The symbolic motifs in contemporary architecture of libraries – most frequent trends

Tomasz Kruszewski

doi:10.5277/arc120108

Abstract

The article deals with an issue of leitmotifs used in architecture of libraries of the last three decades. Among them there are trends inspired by ecology, simplicity, ethnicity and elasticity and also – which may be perceived as a slightly archaic inspiration – by religion. Their choice results from fashions created by the western world and a post-modern philosophy. Both of these factors contribute to creating an image of a modern library isolated from its tradition and consequently rejecting classical ideological and symbolic solutions constituting its former cultural role.

Full article view is only available on bigger screens.

Tomasz Kruszewski*

The symbolic motifs in contemporary architecture of libraries –

most frequent trends

Introduction

John E. Buschman noted that the trends in the new phi-

losophy of library management include among others a de-

VLUHWRFUHDWHDFOHDUODQJXDJHRIDOLEUDU\EXLOGLQJDQG¿UVW

of all to present it in a high-tech convention [5, pp. 96–97].

This is a popular convention but it should be stressed that

the modern construction technologies do not need to be

LGpH ¿[H of a building. On the contrary, more and more

frequently they are a tool of presenting other ideas and

philosophy. The contemporary library can assume human-

ized features in new dimensions. The literature on library

science which employs the terminology from architecture

and construction engineering, uses the term “intelligent

building”. A building is “intelligent” because it has infor-

PDWLRQ V\VWHPV VXFK DV VHFXULW\ HUJRQRPLFV ÀH[LELOLW\

[3, p. 41]. Unlike the old library which ‘lived’ because

of its books, the modern library ‘lives’ also – or maybe

sometimes primarily – because of its building. Thus the

primary functions of the library are less important than

the technological façade and symbolically are subjected to

it. Although the modern architectural solutions determine

the ‘life’ of a library, they are in the background and they

RQO\VHUYHDVWRROVWRH[HFXWHWKDWLGHD

Trends

The “philosophy of building” has its restrictions too,

the main of which is fashion, though it is not subjected

to it. Georg Simmel saw fashion as a form of life which

should guarantee a compromise between the social trend

to equalize and the individual trend to vary [24, p. 22]. The

libraries from different times provide a tangible testimony

to following fashion and not only utility criteria when de-

VLJQLQJ7KHSKHQRPHQDZKLFKFRXOGEHFODVVL¿HGQRZD-

days as fashion include ecologization and westernization

of spatial and aesthetic designs of libraries. It is fashion-

able to search for original spatial developments and ideas.

Fashion includes everything regarding social activity of

PDQ$QDUFKLWHFWXUDOVW\OHZKLFKGRPLQDWHVLQDVSHFL¿F

SHULRGLVIDVKLRQDEOHDQGFRQVHTXHQWO\VSHFL¿FEXLOGLQJ

materials and technologies are in fashion too. All this af-

fects the transformations in the mental paradigm of the

viewer of architecture. Fashion provides an opportunity to

make use of a single raw material simplicity of a building.

+RZHYHUDV0DUHN&]\ĔVNLQRWHGWKHGRPLQDQFHRIRQH

kind of material is a stressful factor in the building en-

vironment. Nowadays, glass has become such a material

and it can be used by engineers not only as a traditional

material to let in more light inside the interiors but also as

DFRQVWUXFWLRQHOHPHQWLQHJÀRRUVEDOXVWUDGHVRUVWDLU-

cases [6, p. 59]. Buildings dominated by one building ma-

terial are nothing new as for centuries marble or sandstone

served a fashion function, as does glass today. However,

transparent glass makes an indelible impression which is

uncommon when other materials are used – and that is

why it can potentially cause stress among some viewers

of architecture. On the other hand, it is the very transpar-

ence which can reduce stress reactions in other viewers

compared to, e.g. heavy concrete structures.

In modern library buildings, light is used as an element

of composition on an unprecedented scale. It is possible be-

cause of technology and the very special fashion for trans-

parency and ecology. This is evident in such projects by

1RUPDQ)RVWHUDVWKH%ULWLVK&UDQ¿HOG8QLYHUVLW\/LEUDU\

* Institute of Information Science and Book Studies, Nicolaus

&RSHUQLFXV8QLYHUVLW\LQ7RUXĔ

DOI: 10.5277/arc120108

76 7RPDV].UXV]HZVNL

the roof around the old reading room of the British Mu-

seum, the John Spoor Broome Library at California State

University Channel Islands or perfect blob architecture –

and in a sense the crowning achievement of this architect’s

style – the Philological Library (Philologische Bibliothek)

in Freie Universität Berlin from 2005. It has a shell shape

¿OOHGZLWKDOWHUQDWHUHFWDQJOHVRIVLOYHUDOXPLQXPDQGWUDQV-

parent glass which allows for the penetration of as much

light as possible (Fig. 1). The library has been dubbed the

³%HUOLQ%UDLQ´±ZKLFKVKRZVWKHV\PEROLFVWUHQJWKRIWKH

institution gained through the sensual perception of light

absorbed by the building during the day and emanating it

after twilight. The shape of the structure makes that after-

glow look like a halo.

