted in order to give response to patrons’ needs.

Today, public libraries are dynamic places that encourage patrons to interact and

communicate. Nevertheless, designing a new building, or remodelling an existent one is

an expensive project, therefore, a careful plan is fundamental to ensure a creative and

interactive building is created. A wise use of space, a good lighting and acoustic designs,

and wide open areas that encourage group work should be some of the main

characteristics of today’s library buildings. A functional building should encourage

patrons to use the different spaces and make use of the different materials and collections

available.

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Table of Contents

List of Figures 4

Introduction 5

1. Chapter One: Use of Space 9

2. Chapter Two: Acoustic Design 30

3. Chapter Three: Lighting Design 40

4. Chapter Four: Security in Public Libraries 58

Conclusion 66

Works Cited 71

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List of Figures:

Figure 1: New York Public Library: Children’s centre 17

Figure 2: New York Public Library: Gift shop 18

Figure 3: New York Public Library Study room 18

Figure 4: New York Public Library: Rose Main Reading Room 19

Figure 5: New York Public Library: Main building’s entrance 20

Figure 6: Columbus Metropolitan Library: Main building exterior and park 22

Figure 7: Columbus Metropolitan Library: Main reading room 23

Figure 8: Amsterdam Central Library: Magazine and newspaper’s area 26

Figure 9: Amsterdam Central Library: Individual study places 26

Figure 10: Amsterdam Central Library: Multimedia floor 27

Figure 11: Amsterdam Central Library: Cafeteria 27

Figure 12: Amsterdam Central Library: Children’s area 28

Figure 13: New York Public Library: Main building lit at night 49

Figure 14: New York Public Library: Floor lamps in the main entrance 50

Figure 15: New York Public Library: Suspended chandelier of the reading room 51

Figure 16: New York Public Library: Book stacks lighting of the reading room 52

Figure 17: Amsterdam Central Library: Exterior of the main building 54

Figure 18: Amsterdam Central Library: The illuminated escalator 55

Figure 19: Amsterdam Central Library: Magazines with an attractive lighting 56

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Introduction

Traditionally, public libraries represented wealth, a sign of civilization, public

expression and the civic pride of the city where they were located. Therefore, for many

years these institutions were considered “people’s universities”, where adults and

students could access books, information and extend their studies (Abell and Carnegie

246). However, during the last years, the information-seeking behaviour of libraries’

customers and the development of information technologies, mainly the internet, have

affected the way libraries provide information. Patrons, aware of the technologies

available, have high expectations of libraries’ services and want information and

materials to be delivered instantly. Therefore, librarians are also aware of the challenging

period public libraries are facing, and the importance of a creative and innovative

transformation in these institutions (Heron and Mathews xi).

Much has been written on the future of libraries, as well as different strategies

these institutions may adopt in order to secure their future. Nevertheless, some scholars

share the opinion that the obsolescence of public libraries, as physical spaces, is a

realistic and possible perspective. They believe that due to the use of the internet and

other electronic information systems the public library will become a digital space where

patrons can have access to information more quickly and easily (McDonald 2). Other

scholars, however, believe that in the future the public library will become a “hybrid”

institution that offers both digital and print collections and materials (Abell and Carnegie

249). While thinking about this controversial issue, the “obsolescence of public

libraries”, several question came to my mind. How are recently built public libraries

being differently planned and designed, or how can old library buildings be adapted to

the current needs of patrons? What are the most important elements to consider when

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planning a new building or renovating an existing one? To find an answer to these

questions this dissertation focuses on some major design and architectural elements in

three public libraries that have recently been built or renovated.

Today, public libraries face a particularly challenging and uncertain future. The

idea of the library as a silent space and a “book storehouse” is quite outdated, as

nowadays these institutions offer not only materials in different formats, but are also

committed to interact and work more closely with customers. Furthermore, as libraries

offer information in different formats, institutions also need to provide the suitable

equipment, for instance computers, able to reproduce the wide range of materials and

collections available in the library. However, while libraries are trying to keep their

responsibility of providing and collecting material a tendency to commercialize

information has been growing. Most of the valuable information comes from universities

and other non-commercial organizations, as well as publishers and electronic journals

that due to the easy access and availability of information may require a subscription to

access their materials. Yet, some commercial organizations are eager to create more

opportunities for e-commerce and advertisements. As a result, some of this information

may be less reliable as it is motivated by the interests of a certain supplier, most of the

times for monetary or ideological advantages (Black and Hoare 649). Thus, the provision

of information has become a complex process and the function of libraries and librarians

in the Information Society is still not a certain one (652).

When planning a new library building or a renovation plan, architects and library

employees should work closely to ensure the building is aesthetically pleasant, able to

satisfy patrons’ needs, and that space is used wisely. Yet, new library buildings or

remodelling a public library requires a big investment, therefore, the library should be

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planned or remodelled wisely. I will argue that the architects and designers involved in

the project should bear in mind that an effective library building should meet a number

of qualities, such as being functional, accessible, adaptable and interactive. Innovative

and exciting architectural features should be combined with a balanced use of space for

collections, different services and technology. Also, it is fundamental that the different

services and spaces of the library are able to attract patrons that do not need to visit the

library to borrow a book, or other materials, now available electronically. Furthermore,

public library buildings should be able to promote interaction between patrons and

encourage the use of the different materials and spaces available in the building. In this

regard, group study areas, social spaces and cafeterias, as well as creative children’s

areas are some of the new spaces of public library buildings. Ideally, a functional library

building combines collaborative and interactive learning spaces, with the traditional

quiet and silent reading rooms. In addition, much attention has been given to daylight,

cultural artwork, security, noise management, natural ventilation, information skills

training and provision for e-materials (McDonald 1).

I noticed the current tendency of most library buildings to opt for wide, open and

clear areas. Based on this trend, I selected four major design elements of today’s library

buildings: the use of space, acoustics, lighting, and security, each one representing a

chapter. I will argue that the existence of different spaces in the library are fundamental

to design a functional and attractive building. Furthermore, I will demonstrate that the

successful design of these areas is only possible when combined with an effective

acoustic, lighting and security design that enable the architects to create different

atmospheres, but also a stable environment in the building. Moreover, three public

libraries were selected as case studies: the New York Public Library (NYPL), the

Columbus Metropolitan Library (CML), in Ohio, and the Amsterdam Central Library

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(OBA). The NYPL, constructed in 1911, was chosen not only for being a widely visited

library, but also for housing the most used collection of any public library in the United

States (Platt 247). The CML’s main building was built in 1907 and is currently closed

for renovations. The institution was also selected due to the renovation plan that intends

to adapt an old building to the current needs of patrons. Finally, the OBA, built in 2007,

was included because of its modern and innovative design, as well as for being a building

that was planned already focusing the current needs of patrons, but also because I

considered to be important to include a building I could visit.

By adding a final section with three case studies to each chapter this dissertation

aims to investigate the architectural and design solutions used in different institutions.

On this account, this dissertation has both a theoretical and a practical component. Each

chapter focuses an important element of today’s library buildings, explaining not only

what are the important things to consider when planning the building’s lighting, for

instance, but also offering different solutions. I believe the combination of an

“informative chapter” followed by a practical section, is an effective way to demonstrate

how public libraries apply the design solutions mentioned throughout each chapter.

Nevertheless, not all the chapters include a section with the three case studies, for in

some cases there was no relevant or valuable information to mention.

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Chapter One: Use of Space

For many years the library was a place of silence and study, where children were not

allowed. In the United States of America, during the late eighteen century, the famous

library buildings financed by Andrew Carnegie were considered a successful model and

included: a repository for the books, a reference room, and a reading room. The

repository for the books had multiple metal book stacks, normally not open to the public.

The reference room housed the reference books, especially the large sets of books, but

provided limited seating for the reader. The reading room was the place in the library

where patrons could sit and read the materials retrieved from the stacks, reference

material in the room and their own book, or other reading materials. Inspired by grand

staircases of palaces, cathedrals and other buildings, some libraries had imposing

entrances. However, during the nineteen-thirties most of the libraries with this sort of

entrances where remodelled to give response to the increasing traffic flow and

circulation. As libraries were committed to be accessible and open institutions it also

became clear that the library building would have to more functional and include other

services and spaces (Bisbrouck et al. 14).

Today, due to the information that patrons can easily access digitally, most of the

times on the internet, it has become difficult for librarians to decide and determine what

type of materials to preserve in libraries, but also what kind of spaces and services are

attractive for patrons that do not need to visit the library to borrow a book. The following

chapter will demonstrate how different spaces have different functions in the library. I

will defend that children’s areas and loud rooms have in recent years become important

spaces of public libraries, as well as how they contribute to create an attractive library

building.

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 In the United States of America, the first children’s areas were built in public

libraries’ basements, normally a small and limited space for children. Preschool and

kindergarten services begun in the nineteen-fifties, and since the nineteen-eighties

libraries have been promoting the crucial role that parents and caregivers play in helping

children gain literacy skills (Feinberg and Keller X). As a result, in recent years, creating

library spaces for babies, toddlers and school-age children through about twelve-years

has been a major concern (Brown 109). Yet, designing a children’s area requires careful

study and planning. The first contact children have with libraries occurs, most of the

times, in the children’s area, and will influence to a big extent their relation and

behaviour towards public libraries as adults. Therefore, it is important that libraries

create attractive spaces that successfully engage with children, this includes a careful

selection of books and materials, but of furniture, colours, shelving and lighting as well.

