Architect as Critic

The design is not so much a rejection of traditional monumentality as a reinterpretation of it, and it celebrates the culture of the book as passionately, in its way, as does the New York Public Library on Fifth Avenue. The Seattle building is thrilling from top to bottom. Koolhaas and Ramus started out by investigating how libraries actually work, and how they are likely to change. They went with Deborah Jacobs, Seattle’s chief librarian, and several trustees and staff members to look at libraries around the country, and then they held a series of seminars about the future of the book with scholars and representatives of Microsoft, Amazon, M.I.T.’s Media Lab, and other organizations. They concluded, not surprisingly, that people are not ready to give up on books and that they are not ready to give up on libraries, but that they find most libraries stuffy, confusing, and uninviting. Patrons wanted a more user-friendly institution, and librarians wanted one that was more flexible, and would not require constant rearrangement as collections expanded.

The architects saw that in most older libraries, where books are stored on rows of shelves on separate floors, collections are arbitrarily broken apart, depending on the amount of space available on each floor. But since the Dewey Decimal System is a continuous series of numbers, they reasoned, why couldn’t books be stored on a continuous series of shelves? And what if the shelves wound up and up, in a spiral? They saw that it was possible to design stacks in the manner of a parking garage, with slanted floors joined in a series of zigzagging ramps. The stacks, which the architects named the Spiral, take up the equivalent of four floors in the middle of the eleven-story building. They are open, which means that you can browse. You get to the Spiral via a chartreuse-colored escalator and stairway that slices through the middle of the ramped floors. (All vertical circulation in the building, including the elevator cabs, is chartreuse.)