%XLOWLQDFFRUGLQJWRWKHGHVLJQE\*RUGRQ%XQ-

shaft, Beinecke Rare Book and Manuscript Library has

EHHQ GXEEHG WKH ³3RPSRXV 7HPSOH´ ,W ORRNV HVSHFLDOO\

impressive after dark. Due to the see-through marble slabs

in the façades – in the opinion of Charles Jencks – the build-

LQJ ORRNV OLNH ³D SLOH RI WHOHYLVLRQ VHWV ZLWK QR SLFWXUH´

[15, p. 19], which is an unsuccessful attempt at creating

a chiaroscuro effect as the pictures of the façades with the

use of pre-cast wall elements. It is an interesting example

of a compact body of the building which from a simple

cuboid seen from outside transforms into a closed space

which helps to concentrate (Fig. 2). The ambiance which

PLJKWQRWPDWFKRWKHUW\SHV RIOLEUDULHVKDUPRQL]HVZLWK

the historic collections the same as the body of the build-

ing designed on an organic, elliptical plan matches the offer

of the university library at the University of Cottbus (In-

IRUPDWLRQV.RPPXQLNDWLRQVXQG0HGLHQ]HQWUXP%UDQ-

denburgische Technische Universität Cottbus). Opened in

2005, it has become the symbol of the university, the city,

and the region so characteristic in a newly promoted city

without any long-lasting academic traditions. The Library’s

façade – its glass skin – was covered with entangled texts in

different languages which are the illumination of the func-

tion of the building both literally and metaphorically. The

DUFKLWHFWV-DFTXHV+HU]RJDQG3LHUUHGH0HXURQUHDOL]HG

the idea of printing on glass façades also in another library

designed at the same time: Bibliothek der Hochschule für

nachhaltige Entwicklung Eberswalde, however, that library

KDVDOVR¿JXUDOPRWLIVWDNHQIURPWKHSKRWRJUDSKVE\WKH

*HUPDQDUWLVWSKRWRJUDSKHU7KRPDV5XII7KHVDPHDVLQ

the Berlin blob, after dark this library’s interior is lit by the

building surrounding and the lines of letters create a chiar-

oscuro effect. The 32-meter-tall building, with no front or

back, resembles a stronghold and the letters are the symbol

of hidden treasures [8]. The image of a symbolic shelter

RINQRZOHGJHLVLQWHQVL¿HGE\WKHEXLOGLQJ¶VORFDWLRQRQD

KLOOZLWKQRWDOOSODQWVRURWKHUVWUXFWXUHVDURXQGLW:KHQ

mentioning the shelter, the role of light should be empha-

VL]HGDJDLQ±WKLVWLPHLWLVHOHFWULFOLJKWZKLFKZKHQWXUQHG

RQLQVSHFL¿FSRLQWVPDUNVHPHUJHQF\H[LWV7KHEXLOGLQJ¶V

lighting is then its integral part at symbolic (emanation of

knowledge) as well a pragmatic level (safety and ecology).

7KHUHVWULFWLRQVZKLFKDUHXVHGWRUHDOL]HDVSHFL¿FLGHD

to a certain degree determine the way a body of the build-

ing is looked at, its cultural belonging, and utility func-

tions, which does not mean, however, that they occur at

the expense of the user. In fact the restrictions affect the

form and spatial development which may be especially

convenient from an individual point of view. Nowadays,

that connection radiates stronger but it was present in the

past too. Apart from ethical issues, as already mentioned –

ecology is now in fashion. Consequently, when designing

Fig. 1. Philologische Bibliothek – Freie Universität Berlin.

Photo: D. Ausserhofer

Il. 1. Philologische Bibliothek – Freie Universität Berlin.

Fot. D. Ausserhofer

Fig. 2. Beinecke Rare Book and Manuscript Library.

Photo: M. Marsland / Yale University

Il. 2. Beinecke Rare Book and Manuscript Library.

Fot. M. Marsland / Yale University

The symbolic motifs in contemporary architecture of libraries – most frequent trends 77

libraries, the environmental issues are especially impor-

tant, which is evident in the Japanese architects’ designs.