While planning the children’s area it is important to study the local community,

and know the children’s age group that mostly visits the library, for instance infants or

elementary-school children, as they require different sort of spaces, materials and

activities. For example, storytelling may be something that entertains toddlers, but does

not challenge and interests older children anymore. The need of visual control has

influenced the design of small and medium sized public libraries with limited staff, as

parents feel more comfortable if they are able to see their children playing and walking

along the book stacks. In this regard, low book stacks are the best option, as they

facilitate visual control, but are also more attractive for children, who can reach the top

shelves more easily. Glass walls are also preferable, as it allows parents and staff to see

children and other people inside the room from the outside (Brown 3).

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 Deciding where to place the children’s area is a difficult task. On the one hand,

it is important that children can see an obvious welcoming sign and recognize their area

when entering the building; on the other hand, it should not be too close to the main

entrance, for in the periods libraries get busier some children may be able to leave their

area and the library unnoticed. Some libraries opt to have staff in the children’s area that

also control the entrance and exist of the room, even though most parents opt to stay with

their children. It is also essential that children’s areas have appealing seating for parents

and caregivers to comfortably wait while their children participate in the library’s

activities, or play with other children. Also, while some parents prefer to use this time to

visit the adult’s area, others like to socialize and talk with other parents, for this reason

comfortable seats are fundamental, as standing in the hall or waiting in the reading room

is not ideal.

Children’s areas are commonly designed with three-dimensional artwork, and

decorative elements, often based on a theme (110). However, librarians and designers

should plan these decorative elements carefully and in such a way that it is both easy

and inexpensive to change them from time to time, as theme-based decorative elements

may become outdated. An effective solution to avoid changing and updating decorative

elements too often is to opt for themes that most children like, such as animals, and

famous book characters, but this will also depend on the funding available for the project.

It is important to keep in mind that book characters are protected by copyright, therefore,

it will be necessary to obtain permission to use them in the library’s design, and may

include a certain fee. An alternative is that the library opts to create and use characters

and designs of their own, which can result in an original and creative space.

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 Open and unobstructed spaces are essential for children to feel comfortable with

the space and arrangement of the room. The design of the room should not include

objects that are not meant for children to touch or use, or that children have to be

protected from using. Although designers and architects have opted several times to

create platforms, spaces that are designed uniquely with a flat floor are the best for safety

and access. Areas containing structures that involve climbing, jumping and running

should be closely monitored, and are not recommended in areas meant for toddlers and

babies, as this may create dangerous situations, and changes in floor are not practical for

parents with babies in strollers. The furniture is also an important aspect in children’s

spaces, as well as creating distinct places for each age group, where different sort of

activities take place. Chairs with a seat height of 12in (30.50cm) should be provided for

preschool children, whereas chairs with a height of 16in (40.65cm) and tables with a

height between 25in and 27in (63.50cm and 68.60cm) should be provided for school-

age children (112). The furniture material should be comfortable, durable, safe and

appealing. Also, reading tables should preferably be round, for tables without corners

are safer and encourage reading and group work. Teenagers should also have their own

space, with adult-height furniture, where they can sit and read, or even do their

homework with their parents or caregivers. These spaces have also been a main concern

for librarians who believe that teenagers should also be able to find an appealing space

in the library. Depending on the local community, some teenagers will see the library as

the place where they can find a quiet, safe and comfortable space to study, do their

homework or access the internet (115).

The easy and fast access to information and the increasing use of e-books have

influenced the role of public libraries as social spaces. Today, libraries need to create

spaces that are attractive for customers that do not need to visit the library to borrow a

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book or other materials, now available electronically. As a result, together with

children’s areas, over the last years, public libraries have also put much focus in creating

more open areas, loud rooms, as well as activities that encourage patrons’ interaction

and communication. Thus, today, looking for a book is only one of the several things

patrons can expect to do in the library. Consequently, customers are also using libraries

differently, meaning that the classic model of the library as a building where silence and

quietness were a main characteristic is outdated. Public libraries encourage customers

to interact, participate in activities, and make use of the library as a public building, open

to everyone and not exclusively for people looking for a quiet place to study or a specific

book (Audunson, Svanhild and Vårheim 4). Thus, the library has become an important

space where people with different backgrounds interact and get in contact with the same

purpose of learning.

During a visit to the main building of the Public Library of Rotterdam, in

February 2016, in the entrance hall a large chess set, surrounded by chairs, was attracting

patrons’ attention, encouraging them to play with each other, and others to watch. This

is an example of an effective strategy to stimulate patrons to do something together.

Creating these social spaces in the entrance hall is an effective way to encourage patrons

to stay longer in the library, to look and explore for different activities that may be

happening or going to take place in the library. These multipurpose areas are attractive

for elderly who see the library as an alternative to staying home alone, students looking

for company to study, or people looking for a comfortable place to meet and sit with a

friend. In other words, it is a place designed for patrons, who are free to use it for multiple

reasons and purposes. Even if patrons do not talk to other customers during their visit to

the library, the feeling of community will probably still be strong, resulting in a sense of

belonging, and patrons wanting to come back to the library (Goulding qtd. in Audunson,

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Svanhild and Vårheim 5). However, these areas also need to be carefully planned. The

seating places are an important choice, and essential in making the space attractive.

Ideally, both individual and group seats are available. It is important that individual seats

have some distance between them, for people tend to leave a seat empty when chairs are

placed side by side. A good option is to create a space with individual arm chairs for

people who want to read or work alone. An area with tables is also indispensable, for

students, or even people who like to work in the library. A space for group meetings

with sofas and easily transportable individual chairs will also be important. Most of the

libraries have a cafeteria or restaurant placed in these social areas, which is also a good

alternative for people using the reading room and who wish to have a break for coffee,

for it avoids having to leave the building and look for other facilities.

Joan Fry Williams, librarian and library consultant, compares the social spaces

in the library to a kitchen: a grocery store is where people go to consume; the kitchen,

however, is the place where ingredients are combined, with skill, and talent to cook a

meal. Kitchens tend to be social places, where everyone ends up at a party, because it is

the place where action is taking place. Fry Williams claims that libraries should also be

like kitchens, “active social places where you mix a rich set of ingredients (information,

resources, talents) into an exciting new concoction that can then be shared” (Fry

Williams qtd. in Lankes 47).

New York Public Library

The New York Public Library (NYPL) has since its early years become an iconic symbol

of New York City, and one of the biggest library systems of the United States of America.

The library has become an important symbol not only for the imposing architecture of

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the exterior of the building, but also for the main reading room, on the third floor. Since

its opening, in 1911, the institution has been committed to “providing free and equal

access to its resources and facilities” and in developing the most rapid delivery system

(NYPL About par.3). Today the library is visited by millions of people, not only patrons

looking for a book or a place to study, but tourists as well. In recent years, in order to

meet customers’ expectations and needs, the institution has been renovating several of

its eighty-eight branches, providing it with technological devices, and more spaces for

patrons. The main building, the Schwarzman Building, of three floors includes a

children’s area, exhibition halls, a cafeteria, private study rooms and the iconic reading

room. Free guided tours are also available for groups (NYPL Stephen par.4)

In 2008 the main building reopened the children’s area, for many years only

available in other branches of the library. The children’s area, in Figure 1, located on the

ground floor, offers a wide collection of books, CDs, DVDs, a computer area reserved

for children and TV screens with gaming equipment. The children’s services organize

several events, such as storytelling, musical and theatrical performances, as well as

authors and illustrators visits. This area is mainly designed for children from infancy to

the age of twelve, accompanied by parents or caregivers (NYPL, Children’s par.3). The

location of the area, on the ground floor, is the best solution for parents with younger

children, but also a good strategy to avoid the great number of visitors of the main

reading room.

Conferences, exhibitions, lectures and workshops take place very often at the

main building, in the galleries and auditoriums. Considering the importance of the main

building as a tourist attraction a gift shop, Figure 2, where visitors can purchase different

sorts of souvenirs is also available. The Rose Main Reading Room, in Figure 4, is

currently closed for renovations, but the institution provides other rooms and spaces that

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patrons can use for studying, reading or connecting to the internet. The Berger Forum

and the Salomon Room, on the second and third floors respectively, have unrestricted

access for general library use, such as reading or studying. Two research rooms are

reserved for writers and researchers who use the Schwarzman Building daily, so that

they have their own space that allows for book delivery, work with materials and have a

quieter place and environment. In the Mixed-Use rooms the library provides seating for

researchers accessing items from the library’s collections. The library also keeps three

rooms exclusively reserved for scholars and writers who are working on specific long-

term projects (NYPL Where to par.3). The different spaces in the library reflect the

importance of the library as an institution that assists different age groups, and patrons

with different needs, but of a research institution that houses valuable and rich

collections in the humanities and social sciences, as well.

