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but great article came up on the library article search:
|Title:||Beauty and the Book. Libraries in the Digital Age Raise Questions About the Place of Books.|
|Alternate Title:||Part of a special section: Libraries|
|Source:||Architectural Record; March 2011, Vol. 199 Issue 3, p55-59, 5p|
|Subjects:||Library architecture — History; Library architecture — Evaluation; Libraries — Social aspects; Books & reading — Social aspects; Electronic books; Architecture; Information society|
|Abstract:||Libraries must fulfill the maximum number of different user needs and offer a range of flexible spaces that are both quiet and active. Books will always be either a paper or digital presence in libraries. In a world where digitization predominates, knowledge can be derived from the simple, tactile act of holding a printed work. The library’s future depends on its capacity to be a comfortable space where people gather to tell their own stories and discover new ones. Various libraries are pictured and described.|
|Persistent link to this record (Permalink):||http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=504519118&site=ehost-live|
|Cut and Paste:||<a href=”http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=504519118&site=ehost-live“>Beauty and the Book. Libraries in the Digital Age Raise Questions About the Place of Books.</a>|
|Database:||Art Full Text (H.W. Wilson)|
Libraries in the digital age raise questions about the place of books.
It’s easy to get excited about the design of libraries. Architecturally they provide an opportunity for designers to manifest, in spatial form, such abstract concepts such as discovery, inspiration, and community. Increasingly they serve the public by providing everything from books and movies to Internet access and educational programs, free of charge. With this in mind, RECORD is devoting the pages of this issue to libraries worldwide, some public, some academic. Curiously, many still prominently feature the book as a design element. Books make great props, as any interior designer knows, and generously stocked bookshelves also have a bold visual impact. But within publishing and academic circles, many wonder if the book has become, according to one observer, an “outdated technology.”
The prototype for modern libraries was Michelangelo’s Laurentian Libraryin Florence. Rows of desks dominate a navelike main reading room.
Didn’t the 1957 movie Desk Set first raise the question about whether or not librarians and, by extension, libraries, are still needed in a world of computers? Although it begins on a note of suspense, this romantic comedy starring Katharine Hepburn and Spencer Tracy showed that computers and librarians could work together.
And yet, more than a half-century later, apprehension lingers about what technology is doing to reading, research, and libraries. This shouldn’t be the case. After the number of people in the United States who spend their leisure time reading dropped for decades, from 2002 to 2008 their ranks rebounded astonishingly, rising 7 percent among adults and 9 percent, the biggest growth, among teens, according to the National Endowment for the Arts. Moreover, public libraries in the United States have seen record usage, up 23 percent between 2006 and 2009, according to the American Library Association (ALA), partly due to the job-seeking resources they offer. So the future of libraries in a computerized world is potentially bright — if they can survive a slow economic recovery where state and local municipalities keep cutting services.
The brutal economic climate poses an obvious challenge for architects. It also creates an opportunity for them to help libraries make a transition to an increasingly digital world. Computers affect architecture differently than they did just a few years ago, let alone during the days of Desk Set. EMERAC, the fictional machine custom-built to assist Hepburn and her busy reference staff, occupied the better part of an entire room. The integrated circuit board was invented a year after the movie came out and, with its development, computers began doubling in speed every two years with a corresponding shrinkage in size. Instead of taking up space, computers now liberate it. Google has undertaken an effort to digitize practically every book ever published — an endeavor not without its critics — while academic journals and other periodicals are increasingly available only in electronic form.
Just what to do with the shelf space created by digitization is another matter entirely. At one extreme is Cushing Academy, a prep school in Ashburnham, Massachusetts, whose library got rid of nearly all its 20,000 books in 2009 and replaced them with Kindles. This choice might have been prescient. E-book sales led a resurgence in overall book purchases during 2010, according to the Association of American Publishers, with an astonishing 165.6 percent growth over 2009.
But of course it’s not just e-books that transformed Cushing’s library from one of its least used spaces to among the campus’s most popular — it was the installation of new couches, a café, and the social environment they nurture. To similar acclaim, these features are appearing in libraries of all sizes and types. Librarians at California Polytechnic State University, San Luis Obispo, weeded so much of their reference and periodicals collections that they opened two entire floors of their five-story building, replacing stacks with a café and comfortable seating, as well as whiteboards and other tools to facilitate group study sessions. “Creating community space for students meant they had the physical space to come together as people,” observes Michael Miller, dean of library services.