Their buildings, which are the function of nature – land-

scape and colors which are present in the surrounding

HQYLURQPHQWFRRSHUDWH ZLWK WKHHOHPHQWV$V:ROIJDQJ

:HOVFK SXW LW A building is not a closed crystal but an

HOHPHQW LQ D EURDGHU FRQWH[W 2XWVLGH LV LQVLGH DQG LQ-

side is outside [26, p. 186]. The presence of the cultural

and ethnic perception of the natural environment can be

VHHQLQWKHSURMHFWVE\.D]X\R6HMLPDDQG5\XH1LVKL]D-

ZD6$1$$JURXSZKLFKDUHUHDOL]HGLQ(XURSH,QWKH

Rolex Learning Center in Ecublens near Lausanne, its

ZDY\URRISXQFWXUHGZLWKODUJHHPSW\KROHVUHÀHFWVDQG

echoes the serpentine form of a nearby mountain range.

7KH³ODQGVFDSH´EXLOGLQJRQWKLVDFDGHPLFFDPSXVE\WKH

lake – with a multimedia library, language learning center,

RI¿FHVHDWLQJSODFHVOREE\±LQIDFWGRHVQRWKDYHLQWHU-

nal walls. The emptiness, which is so typical of the far-

east spirituality, helps to calm down, sending the message

that possessing nothing, one possesses everything and that

HPSWLQHVVLV ZKHUHIRUP LVERUQ [1, p. 50]. It is a mate-

rial space whose character is liberating and generating. Its

large space as well as its surrounding make the building

center of student life – it is open regardless of perspec-

tive, symbolically connects with nature through physical

JOD]HGEULGJHVEHWZHHQSDUWVRIWKHFRPSOH[7KHDUFKL-

tecture of sustainable development in the far-east concepts

shows two elements affecting the form of the building:

culture and nature, as well as, assuming a more techno-

JHQHULFSDUDGLJP FXOWXUHDQG FLYLOL]DWLRQ> SS±@

7KH¿UVWUDWKHUFRQVHUYDWLYHWKHRWKHU±G\QDPLF%RWKRI

them, however, which is the architectural program of the

Rolex Learning Center, are inseparably connected.

Nature, as the instance to which the “philosophy of

EXLOGLQJ´ UHIHUV FDQ EH D KRUL]RQWDO EDFNJURXQG EXW LW

can also be present near a building or inside it. Biblioteca

-RDQ0LUyLQ%DUFHORQDIURPWKHODWHVORFDWHGQH[W

WRDSDUN±PDNHVXVHRILWVVHUHQLW\³FRQQHFWLQJ´WKURXJK

panoramic windows in the reading room and at the same

time isolating from the tumult of the city located on the

other side of the building. It has a water cascade whose

sound and movement provides a positive motivation to

read [12, pp. 97–98]. This is a dynamic picture but also

VRRWKLQJDVLWLVIDUIURPWKHDUWL¿FLDOXUEDQUXVK

The symbolism of water in a broader context is visible

in the project by Charles Correa of Jawahar Kala Kendra

in Jaipur in India. The complex has a square plan further

divided into nine squares alluding to a model of cosmos

±PDQGDODV V\PEROL]LQJWKH ELUWKRIDKDUPRQLRXVIRUP

from chaos. The library – which is its integral part – covers

it. Similarly to all other elements, the library pavilion has

its individual climate with a contemplative atmosphere.

,WLVLQWHQVL¿HGE\WKHZDOOVPDGHRIUHGVDQGVWRQHZLWK

the symbols from mandalas engraved in them, the nearby

enclosed court, and a static small pond in the library. Simi-

larly to the Library in Barcelona, ecological motifs were

the tools used to develop the symbol-forming space in the

library and around it. The religious motifs in Jaipur are

VLJQL¿FDQWDQGWKLVNLQGRIUHIHUHQFHVDUHSUHVHQWQRWRQO\

in case of adaptations of ecclesiastical buildings.

Another interesting architectural design based on reli-

gious subjects is Tønsberg og Nøtterøy bibliotek in Nor-

way – it is a project of the local group L2 Arkitekter from

the late 1980s. The ruins of a medieval monastery of St.