Over the last years the institution has been in the spotlight for its former

renovation plan, known as Central Library Plan (CLP) that became quite controversial

as many scholars, writers, public figures and patrons were against it. The CLP intended

to move three million books to a storage facility in Princeton, New Jersey. The seven

floors of the library’s underground stacks would be transformed into a reader-friendly

circulating library, with computers, other electronic devices, and public rooms where

customers could meet and have coffee. Public outreach, rather than specialized research

would be dominant (Dirda par. 2). Yet, several patrons and scholars disapproved the idea

of losing the emblematic reading room, as a result the institution decided to abandon the

CLP. After the reopening of the Rose Main Reading Room the institution intends to

maintain the room with unrestricted access and a place where people can connect to the

internet, read the library’s or their own materials, or just visit and have a place to sit. The

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 reading room has forty-two oak tables, a total of six hundred and twenty four seats, and

is almost as big as a football field (NYPL Stephen A. par.7)

Figure 1: New York Public Library: Children’s centre (TimeOut)

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 Figure 2: New York Public Library: Gift shop (TimeOut)

Figure 3: New York Public Library: Study Room (Day)

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Figure 4: New York Public Library: Rose Main Reading Room (Ong)

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Figure 5: New York Public Library: Main building’s entrance (Ong)

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Columbus Metropolitan Library

The Columbus Metropolitan Library (CML) is currently renovating nine of its branches,

including the main building, providing them with more space for patrons and

technological devices; the emphasis is in “creating large, open multipurpose areas and

“aesthetically pleasing, human friendly environments” (Conner). Some of the measures

taken to increase the sense of openness and clarity are the use of glass walls and lower

book stacks. The book stacks in the renovated branches are mostly between 60in and

66in (1.52m and 1.65m) (Hatcher). Staff areas will also be smaller in order to gain more

space for patrons and the library itself (Gilchrist par. 6).

The entrance hall of the main building, will be an ample space, with a glass wall

facing the park behind the library, and comfortable seating where patrons can meet a

friend, and interact with other customers. The children’s area will remain on the first

floor, next to the Homework Center, but more open to the main atrium. Furthermore, a

teenager’s area will also be available on the second floor. The second and third floors

will have a view over the main atrium and seating areas will be provided around the

railings. The reading room, in Figure 7, will be a wide open area, with glass walls and

different types of seating. Patrons can make use of this space not only to read the library’s

materials, but their own book, magazine or work on their computer as well. The

institution also hopes to use the reading room to host conferences and other activities

(par. 15). Moreover, the main building will be connected to the Topiary Park, behind the

library, providing outdoors reading places.

The CML has developed several programs to give response to the needs of the

younger generations of the community. All of the library’s branches have a homework

centre meant for children who need a place or help to do their homework after school.

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These centres offer computers, printers, and other resources, as well as staff members

trained to help children with their homework. The institution has also implemented a

reading program that has become very successful: the “reading buddies”. This is a

program available in all of the library’s branches that consists of a fifteen-minute session

where a volunteer or a staff member will sit with a child to read a book. The CML also

provides several services for adults, such as job centres and staff to help homeless to get

medical assistance (Briner par.6). The different spaces of the CML prove the

commitment of the institution to assist the community with different services, but spaces

for the different age groups, as well.

Figure 6: Columbus Metropolitan Library: Main building exterior and park (Columbus
Metropolitan Library)

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Figure 7: Columbus Metropolitan Library: Main reading room (Schooley
Caldwell)

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Amsterdam Central Library

The Amsterdam Central Library (in Dutch Openbare Bibliotheek Amsterdam or simply

OBA) open since 2007, was designed by the Dutch firm Jo Coenen & Co. Architekten.

Contrarily to the NYPL and the CML, the OBA’s original plan already had as main

concern the creation of wide open spaces, as well as different attractive areas with

comfortable seating meant for patrons’ interaction or customers looking for a

comfortable place to work or read. The main idea was to create a library that people go

for books, but also a space where people feel comfortable and want to go back to, feel

encouraged to learn, interact with other people and participate in different sort of

activities. Creating light and different comfortable areas was a major concern of the

architects, and are main features of the building. Spread over ten floors, the library has

a cafeteria, a multimedia floor, a theatre, a terrace and an exhibition hall.

The ground floor of the library is an ample space with several computers with

access to the internet, comfortable seating and tables; newspapers and magazines are

also available. This is an important space, for the city has are several students looking

for a comfortable place to study. Also, the library is very close to the main train station

of Amsterdam, and has become a tourist attraction due to its innovative a modern design.

It is also worth noting that the OBA has received very good reviews in several non-Dutch

travel blogs and websites, owing to the library’s various attractive, creative and

comfortable spaces.

The children’s area, at the lowest floor, is also a very open and wide space with

attractive and creative book stacks. The area, in figure 12, is accessed from the entrance

through a stair case, with low and wide steps, which makes it easier for children to walk

up and down. The book stacks are round, creating little spaces and islands for children

24
to explore and get inside. The interior of some book stacks have a screen and comfortable

seats for children to watch a film, others have a staircase leading to platforms where

children can sit and read a book. These, however, can become dangerous for younger

children, as the size of the stair cases do not allow parents to accompany their children.

The children’s area also have comfortable seating for parents to sit while they wait, or

read with their children. The first floor of the library is a multimedia area, with CDs,

DVDs and several computers. This is also a very innovative space, as the classic

“computer, table, and chair” were replaced by modern, comfortable and low seats placed

in front of a simple structure with a screen and the computer’s keyboard, shown in figure

10.

The library offers several work places, such as long tables meant for people who

want to study or work alone, and tables of four or six places, for groups that want to

work together. Carrels are also available for people that prefer to have a certain privacy.

The openness of the building creates a comfortable environment, and influences people

to interact without feeling they are disturbing other patrons. The OBA is a building where

people can find a comfortable place to study, have coffee with a friend, access the

internet, attend conferences and concerts, or participate in the several workshops offered

by the library. It is, therefore, an example of a building that has really become the “public

building” where people can go for several reasons.

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Figure 8: Amsterdam Central Library: Magazine and newspaper’s area (ANP)

Figure 9: Amsterdam Central Library: Individual study places (Krish)

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Figure 10: Amsterdam Central Library: Multimedia floor (An Internship With BSF)

Figure 11: Amsterdam Central Library: Cafeteria (Van Der Star)

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Figure 12: Amsterdam Central Library: Children’s area (OppasStudent)

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 In summary, on the one hand, as libraries have been focused in children’s and

teenagers’ areas, libraries become more attractive for families; on the other, the open

and social spaces that are now part of libraries also create a propitious environment for

interaction between patrons, which leads to a sense of belonging and patrons wanting to

go back to the library. I have shown the importance of libraries to create alternative and

interactive places that are still attractive for patrons that do not need to visit the library

building to borrow a book or other materials. Moreover, this is an important turning

point in library buildings that for years tried to provide a proper study environment of

silence and quietness, and are now trying to create more social, open spaces for patrons.

Undoubtedly, public libraries are focused in becoming dynamic spaces and work more

closely with patrons, yet, meeting patrons’ demands and expectations of libraries’

services is a difficult task. Nevertheless, a wise design of different areas can contribute

to a great extent in the creation of a functional building, able to deliver a wider range of

services and assist the different age groups, from elderly to children.

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Chapter Two: Acoustic Design

In the previous chapter I have argued that the existence of different spaces, including

social areas have become an important feature of library buildings. However, to

successfully create these spaces that allow different activities and services to take place

in the library, a well-planned acoustic design is fundamental. The shift from the

exclusively print-based library collections to one of mixed media, required some

adaptations in library building, such as the importance of silence in libraries now

encouraging group work and learning, and the concept of large open spaces for patrons’

interaction as opposed to the concept of separate study rooms (Khan 7). In other words,

coupled with the design of different areas there is an increasing tendency to create library

buildings that encourage collaborative learning, instead of the traditional silent library

building. Traditionally, old library buildings are characterized by high ceilings, hard

floor surfaces, mostly of marble or wood, and large empty spaces, often with built book

stacks. In these constructions, reading rooms are areas that produce echoes of long

duration. Thus, in old library buildings the greatest single step forward has been the

installation of carpets that with the sound-absorbing quality of books in quantity have

contributed to a great extent to minimize echoes (Thompson 154). The following chapter

will focus on different aspects of acoustics to consider when planning or renovating a

library, and demonstrate how the tendency to create open social areas has been

challenging acoustics of library buildings.

Reading rooms in public libraries are always places where an environment of

deep silence is almost impossible. As a place where people read and study, the sound of

people closing books, turning pages, moving chairs and walking along the corridors are

unavoidable. For many years, when designing work places, such as a reading room,

30
architects interpreted and defined privacy in physical terms. That is, whether people

could hear and see each other, as well as find a place with a certain privacy (Congdon,

Flynn and Redman par. 9). It has previously been mentioned that libraries are currently

opting to create wide open spaces, where silence is not a main feature, and carrels are

most of the times inexistent. Yet, this shift may affect people’s ability to concentrate and

focus. Moreover, open large spaces can be particularly difficult to achieve comfortable

and functional acoustics within, due to the possible creation of echoes that allow the

lowest noise levels to travel and reverberate throughout the library (Dunne par.3).

Additionally, printers and computers also add to the noise level of the library. Therefore,

acoustic design of library buildings has become a complex, and difficult task to achieve,

as the building should be flexible enough to facilitate collaborative learning and open

communication between patrons, but a proper environment for work and study as well.