Public library users have the same need. Although digitization means that anyone, anywhere can access pretty much anything from home, people still tote their laptops and smartphones into a library to do work. The modern library has always been something of a community center — a place where people gather to learn, whether in a story hour or a craft workshop, in the presence of others. Many observers contend that this role, often referred to as an “information commons,” must now take center stage.
The contemporary librarian, as Linda Braun, a lecturer at Simmons College Graduate School of Library and Information Science, points out, is part reference specialist, part social worker, and part community organizer. Accordingly, cutting-edge libraries are providing users with the tools to create their own stories — content creation in the form of videos, theater, and self-published books.
How should architecture address this change? It’s more than providing meeting rooms, or installing raised floors to accommodate abundant electrical outlets, although these features offer a good starting point. Addressing the library’s future involves overcoming a mind-set entrenched since the Renaissance, when books emerged from underneath monks’ desks to become symbols of power and the most prominent design element.
The prototype for modern libraries has been Michelangelo’s Laurentian Library, in Florence. Rows of desks dominate a navelike reading room whose construction became a political statement that the merchant Medici family — who commissioned it in 1523 — had ascended into the ruling and religious classes. Johann Bernhard Fischer von Erlach’s Hofbibliothek, now the Austrian National Library at the Hofburg Palace in Vienna, underscored the relationship of books and power in a more lavish, baroque style. Charles VI, Holy Roman Emperor, commissioned this opulent space in 1721 to house spoils that the Hapsburg empire had acquired over centuries. About the same time, Thomas Burgh created a stunning library for Trinity College in Dublin, a testament to the increasing significance of academic institutions.
Although the Enlightenment introduced the notion that libraries could be a vital organ of democracy, their design changed only to reflect new construction materials and techniques. In Paris, Henri Labrouste’s iconic Bibliothèque Nationale (1854-75) and Bibliothèque Sainte-Geneviève (1838-50) celebrated ferro-vitreous architecture with impossibly thin iron columns supporting vaulted ceilings. And in the United States, McKim, Mead & White gave Labrouste’s scheme a neoclassical twist in its Beaux-Arts masterpiece Boston Public Library, completed in 1895. Books line the walls of these buildings’ vast reading rooms, while tables and carrels occupy most of the floor space. Edward Tilton and other disciples copied the formula in smaller, Carnegie-funded neighborhood libraries nationwide, each representing a temple to learning that encouraged immigrants and the working classes to better themselves.
It was at this moment, often considered a golden age of library design, that dissention emerged. William Poole, a cofounder of the ALA, complained in 1881 that library design was “yoked to ecclesiastical architecture.” Navelike reading rooms, with their vaulted ceilings, wasted space that could be better used for extra floors of book storage. Their lofty heights trapped heat, an enemy of paper. Worse, Poole wrote in a government report, these showy cathedrals rendered quiet study impossible amid a promenade of “tramps and sightseers… asking each other in audible tones if they suppose the librarians have read all these books.” With his love of books, Poole would have appreciated one contemporary design trend: a celebration of books that borders on fetishization. Gordon Bunshaft, of Skidmore, Owings & Merrill, may have established the Modern version of the precedent in 1963 with his Beinecke Rare Book and Manuscript Library at Yale University. Its marble exterior walls shelter an internal glass tower that showcases 180,000 volumes like treasured museum pieces. This same celebration is apparent in Sou Fujimoto’s Musashino Art University Library (page 60) — and Alberto Kalach’s Biblioteca José Vasconcelos, in Mexico City, which features a central atrium in which steel girders dizzyingly suspend multiple levels of book stacks above the heads of readers.
A new trend in contemporary library design is sustainability. Like other clients, libraries are pursuing green designs to lower their operating expenses and provide better spaces for users. They’re also going green to promote environmental literacy: to teach users, through example, about environmental stewardship. It wasn’t couched in these terms, but Louis Kahn’s library at Phillips Exeter Academy, opened in 1971, is a masterpiece of daylighting — a popular sustainable strategy for reducing electricity use that is evident in many of the libraries profiled in the following pages.
The noise level in libraries has only increased since Poole’s day, but this observation underscores a point vital to the institution’s survival. Libraries must satisfy as many different user needs as possible with a range of flexible spaces: some quiet, some active. In the past, a central aisle offered the only way to navigate through these buildings. In the future, users must be allowed to make their own paths. But rest assured, books will always be there in both paper and digital form. In a world where everything is digitized, there is knowledge to be gained from the simple, tactile act of holding a printed work. (Not to mention that computers crash, as in Desk Set.) The library’s future rests with its ability to be a comfortable space where people come together to tell their own stories and discover new ones.