Olaf, whose remains are displayed under the Library, were

the inspiration for the form of the building. In order for

them to be able to radiate their spirituality, the amount of

JODVVLVVLJQL¿FDQWLQERWKWKHÀRRUVRIWKHEXLOGLQJDQG

LWVJODVVIDoDGHZKLFKUHÀHFWVQRWRQO\WKH³ZRUOGRIWKH

VWUHHW´LQ7¡QVEHUJEXWDOVR±LPPDWHULDOO\±LWVROGSDVW

The structure of the roof is supported on so called “trees

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D QXPEHU RI SUR¿OHV 7KH\ DOOXGH WRWKH PRQDVWLF FRP-

SOH[LQWZRZD\V¿UVWO\±LQGLFDWLQJWKDWSUREDEO\WUHHV

grew in that area, and secondly – regarding the already

described role of vertical structures, namely their function

RIFRQQHFWLQJWKHWHPSRUDODQGHWHUQDOZRUOGV$QG¿QDOO\

WKHURRI ±VXSSRUWHG RQWKH³WUHHV´ ±LV XQGXODWLQJDVLI

it was the surface of the nearby sea. The waves are also

a sign connoting the transcendence of the place – this is

ZKHUHWKH9LNLQJVZHUHEXULHG7KHUHFXUULQJFRQFHSWLRQ

of folds in architecture is not, it seems, unusual or acci-

GHQWDOLWLVUDWKHUDQDWWHPSWDWPDWHULDOL]LQJHWHUQLW\LQ

DEXLOGLQJ7KHDI¿OLDWLRQSURFHVVHVZKLFKLQWURGXFHDIRU-

HLJQVWUDLQ1RUGLFSDJDQFXOWXUHWRDVSHFL¿FZRUNFRH[-

LVWZLWKWKHSURFHVVHVRIIRUPXQL¿FDWLRQ>S@&RQ-

noting substance is obviously more inconspicuous than

the denoting aspect, however, it makes the building more

convenient to the function than to use. It is tangible that

an attempt is made at taking the purity of nature as well

as transcendence of human spiritual life and introducing

them into the symbolic sphere of library architecture.

7KHH[DPSOH RIWKHGHVLJQ IURP7¡QVEHUJWHVWL¿HVWR

the fact that the pluralistic compilation of cultural codes,

breaking the bond connecting form and function of a build-

ing, contrasting selection of its decorations, has been fash-

ionable in architecture for several decades. These activi-

ties are becoming a play with shape, sometimes with the

viewer, where what is absurd becomes a symbol as well as

a tool. Furthermore, they are also a methodical judgment

of the form – serious and balanced. These features are

presented by the libraries which have been designed for

Fig. 3. Tønsberg og Nøtterøy bibliotek. Photo: P. Fiskerstrand

Il. 3. Tønsberg og Nøtterøy bibliotek. Fot. P. Fiskerstrand

78 7RPDV].UXV]HZVNL

DOPRVWKDOIDFHQWXU\E\,VR]DNL±LQFOXGLQJWKH-DSDQHVH

Oita Prefectural Library and Kitakyushu Central Library,

the Australian Bond University Library, the Japanese Toy-

RQRNXQL/LEUDU\IRU 5HVRXUFHVDQG ¿QDOO\WKH6KHQ]KHQ

Cultural Center in China (where a library is one of the

main parts) as well as the Qatar National Library which

is still, however, only a project [1, pp. 118–119], [20, pp.

38–41]. They all have unique yet moderate shapes and de-

tails, indicating that the architect was looking for a simple

language of form, infrequently drawing from historical

European styles and playing with materials. They feature

DQHOLWHFRGH>S@,I,VR]DNL¶VOLEUDULHVFDQEHFODV-

VL¿HGDV³(VSHUDQWRDUFKLWHFWXUH´WKHQWKHFXOWXUDOSOD\LV

the catalyst of that compilation.

The problem which results from abundant information

causes an excess of substance, which is not necessarily

positive. Jean Baudrillard noted that the character of in-

formation can be negative for culture. It conveys senses

DQGPHDQLQJV QHXWUDOL]LQJDQG ³GHYRXULQJ´WKHP DWWKH

same time. Instead of facilitating communication, infor-

mation is disappearing in the communication simulation

[2, p. 102]. This phenomenon occurs in relation to many

modern library buildings where information itself replac-

es the substance. Examples include the cultural façade of

WKH8QLYHUVLW\/LEUDU\LQ:DUVDZRUWKH3RZHOO7HPSR-

rary Library at the University of California in Los Ange-

les (Towell Library). This is a temporary library built for

the duration of the repair of the main building. It resem-

bles a hangar or an industrial warehouse. It was designed

LQ WKH RI¿FHV RI &UDLJ +RGJHWWV DQG +VLQ0LQJ )XQJ WR

be used for temporary storage of the library collections in

a safe place. The ideas behind that building deny the ideas

of a library, regardless of its structure. The message is in-

coherent – the library is an institution for storage of cul-

tural heritage for next generations, here it is temporary. It

is a simulacrum which only simulates the social function

because it does not make a permanent impression. There

is a physical space called a library but is not a library – it

is a storage place at the most.