The acoustic consulting firm Charles Salter Associates states that acoustic design

for libraries involves the following issues: site noise considerations, including the control

of noise transfer; establishing noise standards for each area, such as the limitation of

excessive ventilation noise; room acoustics considerations; sound isolation between

various use spaces and vibration control for mechanical equipment and audio/visual

system considerations (Charles M. Salter Associates par.7). Furthermore, acoustic and

sound control is exercised by choice not only of wall, floor and partitioning surfaces, but

also of curtains and any other soft surfaces, such as seats, which tend to absorb sound.

In reading rooms, books stacks will also be important elements in absorbing sound

(Thompson 152). Library noise can be divided into two classifications: service noise and

background noise. Background noise is the noise that is constant regardless of the time

of day, number of people using the library, and the particular work being done by the

library staff, these include: the traffic and other street noises from outside, and constant

31
sounds, such as ventilators. Service noise is noise produced by use of the library, such

as people walking, opening and closing books or moving chairs (McDiarmind Jr and

Tatum 201). The scale used in measuring sound is the decibel (dB) scale. According to

the Centers for Disease Control and Prevention (CDC), one of the biggest operating

components of the American Department of Health and Human Services, the acceptable

dB level in a quiet library reading room is 40dB (Centers for Disease Control and

Prevention par.9).

Traditionally, architects and designers have opted to place the noisiest spaces of

the building next to each other. For instance, HVAC units (heating, ventilation, and air

conditioning) will be placed near a mechanical area, rather than a quiet reading room

(Brown 122). The disposition of the different rooms and areas within the library is a

fundamental aspect of acoustic design to ensure that patrons using a quiet reading room

are not disturbed by toddlers crying, or children playing in the children’s areas. Ideally,

children’s areas and reading rooms are placed in different floors and wigs of the library.

Inevitably, some libraries will always be close to sources of external noise, such as road

traffic and other typical city noises. These institutions should plan and be extra careful

in minimizing the noise coming from the outside of the building. A good example is the

New York Public Library, located in one of the busiest and central avenues of New York

City. The architects can attenuate the background noise by using enclosing walls and

windows that will be able to diminish the noise to a suitable level.

In recently built or remodelled libraries sound-absorbing materials are already

part of the interior design. Several attractive and maintainable options and solutions are

available to provide sound absorption on walls and ceilings. Usually, absorptive

materials are covered with fabric, perforated metal or spaced wood slats surfaces that

32
allow the sound energy to pass through and be absorbed by the material located behind.

Covering walls and floor surfaces with absorptive finishing materials, for instance carpet,

fabrics and draperies, is an effective solution, as well as isolating HVAC equipment and

ductwork with a sound-absorbing insulation. In open spaces, covering walls is

particularly important, especially in high-ceiling areas. Furthermore, acoustical ceiling-

tile systems, particularly those with fiberglass, are effective at reducing overall sound

levels of a room, reduce reflected sound and will improve to a great extent conversational

privacy in open spaces. Both floor and walls provide acoustical separation between

adjacent areas, and when wisely selected, floors also reduce the sound of footsteps and

other sounds from upper floors (Gatland II par. 25).

Multipurpose rooms require an extra careful acoustic design, as spaces with a

high level of reflected sound may have poor acoustics, since the persistence of the sound

creates undesirable background noise and will interfere with the ability to understand

speech. These rooms have a high reverberation time, that is “the time required for the

sound to be absorbed gradually and reduced below hearing levels” (Charles M. Salter

Associates 7), therefore, these rooms should not be used for activities that require very

different acoustics. In speech activities, a guest speaker for instance, the reverberation

time should be low enough to allow each syllable and parts of speech to be understand

clearly. By contrast, for music activities, a concert for example, longer reverberation

time is preferred, since the musical sounds need to reverberate properly (8).

I have defended the importance of an acoustic design that allows open

communication and interaction between patrons, and that enables different activities to

take place in the library. Nonetheless, it is worth mentioning the importance of silence

for activities that require customers’ concentration, hence the complexity and

33
importance of achieving a successful acoustic design. In this regard, the biggest

challenge for most libraries is to create a building that successfully encourages and keeps

spaces where patrons work together and interact with other patrons, as well as librarians,

but also quiet and silent areas, still needed for patrons looking for a quiet place to

concentrate and study. Studies have demonstrated that the impact of background sound

and music can be seen directly in the bloodstream, through changes in blood pressure,

circulation in brain and carbon dioxide. Whereas music and background sound

accelerate respiratory rate and increase blood pressure as well as the heart rate, silence

creates a relaxation effect, resulting in a lower blood pressure and heart rate. This

relaxation effect creates better conditions to concentrate and focus on a specific task,

such as reading or writing (Bernardi, Porta and Sleight 449 and Gross par.14). In other

words, silence is an essential element when trying to concentrate. Therefore, some

libraries prefer to keep a strict silence policy in the reading rooms, for instance The

British Library. Some of the conditions to use the reading rooms of The British Library

are: “mobile phones must either be turned off or on silent mode. Calls must not be made

or received and texting kept to a minimum” (British Library par.6) and “equipment such

as laptop computers, cameras and pagers must be on silent mode and headphones

inaudible to other Readers” (par.7). The institution also makes clear that “The British

Library is an environment in which both staff and Readers must be able to work without

disturbance” and “if it is necessary to talk” users must do so quietly (par.6).

Additionally, worth mentioning is that studies have shown that human behaviour

is influenced by the behaviour of other humans and social norms. In other words, our

behaviour is influenced by the behaviour we believe other people expect from us

(Cialdini and Trost qtd. in Aarts and Dijksterhuis 18). As a result, when entering a church

or a reading room people try to keep the level of noise down as much as possible, because

34
other users are silent as well. Yet, patrons entering a reading room where speaking and

group work are encouraged will tend to speak louder, even if unconsciously, for there

are several conversations taking place in the same room. Thus, libraries’ employees

should be able to play a key role in keeping an acceptable and stable environment in

reading rooms, making sure that a particular group does not disturb others.

New York Public Library

The New York Public Library (NYPL) is a good example of a library where controlling

and minimizing the background noise coming from the outside can become a difficult

task, since it is located in one of the busiest streets of New York City. Cars, sirens, buses,

people talking, and other city noises are unavoidable and can disturb people trying to

focus. Also, the NYPL is a particular case due to the number of tourists visiting the library

on a daily basis. Therefore, the library faces a big dilemma: how does the institution keeps

the doors open to tourists wanting to visit the monumental rooms of the library, while

also keeping their status as a research institution and a work place of several scholars.

Undoubtedly, the constant movement of tourists entering and leaving the Rose Main

Reading Room can distract and disturb people trying to concentrate. As previously

mentioned, The British Library is very clear in keeping a strict silence policy, by contrast,

the NYPL’s regulations only refer that “making unreasonable noise, including loud

talking on a cell phone or otherwise” are not permitted (NYPL General par.4).

Although the background sound coming from the outside of the building helps

to muffle some of the noise of the inside, the Rose Main Reading Room does not offer

an ideal silent and quiet atmosphere to study. As a result, the institution keeps some

study rooms exclusively reserved for scholars and researchers who need a quieter

35
environment. This separation is a good solution to secure a space with an adequate

atmosphere for tasks that require high levels of concentration, and still keep a wide open

space for small groups of students, people looking for a place to read or even tourists

who want to use a computer. It is also worth mentioning that in big spaces, such as the

Rose Main Reading Room, the sound of computers is hardly discernible, thus, when it

comes to sound, this will not be distracting. The number of people constantly leaving

each computer, however, can be diverting, as some people may come to work and use a

computer for several hours, whereas tourists, for instance, may only use a computer for

ten minutes.

In the Rose Main Reading Room, the seven floors of book stacks contribute to

absorb and muffle some of the background sound. The children’s area was also wisely

placed at the ground floor and will not disturb the study rooms, on the second floor, nor

the main reading room, on the third floor. The installation of acoustic tiles and panels in

the NYPL is a complex task, as this would interfere with the emblematic Beaux-Art

architecture of the building, for example, the fifty-two foot tall ceilings of the reading

room, decorated by murals of vibrant skies and clouds.

Columbus Metropolitan Library

The Columbus Metropolitan Library’s (CML) main branch is an example of a building

where the renovation plan involved a redefinition of the concept of the reading room and

the atmosphere the institution intends to create there. The reading room will consist of a

two-floor multifunctional area that can be used by patrons not only to read and have

coffee, but attend conferences and other activities as well. From this, some questions

arise, such as: how does the institution guarantees that a certain environment and an

36
adequate level of noise are maintained in an area that is both meant for study and patrons’

interaction? Teenagers, for instance, should use the teenagers’ area, on the second-floor,

or the homework centre, rather than the main reading room to study. Library staff will

not only help students to find materials to support their study, but should also ensure that

students studying in groups maintain an acceptable level of noise and do not disturb other

students. The children’s area and the homework centre are both located at the first floor.

Even though the rooms are separated by walls, which helps to concentrate the noise

coming from the children’s area, library employees and parents should insure that

children keep an acceptable level of noise. Additionally, the building will also include

several meeting rooms, meant for bigger groups, and seven small study rooms for two

to four people (Robertson).

