Bibliotheca Alexandrina (Biblioteca din Alexandria)

seamn cu un disc n unghi sau cu un ceas solar imens, a fost proiectat de un arhitect
norvegian.
Construcia a fost proiectat ca un disc nclinat, ce se ridic de la sol, cu patru niveluri sub
pmnt i apte deasupra. Scheletul cldirii este cea mai inovativ parte a proiectului.
Jumtatea scufundat a acesteia, de 18 metri, ntr-un loc att de apropiat de mare, a ridicat
serioase probleme structurale. Peretele cu diafragm circular este considerat a fi cel mai
mare din lume. Una dintre cele mai de succes proprieti ale cldirii este utilizarea luminii
naturale, atrase prin panouri vitrate situate pe acoperi. Orientarea panourilor a fost studiat
ndeaproape n stadiul de proiectare, pentru a lsa s treac nivelul maxim de lumin natural,
n afara luminii directe a soarelui.

Noua Biblioteca Municipala din Stuttgart

udul Germaniei s-a lasat cu greu dezvaluita.

Noua Biblioteca Municipana a fost amplasata in Mailnder Platz, un viitor centru cultural al
orasului, iar arhitectii au ales sa exprime fizic importanta acestui centru cultural prin
acordarea unei prezente fizice impozante noii biblioteci. Astfel, cladirea a luat forma unui
cub, cu laturi de 45 de metri. Noaptea, biblioteca arata ca un complicat cub Rubik in doua
culori, dar tot ce trebuie sa faci este sa ii calci pragul pentru a-i surprinde simplitatea.

Forma si simetria intrarii cladirii a fost inspirata de Cenotaf pentru Newton de Etienne
Boulle, dar inima si nucleul bibliotecii urmeaza designul vechiului panteon. Protejata de o

fatada secundara, camera in forma de cub este situata in mijlocul cladirii si este iluminata de o
lumina centrala situata pe acoperis. In centru se afla o fantana care transforma spatiul intr-o o
zona de meditatie.
Interiorul este luminos, fara iluminare directa, este cald, fara a fi vopsit in culori calde si este
intim, desi atat de deschis.

Galeria are cinci etaje si este inconjurata de o carapace de carti.Vizitatorii se deplaseaza pe

scari in spirala, care ii conduc printre galeriile de lectura, concepute ca niste alei curgatoare,
inundate de lumina de la acoperisul de sticla. Nu urci pur si simplu niste scari, ci descoperi
universul din jurul tau.
Forumul, o a treia camera centrala, se afl sub inima. Aceasta este o camera pentru
evenimente care se afla in apropierea caii de lumina care traverseaza primul si al doilea
subsol.

Biblioteca si Casa de cultura din Vennesla

Pentru noua biblioteca si centrul comunitar din Vennesla, arhitectii norvegieni Helen & Hard au
inventat o eleganta sofisticata. Proiectul imbina un centru comunitar si un spatiu de invatare, iar noua
fatada il transforma intr-o prelungire gratioasa a pietei principale din oras.

Structura bibliotecii este una foarte interesanta, ea fiind constituita din 27 de coaste, pe care le puteti
vedea in imaginea de mai sus. Coastele dau o forma geometrica interesanta si lina acoperisului si dau,
de asemenea, acea orientare ondulata si eleganta spatiului generos din interior. Tot ele delimiteaza
spatiile personale de studiu (o idee ingenioasa si practica) create in biblioteca.
Structura expresiva combina infrastructura tehnica si functionalitatea intr-un element arhitectural
care creeaza o identitate estetica dinamica, pentru ca proiectul sa-si atinga scopul initial, acela de a
transforma acest spatiu intr-un punct esential al orasului, care sa marcheze centrul cultural al
Venneslei.