As a rule storage places are functional, which for li-

braries over the last several years has been brought up as

their fundamental value. Modern designs – despite the fact

that that current is in reverse – have dominated thinking

about libraries so much that the recommendations made

by Henry Faulkner-Brown still in the 1970s [11, pp. 3–8]

are quoted by librarianship experts almost like a mantra all

over the world. However, the functionality is not a simple

FRQVHTXHQFHRIVWDQGDUGL]DWLRQDQGXQLYHUVDOLW\,WLVDOVR

an expression of local construction needs and fads. Al-

though, postmodern architecture, or more precisely one of

its currents – deconstruction, unlike modern architecture,

draws from cultural patterns, including ethnic ones [12,

p. 21], the modern man – as Chantal Delsol put it – is not

certain of the values of those cultural references and – at

the most – communicates them timidly [9, p. 76]. It is quite

paradoxical in the context of the opinions, which were au-

daciously promoted already before the war – even in Po-

land – on taking into account the national cultural distinc-

tions and social structures in architecture and design [28, p.

±@+RZHYHUUHWRXFKLQJRXURZQFXOWXUHDQG³¿OWHULQJ´

it through separate systems has become the basis for de-

veloping ideas for new buildings. Consequently, the main

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DVD³VNLQGHHSHIIHFW´±ZKLFKKDVUHSODFHGWKHW\SRORJL-

cal, morphological, and tectonic profundity of traditional

architecture [18, p. 37]. This is how contemporary librar-

ies are designed. Local and ethnic elements coexist with

foreign ones, complementing one another. This rule can be

H[HPSOL¿HGE\WKHSURMHFWRI)UDQFHV+RZDUG*ROGZ\QRI

the Regional Branch Library in Hollywood from 1986. The

OLEUDU\EXLOGLQJZDVGHYHORSHGE\)UDQN2*HKU\DQGLWV

IRUPLVHPSKDVL]HGERWKE\LWVIHDWXUHVVFDOHDQGWKHFRP-

position principles (symmetry). It is both usual – because

of the simple cuboidal shapes and monumental – because

of the same shapes and their combination. It is to the same

degree pompous in Hollywood style and intimate for the

users who need it [13, p. 120].

Coincidently, the form of the building also conveys

DGHHSO\URRWHGLGHDRIOLEUDULHVGH¿QHGDVVKHOWHUVIRUFXO-

tural heritage. Their means of protection at technological

level correspond to those in traditional fortresses. They

KDYHWDOOZDOOVZKRVHVXUIDFHLVUHVLVWDQWWRJUDI¿WLDQGKXJH

JDWHV'LDQH*KLUDUGR GHVFULEHGVXFK EXLOGLQJVDVRPEHU

DQGFRQ¿QHGEXWDOVRDVSURYLGLQJLQWHUHVWLQJDQGVSDFLRXV

interiors for those who use them [12, pp. 101–102]. Ethnic

riots that took place in Los Angeles in 1992 – the Rodney

King Riot – demonstrated that the ideas of civil fortress en-

gineering does not belong to the past.

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shape and considering it a play covers up the archetypical

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Krier’s concerns. The buildings of such libraries as the

San Antonio Public Library or Peckham Library in Lon-

don (Fig. 4) do not communicate information about their

use and functions. However, they are not “misleading ob-

MHFWV´DVWKH\GRQRWHYRNHDQ\DUFKHW\SLFDODVVRFLDWLRQV

and as such they are not compositionally inappropriate.

Fig. 4. Peckham library. Photo: Stephen Cadman

Il. 4. Peckham library. Fot. S. Cadman

The symbolic motifs in contemporary architecture of libraries – most frequent trends 79

Unlike modern forms based on the right angle geometry,

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library in San Antonio without noticing surprising geo-

metric combinations of groups of solids composing the

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LQWLPH´

Asymmetry is one of the composition principles often

used in the post-modern world. It is seen in deconstruc-

tivism where rationalism and functionalism were replaced

with chaos which, however, should be a readable text of

culture – a technological metaphor. The works of archi-

tects who want to reject the modern restrictions of form

UHÀHFWWKHIDPRXVFODLPE\-DFTXHV'HUULGDWKDWthere is

nothing outside the text [10, p. 163]. If it is acknowledged

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then free play with geometry and the use of curved lines

has turned the forms of deconstructivists into texts whose

interpretations go far beyond what they were supposed to

be used for. The universally known Seattle Public Library

is a building perceived independently of the institution

which uses it. Although its building was designed as a li-

EUDU\LW³KLG´ZLWKLWVPHDQLQJVLQWKHVKDGRZRIYDOXHV

conveyed by the building designed by Rem Koolhaas. It

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of library services, the diversity of library architecture can

be still visible, depending on their type. This is what is

happening in the United States where academic libraries

have less impressive buildings than public libraries. Fur-

thermore, their design is not as grandiose and spectacular

>SS±@,WLVGLI¿FXOWWR¿QGDFDGHPLFEXLOGLQJV

which are as impressive as the public library in Seattle,

although their dynamic evolution in the 19

century and

in the years 1910–1945 – the period of huge constructions

– might indicate a different trend [17, p. 85].