Although seven of these smaller study rooms may not seem much, it is important

that the library keeps these places, since many activities will take place at the main

reading room, which will be distracting for customers looking for a quiet space to read

or work. The number of sofas and other seats, a wise choice of floor finishes and sound-

absorbing tiles should be able to absorb most of the noise of the reading room and avoid

echoes. However, since there is no silent reading room that may be disturbed, the focus

should be on achieving a comfortable and functional acoustics that encourages and

allows group work, but also a proper environment for reading. The regulation of the

CML mentions that customers are not allowed to make “unreasonable noise including:

loud talking, singing, boisterous activity, cell phone and audio/visual equipment usage”

(Columbus Metropolitan Library par. 7).

37
Amsterdam Central Library

Due to the high ceilings and the reduced number of walls, the OBA can be a difficult

building to achieve a functional and comfortable acoustic within. Even though the

acoustic design, by the acoustic consulting firm Cauberg-Huygen, reduces most of the

echoes and sound transfer, the children’s space, an open and roofless area, in contact

with the rest of the building can become a main source of noise. In January 2016, during

a visit to the OBA, despite the little number of children in the library, some echoes and

footsteps were still noticeable.

At the entrance level, several work places, computers and comfortable seats are

available, however, some of these places face the children’s area that depending on the

number of children using the space at the time, can become distracting, not only in

acoustical terms, but visually as well. Therefore, it may be a pleasant place for users

looking for a comfortable place to sit, but not for students and people looking for a quiet

place to study or read. Moreover, a piano also adds to the level of noise, as customers

are allowed to play, but is also attracts children that get the opportunity to play a piano

for the first time, which may divert some patrons. Nonetheless, aside from the floor and

wall finishes, the great number of seats and sofas also help to control echoes and sound

transfer.

Between the third and sixth floors, distant from the main stairs and surrounded

by book stacks, several quieter study places are available. In other words, the institution

has opted to create several smaller study areas throughout the library, as opposed to a

separate reading room. These smaller areas with limited seats are a good solution, for

they avoid the concentration of several groups in the same place. The regulation of the

OBA mentions that: “making or taking mobile calls can be disruptive for other visitors

38
and is only allowed in the indicated areas”, and that the “use of e.g. MP3 players must

not be disruptive for other visitors. Music or sound from computers is only allowed if

headphones are used” (Openbare Bibliotheek par.15).

In short, I have shown that in recent years the traditional quiet and silent library

has been replaced by a dynamic building where group work, interactive learning, and

communication between patrons are encouraged. This shift, coupled with the tendency

to create different spaces make the acoustic design an essential, yet difficult task to

achieve. The acoustic design will have to be flexible enough to maintain an adequate

environment in a building where activities that require different acoustics take place. It

may become a difficult task to balance and control the unwanted sounds, such as outside

traffic, and the desirable sounds, for instance a guest speaker. In this regard, placing each

area of the library wisely is a simple solution to ensure customers in the reading room

are not disturbed by the sound of the children in the children’s area, nor the constant

movement of people entering and leaving the library, for instance. Furthermore, another

big challenge is to maintain attractive social spaces, but a proper environment to read

and study as well. For this reason, I believe librarians and the employees of each

institution should ensure that a stable environment is kept in the building, including in

the social areas where different groups should be able to work in the same space.

39
Chapter Three: Lighting Design

Lighting design has always been a major aspect when planning a library building. The

International Association of Lighting Designers (IALD) defines lighting quality as an

“optimum balance among human needs, architectural considerations, and energy

efficiency” (IALD par. 2). The public library, as a place where people read, study and

need to concentrate, should be able to provide the right conditions and environment, this

includes a comfortable lighting. The following chapter will focus on some of the major

aspects to consider when planning a libraries’ lighting design. I will demonstrated how

variation in lighting contributes to create different spaces and atmospheres in public

libraries, as well as in the design of a comfortable and functional building. In this regard,

it is important to start by referring some important definitions.

The total light visible of a light source is measured in lumens, whereas the spread

of light over a surface is measured in lux, or foot-candles, the American unit (Malman

2). One lux equals one lumen incident per square meter, and one foot-candle equals one

lumen incident per square foot. Lighting design is a complex and difficult field; even in

one of the most easily definable aspect of lighting, the intensity, standards may differ

widely. Thus, intensity of light is one of the most obvious elements to be considered, but

is not the most important one (Thompson 139). Also, it is worth noting that there is no

absolute standards by which success can be guaranteed in planning the library’s lighting,

and the best solutions will be different for each library, depending on the type of building.

Additionally, different countries have different regulations, in the United Kingdom, for

instance, The Health and Safety Executive (HSE), the national independent inspector for

work-related health, safety and illness, recommends that areas where people work or

need to concentrate have an illuminance between 300 lux and 750 lux (Health and Safety

40
Executive par.8). Whereas in the United States of America, the Occupational Health and

Safety Administration (OHSA), the federal agency charged with enforcement of health

and safety regulations, recommends a minimum illumination level of 30 foot-candles

(322.92 lux) in places where people need to concentrate (Occupational Health and Safety

Administration par.5).

It is important that a lighting consultant is hired to work with the architect and

designers in the lighting design, as poor lighting can have negative effects, such as

headaches, distractions, glare and low productivity. A successful lighting design is the

result of both technical skill and art on the part of architects, engineers and lighting

professionals. Also, the level of illumination is undoubtedly connected to some

important aspects of the building such as user comfort, energy consumption and even

the use of space. This is particularly true in more recent buildings, where visual tasks

and technology are more diverse and require new types of lighting. In using light to

contribute to the overall design of the building, the architects and engineers should

employ variations not only of intensity but of colour, quality, direction, shape and

contrast, as well. These different variations will allow the architect to indicate change of

mood in different parts of the building, and to produce interest, quietness, or other

atmosphere the architect and librarian intend to create. Nowadays, due to the different

areas available in library buildings, such as children’s areas and cafeterias, lighting is

essential in creating these different environments and spaces.

When late nineteenth century and early twentieth century libraries were built,

daylight was the principal focus and source of light, and the library design ensured that

readers were seated and oriented to make the most of the natural light available

(University of Cambridge par. 7). The most common solution was a sky-lighted ceiling

41
and large windows high above the reading room. Ceiling height of approximately 4.50m

were recommended to provide enough space for high windows and better ventilation.

Over the years, electronic lighting reduced the amount of windows needed and enabled

architects to develop more sophisticated lighting designs (Oehlerts 137).

From the view point of functional efficiency it would be much easier to use only

artificial light, meaning, controllable and adjustable light. In fact, several library rooms

without natural light have been designed in many parts of the world, and are physically

acceptable (Thompson 139). Yet, I believe that daylight is the most effective source of

light, for it easily creates an atmosphere of visual comfort and quietness, essential in the

wide open areas that characterize today’s library buildings. Also, daylight is traditionally

a desirable building feature and a symbol of good design, but will also enable the

institution to reduce energy consumption. There are three fundamental design issues to

consider in daylight design: firstly, sun control, to mitigate any increase in the cooling

load and to control direct glare; secondly, glare control, to create and maintain

comfortable brightness distribution; finally, variation control, to avoid any areas with

insufficient lighting (Dean 11).

By using big windows, the perimeter of the library can be lit for approximately

6m from the exterior wall. Usually, the higher and taller the window, the deeper the light

penetration. Clear glass is recommended, yet, this requires a wise exterior sun control

design to provide adequate shading. An exterior shade can reduce by 80% the incident

solar energy (17). Moreover, in certain countries sun control should be carefully planned

in order avoid glare and heat gain. Another key point to remember is that the amount of

daylight and its direction at the windows and roof of the building will vary during a

42
typical day as the sun moves, and during the different seasons, as the sun’s predominant

position in the sky changes as well.

On the other hand, sunlight also has inconveniences, for instance paper, vellum,

and book covers can be damaged by light. While valuable material is frequently kept in

rooms with a strictly controlled atmosphere, book-stacks in the main reading rooms

should not be exposed to sunlight for long periods. The damage is mostly caused by

ultra-violet (UV) radiation emitted by all white light sources, daylight being the most

dangerous. The damage will depend on the intensity of the light and, of course, the length

of exposure. Generally, the higher the intensity, the greater the damage, and the longer

the exposure, the greater the damage. For this reason, windows should be provided with

proper coating to control UV radiation. Exposure to daylight will hardly be of any

consequence when materials are being used, and studied by patrons, yet, when materials

are exposed for long periods, the damage can be irreversible (Thompson 139).

I have defended that daylight is the most effective lighting source, yet, during

cloudy and rainy days, daylighting will not be sufficient to maintain an adequate lighting

level. Also, it is important that the library maintains a relatively constant level of light

for visual tasks, as inconsistency in illumination is distracting and uncomfortable. In this

regard, electric lighting is a key element in maintaining a comfortable and stable level

of light.

The electric devices used to create artificial light by use of a light bulb are called

lighting fixtures. Despite of the light sources used, the number of different lamps used

in the illumination design should preferably be minimized to simplify lamp stocking and

maintenance. Fluorescent lamps produce light by passing an electric current through a

gas inside a glass tube. Fluorescent sources are an efficient solution, for they have a long

43
durability, and are available in a wide variety of shape and sizes. Fluorescent lamps are

available in cool (4100º), medium (3500º) and warm (3000º) temperatures (Malman 5).