Noua biblioteca din Vennesla inglobeaza si o cafenea, sali de conferinta si sali administrative, leagand
o casa comunitara si un centru de invatare.
Pe ideea unui spatiu public primitor, toate functiile principale au fost adunate intr-un singur spatiu
generos, permitand structurii, impreuna cu mobila si cu interfetele spatiale, sa fie vizibila in interior si
din exterior. Un pasaj integrat aduce tumultul orasului in cladire o alta idee ingenioasa pentru a
imbina mai bine orasul si centrul cultural.
In plus, brief-ul a cerut ca noua cladire sa fie deschisa catre si usor accesibila din piata principala a
orasului, tricotand impreuna tesatura urbana deja existenta. Acest lucru a fost realizat folosind o
fatada mare de sticla si oferind o zona de relaxare, in aer liber, dar, in acelasi timp protejata.

Jacob and Wilhelm Grimm Centre / Max Dudler

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Stefan
Mller

Architects: Max Dudler

Location: Berlin, Germany
Area: 37460.0 sqm
Year: 2009

Stefan
Mller
From the architect. In terms of urban planning, we bore in mind the fact that Berlin in a very flat city,
tending more toward the horizontal than vertical, whose buildings are as a rule no more than 22
meters tall with the exception of public buildings. In order to mark the significance of the library as a
public place of collected knowledge and as an urban architectural emblem of the book, one part of the
building was designed to cross the lines of the upper city limits. Towering 38 meters high, this part of
the building thrusts itself into the silhouette of the cultural landscape created by the nearby museum
island. The concentration of a majority of the building functions in this section allows room for a nearby
opening in the fabric of Berlins Dorotheenstadt, creating the space for a small forecourt along the SBahn viaduct. This square serves as an entryway for a large numberof the librarys daily patrons.

From the forecourt, one arrives in the centre of the elongated, two-story foyer, whose height lines up
with the S-Bahn viaduct opposite. This room, which lies to the south of the forecourt, forms a lightflooded prelude in a refined succession of rooms leading to the heart of the building, the great reading
room. The great reading room (the taller section of the building protects it from direct southern light)
was arranged in receding levels. Through its size and its many-tiered, almost scenic design, the space
effects a sense of the outdoors, which is further emphasized by the large plates of glass used in the
sky glazing. An unob- structed view of the clouds nearly gives one the feeling of reading under the
open sky.

 Stefan
Mller
The debate over whether it would be better to have one central reading room or a number of smaller
decentralized rooms ended with the decision to have both: all 2.5 million items in the librarys collection
are accessible from the huge, multi-leveled hall; reading areas are spread over the tiers of the great
room, among them computer work areas. The reading room is therefore a central space that also
makes decentralized work possible. Thus, different areas of study are brought together in the spirit of
Humboldt and visitors are invited, in truest sense of the words, to cross the boundaries between them.

Mller
Despite the great depth of the building and the density of its interior furnishings, the library possesses
a surprising porousness and openness. The source of this lies in the consistency of heights and widths
throughout the building, born out in both the architecture and the furnishings. From almost any point
within the building, patrons can see out of, or rather through, the building. To accommodate the desire
for simple orientation, the interior of the building was organized symmetrically arounda central axis.

Stefan
Mller
In order to make full use of the thermal mass of the ceilings and to make the climate of the rooms as
pleasant as possible, suspended ceilings were avoided. All building automation fixtures have been
placed in the floor or in the concrete ceilings. The air circulation vents in the ceiling activate the thermal
mass of the concrete. The bare ceilings are thereby cooled and, in turn, absorb the warmth of the
rooms.

 Stefan
Mller

AD Classics: Exeter Library (Class of 1945 Library) /

Louis Kahn
Architect: Louis Kahn
Location: Exeter, New Hampshire
Project Year: 1965-1972
In 1965 Louis I. Kahn was commissioned by the Phillips Exeter Academy to design a library for the
school. The Academy was very particular in knowing the kind of building they wanted: a brick exterior
to match the Georgian buildings of the school and an interior with the ideal environment for
study. Kahns sympathetic use of brick and his concerns for natural light met these specific principles
that the Academy had in mind for the library, and thus the design fell in his hands.