:KHQ EXLOGLQJ WKH QHZ 8QLYHUVLW\ /LEUDU\ LQ 8WUHFKW

(8QLYHUVLWHLWVELEOLRWKHHN 8LWKRI ± 8QLYHUVLWHLW 8WUHFKW),

DVSHFL¿FJHRPHWULFPRGXOHZDVXVHG±DQLGHDFRQQHFWHG

ZLWKZKDW,VR]DNLFDOOHG³DPSOL¿FDWLRQ´ZKLFKLVDGHVLJQ-

ing method consisting in amplifying the form of a square.

It results in an empty frame – a form of cages which can be

IUHHO\¿OOHG>SS±@:KDWVHHPVWREHDV\PPHW-

ric is only the outer layer within which black concrete slabs

are loosely associated (actually concrete is used to provide

shadow in the places where there are racks with books) and

large sections of transparent glass that is imprinted with

bamboo forests (Fig. 5). As demonstrated by the projects

IURP+HU]RJ0HXURQWKLVKDVEHHQDSRSXODUWHFKQLTXH

of decorating façades over the last couple of years. The

dominance of asymmetry demonstrates in those subtle de-

viations from simple shapes. Although the building does

not provoke or raise excessive emotions, it signals its large

volume. The rectangles in the façades and the interior

VSDWLDOOD\RXWDUHGLIIHUHQW¿OOHGRUHPSW\V\PEROLFDOO\

surrounding nature (stems) and culture (recesses in walls

SURYLGLQJYLHZRIWKHOLEUDU\ FROOHFWLRQ:KDWHPHUJHV

is unrestricted space – allowing for asymmetric activity

compared to standard users’ expectations of an academic

library. The library is a building which stands out in the

FKDRWLFGHYHORSPHQWRIWKHXQLYHUVLW\FDPSXV>@:KDW

is grotesque in relation to an orderly shape becomes asym-

metric to the nearest surroundings.

Probably nowhere else is the mechanistic metaphor

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Paris from 1977 designed by Richard Rogers and Ren-

]R3LDQR$FFRUGLQJWR*KLUDUGRWKHUHDUHVHYHUDOW\SHV

of architecture of contemporary museums, i.e.: shrines,

warehouses, and cultural shopping malls [12, p. 72], and

the building which houses the central public library of the

capital of France – Bibliothèque Publique d’Information

± VKRXOG EHORQJ WR WKH VHFRQG W\SH$ VWHHO ³UK\WKPLF´

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ibility of space. It is a kind of warehouse, a neutral con-

tainer for cultural diversity. As much as is happening in-

side it due to the multi-functionality of that space can also

happen on the building which is covered by a network of

winding walkways as well as pipes and ducts. All utility

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stairs and elevators, blue for air-conditioning, green for

water, yellow and orange for power supply. That aggres-

sive marking – despite successive paint applications – has

been deliberately deprived of its urban context. On the

contrary – it has become its glaring contrast [22], which is

especially evident when looking at the building – a steel

ER[VTXHH]HGLQWKHWUDGLWLRQDOLQQHUFLW\GLVWULFW7KHRQO\

complement of the Centre is the fountain by the building.

Juggling with the contrast proved to be the main semi-

otic tool which is supposed to surprise the viewers. This is

connected – which in the case of a library, usually associ-

ated with a static institution, is important – with the utili-

ties. Their constant circulation and dynamics suggest the

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As Jencks put it, postmodern buildings are exaggerated