Light can have different colour temperatures, measured in kelvin. Bulbs with a low

kelvin value produce warm colours, while bulbs with a higher kelvin value produce a

cooler and blue light (Philips How par. 3). One kelvin equals 1º celsius, however, the

kelvin scale has it start point at absolute zero, which is -273.16º celsius (Dalrymple

230).The choice of the lamp colour is mainly an aesthetic choice, for it will not affect

the light levels nor its costs. Fluorescent lamps contain a small quantity of mercury to

help start the lamp, yet, lamps with reduced mercury content are already available. These

lamps are a good alternative as they add little or no costs and have no negative impact

on the lighting quality (Malman 5).

Incandescent lamps produce light by passing an electric current through a

filament. These lamps produce a warm and comfortable yellowish light colour, but do

not last long, therefore are not a good option for big buildings, such as a public library.

Nevertheless, due to their warm light colour, these lamps can be used in some areas, such

as the entrance, to make the library look less institutional. High-intensity discharge (HID)

sources include metal halide lamps and sodium lamps. Both lamps have a long durability

and produce light by energizing a gas inside the lamp. Metal halide lamps have a

comfortable colour, similar to incandescent light (7).

Nevertheless, LED lighting sources are most of the times the best solution, for

they have a long durability, are energy efficient and do not contain any UV radiation. A

Lighting Emitting Diode (LED) is a diode responsible to emit light. Whereas fluorescent

lamps produce light by passing the electric current through a gas tube, and incandescent

lamps produce light by use of a filament, LED light bulbs use a semiconductor device

44
that produces light when an electric current passes through it (Philips What par.2). As

previously mentioned, light bulbs are available in a wide variety of colours that will

create different environments and atmospheres, yet, for spaces where a lighting level

close to day light is desired, architects should opt for daylight bulbs, for they provide the

closest lighting level to that of natural light, and will easily blend with daylight. The

combination of different lightings is an important part of the building’s aesthetic concept.

Architects and lighting professionals should work closely to consider carefully the

possible effects the artificial lighting may have upon readers. Furthermore, artificial

lighting sources should be used to avoid glare, reflections or areas that are badly

illuminated. It is worth mentioning that visual comfort is more affected by increased

luminance of the surrounding area than is the actual task of reading. In other words,

increase in the luminance of the surroundings will influence visual comfort, but the

reading itself, however, will most likely not be affected (Thompson 140). Yet, it is

believed that private reading in public spaces, such as public libraries, is still an issue

that has not been well addressed by current lighting guidelines, which do not focus on

qualitative aspects, but quantitative (University of Cambridge par. 7).

Reading rooms, as well as working surfaces where documents of little contrast,

or with smaller details, such as maps, are studied, require an extra careful lighting design.

A good solution is to have a fairly low level of overall lighting, and that reading surfaces

have their own desk light with individual control, allowing intensity adjustment. Book

stacks illumination must be carefully planned as well, depending on their closeness

together. Ideally, book stacks are lit across the stack face, so that patrons can easily read

the titles, and quickly find the call numbers. An easy and effective way to light book

stacks, is to light the upper shelves adequately. Illumination between book stacks should

also be considered, as a safety measure.

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 As previously mentioned, one of the many factors that may affect the quality of

a lighting design, is glare, which causes discomfort, or reduced visibility. Libraries with

open areas should address this issue carefully because of the greater number of lighting

sources. Glare situations will depend on various factors such as brightness itself, both

from the source and by reflection, but size and position of the source as well (Thompson

140). Direct glare results from high brightness, such as light coming from the windows

or ceilings that are directly in the field of view. Indirect glare occurs when light is

reflected off glossy surfaces or screens in the field of view. Especially in working areas,

such as reading or study rooms, glare can become quite uncomfortable and distracting.

Simple solutions can help reduce and avoid glare. The most effective way to avoid glare

is by directing all light sources downwards, shading them from horizontal emission. Also,

working areas should be placed where sunlight will not be in the indirect glare zone, and

reading surfaces should be selected carefully, for glossy surfaces increase glare and

reflection.

The Columbus Metropolitan Library’s (CML) main branch is currently closed

for renovations. In March 2016, when contacted and asked about the lighting design the

institution informed that the lighting was still being tested, but that the main change is

the use of daylight, as the main branch will have several glass walls. Thus, there is no

relevant information to add about the CML lighting design, therefore, I will focus on the

New York Public Library and the Amsterdam Central Library. Nonetheless, worth is

mentioning that given the importance of planning the lighting design carefully and in

advance, it surprising that the CML is still in the process of testing it, and does not have

much more to say, other than the preference of daylight and the existence of glass walls.

46
New York Public Library

The New York Public Library’s (NYPL) main building, also known as the Stephen A.

Schwarzman Building, has since its early years been one of the most famous landmarks

of New York and an obligatory stop for tourists. Therefore, the marble building holds

not only the position of a prestigious research institution, but of an emblematic

architectural symbol of New York City, as well. The building dates from the period when

maximizing daylight was a major concern in library design, consequently, the big

windows are a main characteristic of the building.

Given the importance of the NYPL’s main building, before mentioning the

interior lighting, I will make a reference to the exterior lighting. Located in one of the

busiest streets of New York City the main building requires an effective exterior lighting

able to at night maintain the building’s imposing position. In 2011 a three-year

restauration and preservation project of the building that included a rearrangement of the

exterior illumination was completed. For the illumination the French engineer François

Jousse, responsible for lighting 300 monuments in Paris, was consulted. In 2007, Paul

LeClerc, at the time president of the NYPL, explained that his ambition was “for this to

be the building you simply must see in New York at night time because it is so beautiful

and it is so important” (LeClerc qtd. in Pogrebin par. 7). The Petit Palais, in Paris, served

as a model and Claude R. Engle Lighting Consultants, responsible for the lighting design

of the Pompidou Centre in Paris and the I.M Pei’s pyramid at the Louvre, was hired. The

main goal was to focus and emphasize specific details of the building, and light the

library’s facade at an angle, rather than lighting the entire building. Previously, the

building was lit by floodlights placed on the parapets of the higher surrounding buildings

(Allanbrook and Capolino 42). The new lighting design includes lights mounted on the

47
highest streetlights across Fifth Avenue, and on posts of approximately 6-metres-high

on the north and south sides of the plaza. A stronger beamer illuminates the south facade,

with light fading as it reaches the bottom. Warm colour lights illuminate the building’s

facade, the Corinthian columns, and the two emblematic lions, known as Patient and

Fortitude (Sciolino par.2)

Having mentioned the exterior lighting, I will now focus on the interior lighting

design. In Rose Main Reading Room, twenty-eight sumptuous grand chandeliers

suspended from the high ceiling illuminate the reading surfaces and maintain a constant

lighting level. The chandeliers, shown in Figure 15, are an emblematic symbol of the

reading room, but not an easy and smart solution, as maintenance is difficult.

Nonetheless, given the importance of the reading room as a tourist attraction and iconic

symbol of the library, the chandeliers are an important part of the room. Each working

surface has a number of desk lamps, this has some inconveniences, since not everyone

has access to a desk lamp. Yet, elderly or people with visual impairment require extra

lighting, so even if not available for everyone, desk lamps are important and should be

available. Moreover, the big windows across the room light the entire room, creating a

sensation of openness and providing a comfortable level of daylight, as demonstrated in

Figure 4. The book stacks are lit horizontally at the upper shelf which avoids glare.

Outside the Rose Main Reading Room, the interior of the building is lit by other

suspended lights or floor lamps. Inside the building, marble flooring is predominant,

however, in the Rose Main Reading Room the floor is of a neutral colour, which reduces

glare and reflections. Also, the oak reading surfaces, of a natural colour, also contribute

to reduce glare and reflections.

48
Figure 13: York Public Library: Main building lit at night (The Sargasso Sea)

49
Figure 14: New York Public Library: Floor lamps in the main entrance (The Sargasso
Sea)

50
 Figure 15: New York Public Library: Suspended chandelier of the reading room
(Christine Austin Design)

51
Figure 16: New York Public Library: Book stacks lighting of the reading
room (Johnson)

52
Amsterdam Central Library

The exterior of the Amsterdam Central Library (OBA) reflects the innovative

architectural style of the inside: openness, clarity and a modern design. High ceilings

and big white walls contribute to the sense of openness and reflect the daylight entering

through the big windows. The lighting design is unquestionably a major feature of the

building in creating different atmospheres and contrasts between darker and lighter areas.

The glass walls provide not only a good level of daylight, but a nice view over

Amsterdam as well. Additionally, exterior sun control is incorporated in the architecture

of the building, as an exterior stone structure shades part of the glass surface, as shown

in figure 17.

From the entrance area the sense of openness and transparency, the illuminated

stairs and modern suspended white lamps introduce the modern design of the building.