1. Beinecke Rare Book and Manuscript Library, Yale University, New Haven, Connecticut, Gordon Bunshaft of Skidmore, Owings & Merrill, 1963. 2. Boston Public Library (Boylston Street), Boston, Charles Kirk Kirby, 1858. 3. Boston Public Library, Boston, McKim, Mead & White, 1895. 4. Biblioteca José Vasconcelos, Mexico City, Alberto Kalach, 2006. 5. Library, Phillips Exeter Academy, Exeter, New Hampshire, Louis Kahn, 1971.
By James Murdock
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Hot on the heels of news that Buzz Aldrin will be blasted into space once cremated, I revisit my horror of our most precious metals being sent into outer space. Just waiting to hear news of profitable space salvage rag + bone operation.
starting to collate the research for my essay, really missing the time my journey to college gave me to digest and make notes about all I have seen in the last 2 months, looking forward to this afternoon: going up to see RA Bronzes show. In the meantime will dump my reading list on this blog so I can get to it wherever.
Think Mr Miller might be my new favourite writer- the more he writes about material culture the fatter the base of my thinking and work becomes.
His blog is a work of connectedness and material-specificity in action.
Paul Carters’ writing regarding the 4th dimension of artworks seems to me to have managed, ironically, to have used words to disuse the ‘plasticity’ of the place an artwork inhabits beyond literal referencing and analysis. This mindful approach to being with an artwork in the space it inhabits simultaneously allows it to transport you beyond explanation and justification.
Watching Manufactured Landscapes recently, I was stunned when it included the statement that there is more gold contained in one ton of scrapped mobile phones than in one ton of gold ore.
This notion of the value placed on metals and resources which I have been working on for the year seems to be becoming part of the social consciousness, and high profile artists such as Jennifer Baichwal, the documentary maker, and Edward Burtynsky whose work is the focus of the film, are contributing to the spreading of the knowledge. I am always amused when ideas which I think are genius and new, pop up elsewhere, having already been tackled by other more established artists. I like to think the ideas are floating in the ether, but more likely it’s inspiration which is borne of reading and looking at things over the years. I used to feel frustrated, cheated even, then I realised that it’s brilliant! All the work combined is easier to work on, to build on, as parts of the building are shared.
Back at the beginning of this year I watched Vik Muniz on TED and was reminded of having been introduced to his work by a previous tutor (Mr Phil Tyler). At the time I was struck by how he played with scale, making huge earth drawings which are visible only from the air, and making small ones nearby which can be approached and appreciated. I was making oversized building blocks, and recently have been making oversized SIM cards and sculptures inspired by the telephone wire.
This talk was related to his film Wasteland (as recommended by Joanna Brown) and it has really given me a new perspective on my work and it’s place in the world:
Whilst I am confident that I am not in a position to tackle large-scale issues of social action, my focus on materials and objects which I womble or salvage is able to channel that awareness somehow back in on itself.
Vik Muniz achieves this on a significant scale as his materials-based practice feeds back into the ‘material’ itself in this case the individuals featured in the project. It has stuck in my mind, and sustains me during the dark moments when, overwhelmed, I question the point of it all, art. Unquantifiable in the plain supply and demand terms of Keynesian economics, art nonetheless is able to straddle that world and the world of human values seamlessly. Presenting opportunities for the observer to acknowlege or consider things differently or more intensely than they would have done otherwise is a very valuable effect which drives my work.
In reclaiming and repositioning objects and materials, I can respond to them and their settings to cherish or challenge them. The process of putting the final work together for our upcoming degree show has crystalised all this for me, as my work has turned into a cherishing of the studios, gratitude and lament to times past, and a few small repairs to sustain it for the future.
Well what do you know, a chat over a cuppa has opened up the world of hand-drawn printed circuit boards (PCBs) to me, and all the good copper etching possibilities which go with it.
Photojournalism seems to inhabit the medium fully, as it captures a moment for us to appreciate long after it passes, and is particularly relevant to these subjects.
The cultures and Peoples, sensitive to environment and human interference, are archived here in rich detail. The dichotomy of the resources and processes required to take the pics, and the effect it has on the sum total also appeals to me.