versions of modern construction designs which are logical,

and communicative, enriched by double coding including the

elements of tradition and locality [15, p. 133]. The contem-

porary architect can choose from among such signs which

are understood and known to the users despite the fact that

there is a multitude of symbols regarding different times and

places. Such an architect cannot create new symbols which

in social perception will not be associated with something

familiar which is not connected with an already accepted sys-

WHPRIVLJQVDQGVSHFL¿FSUDFWLFDOGHWHUPLQLVP>S@,W

Fig. 5. Universiteitsbibliotheek Uithof. Photo: J. Bosman

Il. 5. Universiteitsbibliotheek Uithof. Fot. J. Bosman

80 Tomasz Kruszewski

is the internalized codes that determine a library as “such and

such”. Whenever it is different, like in the case of the pub-

lic library in Seattle or the blob-architectural project of the

national library in Prague – it causes concern, irritation, and

SURWHVWEHFDXVHLWLQFOXGHVXQFOHDUFRGHVZKLFKGRQRW¿WWKH

pattern of a library developed from experience. Usually it is

claimed that denotation is information present in an architec-

tural object which determines its functions, whereas connota-

tion is a kind of ideology of those functions – communicat-

ing their scope of meaning [23, p. 188–189]. Hyper-modern

libraries connote information about institutions operating

inside them in a different way than expected by people who

live especially in places where traditional looking buildings

dominate, as for instance in Prague. Just like in the case of the

FRQFHSWLRQRI-HQFNV¶FODVVL¿FDWLRQ±WKH\UHSUHVHQWDYDULHW\

of values, meaning they are impersonal to a larger extent than

in the past. For library buildings it is an advantage favoring

its egalitarianism.

When writing about architecture of libraries, Ghirardo

VDZ WKH GRPLQDQW LQÀXHQFH RI XUEDQ ³ZDUHKRXVHV´ 6KH

FODVVL¿HG DV ZDUHKRXVHV WKH 

-century Laurentian Li-

brary in Florence, the Wren Library in Cambridge from the

next century, the 19

-century Bibliothèque Sainte-Genev-

iève in Paris and the libraries which have been built over

the last few years. It is probably the only clear indicator

of coherence between old and contemporary libraries. Her

analysis does not indicate that the libraries – especially

post-modern ones – could be cultural shopping malls or

more so shrines, though she noticed the germ of changes in

the project by Koolhaas which lost the competition for the

new building of the national library in France. However, it

should be noted that libraries in the future, especially public

libraries which are present most often in some social en-

vironment, will not operate primarily in order to provide

access to books. Apart from that, they will offer data on

electronic carriers. Libraries will look for users by placing

offers which will differ from the library and information

operations in their traditional meaning. They will be – in

a universal scope, as in the individual one they already are

– offers meeting the so called everyday needs. The sacred

FKDUDFWHURI OLEUDU\DUFKLWHFWXUH ZLOO QRW¿WWKHPDQG H[-

cept for museums it will not return. Their forms will have

to communicate with the users at a different level. That

symbolism will have to be obvious and tangibly express the

new functions of the institution. This causes concerns con-

QHFWHGZLWKWKHGLI¿FXOW\LQXVLQJFRGHVZKLFKSRWHQWLDOO\

would be reserved or at least connected with libraries.

Biblioteca Pública del Estado de Jalisco Juan José Arre-

ola in Guadalajara which was opened in 2011 is an example

which seems to illustrate that we are running out of symbols

expressed in the solutions applied in the library construc-

tion. Its design brings up associations with the styles as-

sumed in the Center for African-American Arts and Cul-

ture in Charlotte, USA, the designers of Biblioteca Pio

,;± 3RQWL¿FLD 8QLYHUVLWj /DWHUDQHQVHLQ 5RPH )LJ 

DQG¿UVWRIDOOWKHQHZEXLOGLQJRIWKH-HZLVK0XVHXPLQ

Berlin designed by Daniel Libeskind. The problem is that

although the warped structure of the building façade in the

capital of Germany alludes to the Star of David – “fallen”

and “destroyed” by the Holocaust, it is not symbolically es-

WDEOLVKHGLQWKH0H[LFDQPHWURSROLV7KHIRUPRIWKHIDoDGH

is only the aesthetic cover of a simple cuboidal building

taken out of its cultural context. Keeping in mind that the

Library is supposed to be a “gate” leading to the university

FDPSXV±OLQHVDQGLUUHJXODUJHRPHWULF¿JXUHVFRYHULQJLWV

H[WHUQDOZDOOVUHVHPEOHPRUHDIRUWL¿HGJDWH7KHEXLOGLQJ

looks like a skin wounded by gigantic claws but none of

these interpretations of the architects’ idea has much to do

with the symbols of libraries described in the book. No spe-

cial sophisticated composition of geometric “penetration”

with its semantic code is visible there either. So a modern

library does not have to be placed somewhere, sometimes,

and for some reason. It does not even have to draw from

rich traditions of architecture of this type of buildings. It is

supposed to look nice or provoke – in a word generate in-

terest and thus attract. The popular thinking which is driven

by marketing reasons makes any idea of the architect good.

As long as in the past one could look for some meaning

PDLQO\DQDORJ\RIWKHODQJXDJHRIDUFKLWHFWXUHWRWKHIXQF-

WLRQV RIIHUHG LQ WKHEXLOGLQJ QRZDGD\VRQH FDQ DVVXPH

that some projects are dominated by symbolic nonsense.