The predominant dark wooden floor creates and important and comfortable contrast with

the white walls. Furthermore, as the interior of the building has very few walls, yellowish

lighting columns and the illuminated escalator that runs vertically the central volume of

the building work as a main source of artificial lighting, able to illuminate all the floors ,

demonstrate in figure 18. Since the building allows for much daylight to enter through

the big windows, reading surfaces have individual lighting, important to avoid

reflections and glare. At the ground floor, low book stacks with magazines, shown in

Figure 19, have a very attractive lighting that resembles a shop window. Multimedia

areas are also lit carefully, with different light colours and intensities, creating the proper

atmosphere and lighting for a comfortable use of computers.

The OBA is a perfect example of a building with a successful lighting design,

where daylight and artificial lighting are combined to create a comfortable environment

53
of openness and clarity. Different lighting densities and colours create different spaces

and contrasts, with the escalator linking the building as a whole.

Figure 17: Amsterdam Central Library: Exterior of the building (Best Design Books)

54
Figure 18: Amsterdam Central Library: The illuminated escalator
(Arch Daily)

55
Figure19: Amsterdam Central Library: Magazines with attractive lighting (Arch
Daily)

56
 In short, I have argued that there is no standard solution that guarantees a

successful lighting design. Nevertheless, I believe that daylight is the source of light that

better creates a comfortable and pleasant environment in library buildings, and allows

the institution to reduce energy consumption. An effective artificial lighting, however,

should be used in order to ensure that no area is not properly lit, to maintain a stable

level of light and control glare. Moreover, lighting design plays a major role in designing

each space of the library, as lighting variation in colour, as well as temperature and

intensity will enable the architects to create different atmospheres. All things considered,

when combined with artificial lighting, daylight can create a comfortable environment

of clarity and openness, while also maintaining a relatively constant level of light.

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Chapter Four: Library Security

“Library security” is a broad term that may include several issues, from crime prevention

strategies, safety of patrons and library staff, collections preservation, catastrophe

planning, among others. In this chapter “library safety” refers to crime prevention

strategies. Even though book theft and vandalism of library collections are not a recent

issue and despite the new technologies available, these sort of incidents keep happening

(Cravey qtd. in Higgins 9), thus are still a major concern of librarians. Most likely earlier

libraries also took precautions to protect their valuable materials. Chaining books to

tables and shelves was an effective solution also used by monks during the Medieval

Ages (Lincoln and Lincoln xi). The following chapter will focus on different strategies

and mechanisms that help libraries reduce and prevent theft and vandalism, but will also

mention some of the reasons why these incidents keep happening.

The easy access to online catalogues, where the content of libraries’ collections,

including valuable materials, are available, and a growing number of people willing to

express their personal beliefs and convictions by destroying material from libraries, are

two of the main reasons for the continuing loss and damage of libraries’ collections and

materials (Higgins 2). Today, most public libraries deal with people of many religious

groups, as well as atheists. Consequently, libraries face the difficult task of providing

sacred texts and books about faith, but books reflecting non-religious views of the world

as well, in such a way that people feel their faith is treated with respect and that no

religious group is privileged over others. Yet, some religious groups try to pressure

libraries to present their sacred texts in a certain way. These demands may result in

conflicts between religious groups and librarians, and in more extreme cases, patrons

that are willing to destroy religious or atheist materials that they consider to be offensive

58
(Ball, Iqbal and Vincent par.4). Religion is, however, not the only reason why people

mutilate libraries’ materials. Some customers also mutilate books to make a certain

statement of political or social beliefs. In San Francisco Public Library, for instance,

during 2001 the library’s staff started to notice that several books on topics such as

women’s health, HIV/AIDS, bisexuality or transgender, were vandalized and destroyed,

demonstrating that these are topics that some patrons are not comfortable with, or are

considered inappropriate material for libraries (San Francisco Public Library par.1).

Furthermore, it is also very common, in academic libraries as well, for patrons to write

on the books, use highlighters, make notes on the margins, or even cut some parts or

entire pages to avoid having to use a photocopier (University of Oregon par.2).

Crimes in libraries can take different forms, such as crimes concerning the

library’s collection, crimes against the physical structure of the library and crimes

concerning users of libraries (Huska par.2). Public libraries struggle with the inherent

risk of damage and loss to collections that must be balanced with the library’s mission

to make the collection accessible and open to patrons. In addition, as a public building,

everyone can enter a library, including mentally ill or aggressive and dangerous patrons,

consequently, librarians are sometimes presented with unexpected situations that

librarians in the past had not to be prepared or trained for (Bean 23). A study published

by the American Library Association shows that public libraries are within the

institutions that have been affected by deinstitutionalization. People with some sort of

mental illness discharged from mental hospitals, without any follow care, see in public

libraries a comfortable place, with different activities to spend the day (The Treatment

Advocacy Center par.3). Employees of the New York Public Library, Columbus

Metropolitan Library and the Amsterdam Central Library receive proper training to learn

59
how to handle aggressive and dangerous patrons, or other difficult situations (Bush,

Robertson and Van Leeuwen).

Designing and planning the library building in such a way that library and

security staff can easily control the behaviour of all users, is a major issue of library

buildings (Faulkner-Brown 72). In this regard, the tendency to opt for open and wide

spaces may seem easier to control, as security staff can easily see the entire room;

however, when these open spaces get crowded they can become difficult and confusing

areas to control. A good solution is to reduce the number of entrances and exits, forcing

everyone to pass through a security or service desk when entering or leaving the room.

Unfortunately, over the years controlling staff has also become a major issue, as cases

of thefts where library employees are involved have happened more than once. For

instance, in 2000, the Bibliothèque Nationale de France, discovered a thirteenth century

Hebrew Bible was missing. In 2003, an anonymous letter denounced the internationally

praised specialist Michel Garel who had stolen and sold the valuable document (Sanson

107).

As a result, over the last years, libraries have developed increasingly

sophisticated security systems and crime prevention strategies to combat crime and theft

of collections and materials. Depending upon the scale of security each library building

needs and the resources available, the range of solutions can involve staff training and

vigilance, ownership marks on library materials, stack access identification, theft

detection systems and electronic security devices at entrance and exit doors, for instance

RFID gates and security equipment such as closed-circuit television monitors (Dewe

173). The New York Public Library, the Columbus Metropolitan Library and the

Amsterdam Central Library contain closed circuit television monitors, contracted guards

60
and electronic devices at the entrance and exit doors (Bush, Robertson and Van

Leeuwen). Nevertheless, ownerships marks, such as stamps, and electronic book theft

detection systems are not completely successful, as they do not protect rare books and

manuscripts from damage. Furthermore, pages with library stamps can be ripped from

books, and electronic detection systems are usually detected by thieves. For this reason,

most libraries opt to have a RFID system. Radio Frequency Identification (RFID) is a

technology that uses radio waves to identify objects. This is possible by placing a small

RFID tag, equipped with a chip and an antenna, inside a book, or other library’s materials,

giving each item an identification number. It is the information contained in this tag that

is read using radio frequency technology, which allows the RFID gates placed by the

entrance and exit doors to read the tag at a distance, regardless of the item’s orientation.

As result, if any material of the library passing the gate has not been checked out an

alarm is turned on (Shahid par.5).

Libraries holding valuable and special collections should plan extra security

measures and control the access to these materials. The Association of College &

Research Libraries, a division of the American Library Association, defines special

collections as “repositories containing rare books, manuscripts, archives, and other

antiquarian and special materials” (par.1). The security of special collections is

nowadays especially significant since the access to online catalogues and the information

available on the internet can lead to people’s awareness of the value of these collections,

as a result, this may increase the risk of theft.

The Association of College & Research Libraries advises libraries holding a

special collection to appoint a Library Security Officer (LSO), who should have primary

authority and responsibility to organize the security program and a thorough knowledge

61
of the building’s security needs (par.5). In addition, the LSO should develop a written

policy on the security of the institution’s collections, in consultation with the library’s

employees, administrators and legal authorities. This policy should be reviewed and

updated periodically to ensure that the institutional needs are adequately addressed

(par.7). It is essential that the entire security strategy of the institution is consistent,

therefore the LSO should be involved with the implementation and development of

general security measures, as these may affect and influence the security of special

collections. The area where the special collections are kept should have as few access

points as possible, and lockers should be provided for user’s belongings, as the personal

belongings allowed in the room should be restricted and controlled when entering and

leaving the room (par. 10). Institutions should also have clear regulations for the

materials patron can use while using and studying the collections. People consulting the

valuable collections should be able to make notes (not on a document itself), however,

it is highly recommended that only pencils are allowed. The British Library, for example,

only allows patrons using the collections to use a pencil, and “writing in or marking

collection materials is not permitted in any form” (British Library par.9).

In January 2001, the Royal Library of Denmark, for many years considered one

of the most effectively secured buildings in the country, discovered the institution had

suffered serious thefts in its special reading rooms housing maps, manuscripts and rare

books. Valuable maps had been removed from folio editions by someone skilled enough

to cover and dissemble his thefts. Due to the security cameras installed in the building

and special reading rooms the institution was able to have good images of the thief, how

he had been able to steal the documents and leave the building. The institution quickly

informed other libraries housing historical and special collections. During the following

weeks, however, the thief, or his accomplice, were able to visit the Helsinki University

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Library, the Royal Library in The Hague and the Royal Library in Stockholm. After

informing other Nordic libraries, the Danish Royal Library was contacted by several of

these institutions and it became clear that the thieves had been visiting and stealing them

as well, including the Bibliothèque Nationale de France, the National Library of Wales,

the Cambridge University Library, the British Library and others. Nevertheless, the

Royal Library of Denmark had never been informed about these incidents (Nielsen 293).