)LJ%LEOLRWHFD3LR,;±3RQWLILFLD8QLYHUVLWj/DWHUDQHQVH

Photo: T. Kruszewski

,O%LEOLRWHFD3LR,;±3RQWLILFLD8QLYHUVLWj/DWHUDQHQVH

Fot. T. Kruszewski

Summary

The 1980s and 1990s are considered the best times in

WKHKLVWRU\RIGHYHORSPHQWRIOLEUDULHV>S@7KH¿UVW

decade of the 21st century does not demonstrate regress

either. It seems that one of the fundament reasons is hu-

man desire to leave some tangible marks which would

distinguish present times from other periods in the future.

This desire is primal and typical of our species, however,

nowadays, in the postmodern society looking hard for its

LGHQWLW\LWVVLJQL¿FDQFHLVVSHFLDO$UFKLWHFWXUHLVDIRUP

which can be relatively certainly created even if provo-

The symbolic motifs in contemporary architecture of libraries – most frequent trends 81

cation is its only distinctive feature. It can be treated in

opposition to utilitarian aspects – as an object of art and

even folk art. Libraries belong to those types of buildings

in which a greater role is attributed to meaning than to as-

sumed formula [4, p. 8].

According to one more typology where a “container”

is a type of object – a kind of packaging for what is inside,

whereas a “laboratory” is a building causing archetypical

UHDFWLRQV>SS±@LWLVQRWGLI¿FXOWWRVHHWKDW

architecture of libraries belongs to the latter. At the same

WLPHRYHUWKHFHQWXULHVRILWVHYROXWLRQDIRUPVSHFL¿F

to libraries has not been developed – and most prob-

ably never will develop. Apart from adapted buildings,

a trend is visible to focus on the form of the building.

The forms which appear most often include cuboids and

other polygons, less frequently – ovals (and when they

do, they cause a lot of interest, despite their objective

simplicity – e.g. the Ruskin Library). Emphasis is placed

on shape, with ornaments only sometimes complement-

ing it, and sporadically reverse proportions – for the ben-

H¿WRIGHFRUDWLRQV7KHVHDUHLQJHQHUDOWKHIHDWXUHVRI

contemporary buildings anyway. Consequently, in a way

this provides a negative answer to the question whether

the forms of libraries belong to exceptional architectural

designs of the past or contemporary? The shapes of the

buildings are sometimes strange, e.g. the Public Library

in Tampere (Tampereen kaupunginkirjasto) whose con-

tour resembles that of a turkey. However, the forms of

buildings designed for different uses are strange too. The

relations look similar as regards the assumptions of ur-

ban development and design. Libraries can boast their

attractive appearance, solutions demonstrating that a lot

of attention is paid to their designs, e.g. the public li-

brary in Qingp (part of Shanghai agglomeration) built on

a lake. However, other public utility buildings also have

XQLTXHORFDWLRQVDQGVLJQL¿FDQWDHVWKHWLFYDOXHV$OOWKLV

causes some dulling of senses. There are a lot of extraor-

dinary buildings whose uniqueness is lost in abundance.

Another factor weakening the strength of signals being

emitted with the use of architecture of libraries is fash-

ion. Consequently, both materials and colors as well as

the whole form reduce the level of diversity and actually

distinctness of concepts of projects.

Uniqueness is determined by a low level of competi-

tion and, to a lesser extent, by aesthetics. Additionally,

since marketing has been employed in the civilizational

development, it has become a norm to make every effort

to draw attention or catch the eye of the passer by – a po-

tential consumer. The intentional isolation of the message

FRPLQJIURPWKHOLEUDU\LVPRUHGLI¿FXOWWKDQHYHUEHIRUH

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GDFMD+XPDQLRUD3R]QDĔ

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pp. 160–195.

Translated by

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82 7RPDV].UXV]HZVNL

0RW\Z\V\PEROLF]QHZVSyáF]HVQHMDUFKLWHNWXU\ELEOLRWHN–QDMF]ĊVWV]HWHQGHQFMH

Key words: contemporary libraries, architecture of libraries, symbols,

semiotics of architecture

6áRZDNOXF]RZHZVSyáF]HVQHELEOLRWHNLDUFKLWHNWXUDELEOLRWHNV\PEROL-

ka, semiotyk architektury

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MąVLĊWHQGHQFMHNLHURZDQHHNRORJLąSURVWRWąHWQLF]QRĞFLąLHODVW\F]QR-

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LG]LHSRU]XFDQLDNODV\F]Q\FKUR]ZLą]DĔLGHRZRV\PEROLF]Q\FKNRQVW\-

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