This proves the existence of two main issues in library security: first, a clear lack

of communication between libraries, national and internationally, and second, the

difficulty librarians and authorities have in defining a clear profile of book thieves or

people willing to damage library’s collections, as academics and librarians, people with

the proper skill and knowledge, are also willing to steal and damage materials. After the

incident in the Danish Royal Library, aware of the lack of communication between

libraries and the feeling of shame that leads institutions to not be open about their theft

incidents, some employees of the library decided to organize a Conference on Library

Security that took place in Copenhagen, May 2002. As a result, lively and open

discussions took place between chief executives, and chief security officers from twenty

European countries and the United States of America (294).

Communication between institutions could increasingly help libraries to protect

their materials from people that represent a threat. However, as previously mentioned,

some institutions are uncomfortable about their theft incidents, therefore, prefer not to

inform other libraries that they have been stolen. Yet, this will have implications for

other institutions, who not aware of this incidents and the danger some people may

represent, allow them to steal or damage other valuable materials. Even though databases

of stolen and lost antiques and collectables, including rare books, already exist, for

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instance Interpol’s database, a thorough database should be created by libraries as well.

This would allow not only institutions to register stolen materials, but add names of

people who represent a threat as well. Interpol states that “the black market in works of

art is becoming as lucrative as those of drugs, weapons and counterfeit goods” (Interpol

par. 2), therefore Interpol strongly advises institutions holding valuable collections to

participate in the exchange of information.

Profiling library criminals has become a difficult task, as it is difficult for

librarians and library employees to determine who represents a threat. Mentally ill people

may present suspicious behaviour from the moment they enter the building, and

employees should know how to handle these situations. Nonetheless, there are also

people paid to steal a certain book or document, and, as mentioned before, scholars may

also represent a threat for special collections, as they have easy access to special rooms,

know what they are looking for and are skilled to steal the original document and leave

a replica (Higgins 8).

In conclusion, libraries face the difficult challenge of keeping the position of a

welcoming and open institution, but the responsibility to protect their collections as well.

Despite the innovative and technological solutions available to support libraries’

security systems, damaged materials and thefts still occur. Two main issues seem to be

problematic: the difficulty libraries have in defining a clear profile of library thieves and

criminals, and a lack of communication between institutions. Even though some

institutions have been in contact and are willing to exchange some of their experience,

public libraries should also work closely with other institutions holding valuable

collections, such as museums and archives, but with international authorities as well,

such as Interpol. Throughout the chapter I have mentioned the main aspects of the NYP,

64
CML and OBA security systems, and there are is no further relevant information to add,

therefore this chapter will not be followed by a section with details on the three

institution. It is worth mentioning that when contacted and asked about their security

systems, all institutions mentioned that there is not much they can share with the outside,

and that the institutions use similar strategies to reduce theft and vandalism: contracted

guards, theft detection systems at the entrance and exit doors, proper training of

employees to handle difficult situations and closed-circuit television monitors.

65
Conclusion

This dissertation focuses on the major architectural and design changes in library

buildings, as a result of the changing role of these institutions in contemporary society.

It aims to investigate the design characteristics that have replaced the traditional silent

and quiet building, where the abundance of book stacks were the major feature. For

several years the “ideal library building” consisted of a big reading room surrounded by

book stacks, in some cases a small community room was also available. However, the

development of digital technologies has changed and transformed institutional practices

of libraries, which led to changes in the organization and design of library buildings, as

well..

Librarians became aware that if public libraries were committed to be accessible

and open institutions this also meant that library buildings would have to be more

functional, include more spaces, offer more services, and a wider variety of material

formats. In other words, many public libraries have been transformed from a “finite

space with finite resources to a finite space with infinite resources” (Kent 211). For this

reason, I have argued that a library building that enables the existence of different

services and activities, as well as housing collections in different formats, such as print,

electronic, or audio-visual, is a main concern. Also, due to the availability of most of

libraries’ collections in electronic formats, it is essential that libraries create alternative

and interactive spaces as well as activities, able to attract patrons that do not need to visit

the building to borrow a book or other materials.

As a result, creative and interactive children’s areas, multimedia rooms where

patrons can access computers and the internet, and social areas meant for patrons’

interaction are available in most public libraries. I have defended that the first contact

66
children have with public libraries happens, most of the times, in the children’s area and

will influence their behaviour towards libraries in adulthood, thus, creating attractive

children’s spaces is essential and has received much attention in recently built or

remodelled library buildings. The Amsterdam Central Library is an example of an

institution that has a wide and innovative space for children. The creative book stacks

and the screens spread over the room promote the use of the materials, in addition,

comfortable seating is available both for parents and children. Multimedia spaces have

also become an important part of library buildings, as some patrons depend on libraries

to access a computer and the internet. Moreover, I have also stated that social areas and

“loud rooms” are also important elements in today’s library buildings, as these areas

have been replacing the traditional quiet and silent reading rooms. This has been an

important shift, as for many years, the library, as a public building, was missing a place

that encouraged patrons’ interaction and communication. Therefore, these areas have

become important in creating a feeling of community, and belonging within patrons,

which will also leads patrons to go back to the library.

Nevertheless, the existence of social and loud spaces is only possible with an

effective acoustic design. I have defended that the acoustic design of library buildings

has become a more complicated aspect, as it will influence to a great extend the ability

of the building to hold different activities and spaces in the library, but also because the

wide open areas used in new buildings are more difficult to acoustically control.

Furthermore, the acoustic design should ensure that patrons in the reading room are not

disturbed by the noise coming from the children’s area, or by the sound coming from an

auditorium where a conference is taking place, thus, the simplest solution is not to place

silent areas near louder areas. The biggest challenge in designing library acoustics is to

create a building that enables both silent places for study and concentration, and social

67
areas, where talking and group work are encouraged. The Columbus Metropolitan

Library’s main building, for instance, will require a well-planned acoustic design, for

the main reading room will consist of a wide open area meant for patrons to socialize or

meet a study group, but also for people looking for a comfortable place to read or work.

Since there will not be a silent reading room, the acoustic design should ensure it creates

a comfortable place for both social activities, and activities that require higher

concentration.

Lighting has, for obvious reasons, always been a crucial element of library

buildings. I have argued that due to the different areas, as well as activities and materials

available in libraries, variation in lighting has become an essential element of the lighting

design, as for instance, a reading room and a multimedia space require different lighting

colour, quality, direction and shape. Furthermore, I have stated that natural light should

preferably be a main source of light. However, this requires certain precautions: UV

radiation protection, sun control and variation control, to avoid areas with insufficient

lighting. On the other hand, artificial lighting is essential in maintaining a constant

lighting level and in providing additional lighting when sunlight is limited, for instance

in rainy days. The Amsterdam Central Library is a good example of a building that has

successfully maximized the use of daylight. Transparency and clarity are two main

characteristics of the building, due to the number of big windows that allow daylight to

enter.

Finally, as to security, even though library security and crime are not a recent

concern, due to the easy access to online catalogues and an increasing tendency to

vandalize library materials to make a statement of political or religious beliefs, security

is still a major aspect in library buildings. Institutions holding special collections should

68
plan their security system extra carefully. Despite the technologies available to better

control people’s behaviour in libraries two main issues that could help reduce library

crime remain: a clear lack of communication between institutions and the difficulty

library employees have in recognizing who may represent a threat for libraries’

collections, as not only patrons, but also library employees and scholars have been

involved in these sort of crimes. If institutions shared their experience and informed each

other about theft and vandalism incidents, some of these crimes could be avoided, as

institutions would be aware of some of the people that may represent a threat to their

collections. The New York Public Library is an institution that requires a highly

organized and planned security system, not only because of the valuable collections and

documents it holds, but also because of the number of visitors and tourists it receives

daily. A building that has constantly people getting in and out may become a difficult

place to control, therefore, it is essential that the New York Public Library’s security

team works closely with the rest of the building’s employees to define a clear and

organized security system.

This dissertation aims to present different solutions and options for effective

lighting, acoustic and security design, as well as illustrate how they contribute to create

different areas and spaces within the library. I have done so by using three existing

library buildings to demonstrate how they apply some of the design solutions mentioned,

but also to illustrate that there is no standard solution or formula for a functional library

building. A team of architects, designers and librarians should work closely while

planning a new building, or remodelling an existent one. Librarians should share their

experience and make sure they present a clear idea of what they want the library, as a

public building, to offer. I have, however, come to the conclusion that library buildings,

more than ever, encourage patrons to enter, not only to look for a book, but to participate

69
and interact with other patrons as well. The tendency is to opt for wide open areas that

allow patrons to see across the room and encourages group work; as well as glass walls

that allow not only much daylight to enter, but also emphasize the sensation of

transparency and clarity.

Furthermore, it is important to mention that all the suggestions and solutions

presented in this dissertation are meant for public libraries, therefore, academic library

buildings will most likely require other approaches and planning. Thus, further research

would have to be conducted in order to understand how these different types of library

buildings differ from each other.

70
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