The beauty in the architecture of the first floor, however, is what gave the Exeter Library its fame. This
main floor reaches 70 feet in height and soaks in natural light from a clerestory at the top of this space
and from large expanses of glass on the north and west sides. From this 50 foot square space visitors
can spot metal bookstacks and readers seven levels above through large holes punctured perfectly
into the walls, almost touching at the corners where the walls square off.

The city library

Main Library

Salt Lake City's Main Library, designed by internationally-acclaimed architect Moshe Safdie, embodies the idea
that a library is more than a repository of books and computers; it reflects and engages the city's imagination and
aspirations. The building, which opened in February 2003, is double the previous space with 240,000 square feet
for more than 500,000 books and other materials, and room for the collection to grow. The six-story curving,
walkable wall embraces the public plaza, with shops and services at ground level, reading galleries above, and a
300-seat auditorium. A multi-level reading area along the glass lens at the southern facade of the building looks
out onto the plaza with stunning views of the city and Wasatch Mountains beyond. A roof-top garden, accessible
by walking the crescent wall or the elevators, offers a 360 degree view of the Salt Lake Valley. Spiraling fireplaces
on four floors resemble a column of flame from the vantage of 200 East and 400 South. The Urban Room
between the library and the crescent wall is a space for all seasons, generously endowed with daylight and open
to magnificent views.
Natural light is introduced into all of the spaces where people sit and work. Infused with light from all sides, the
library has paid careful attention to ensure that library materials and technology are not affected by direct sunlight.
The clear glass on the lens of the triangle has the highest UV rating available for energy efficiency. Indirect
lighting fixtures reflect off the painted, arched ceilings to cast even light, reducing glare on computer screens,
desk surfaces, and book pages.

As you move up in the building from floor to floor, you may notice that it gets quieter. This effect is by design, with
the more active and noisier areas of the library on the lower levels giving way to the reference and study-oriented
areas on the upper levels.
On each level of the library, as you exit the elevator or come up the stairs, you will find a building directory and
signage designed to help you orient yourself. The layout and design of the book stacks helps direct you to various
service areas as well as to the restrooms, copy machines, public telephones, and drinking fountains on the west
side of Levels 2, 3, and 4.

Children's Library: Lower Level

The Children's Library is a light-filled, five-story atrium which may be observed from all of the floors above. Cloth
"clouds" or "sails" may be pulled across the space to provide shade when necessary. Along the outer edge you
will find space for coats, backpacks, and strollers; a small room in which parents may attend to the needs of their
babies; and an alcove filled with multimedia equipment loaded with educational games and learning programs.
Large Craft and Story Rooms house many of the children's programs.
Two special spaces are tucked under the reflecting pool of the plaza. Designed to free a child's imagination, these
rooms are places for dreaming, playing, reading, and inventing. Grandmother's Attic recreates the coziness of an
attic with wood beams, stuffed animals, and plenty of places to curl up with a book. For something a little more
fantastic, the Crystal Cave is sure to spark a child's imagination. During the summer months, children can enjoy
the adjacent terrace where gently flowing waterfalls cascade down the walls, a feature designed to cool the area
and provide a calming but visually interesting background. The area also offers a space for outdoor storytimes
during the warmer Utah months.

Audiovisual Collection: Level 1

The City Library's audiovisual collection, including CDs, DVDs, and more, houses the most popular items in the
library, according to circulation statistics. Three small rooms in the audiovisual area allow patrons to preview these
materials before checking them out.

The Technology Center: Level 1

The Technology Center offers 42 computer stations with Internet access (an additional 121 public computers are
located throughout the building). The computers in the Technology Center have been partially provided through a
grant from the Gates Foundation, and staff is available to assist users as they write papers, work on resumes, and
develop computer skills. Select computers in the Technology Center are connected to scanners for public use.
City Library staff also teach computer classes in the Technology Center, ranging from very beginner courses (like
how to use a mouse) to more advanced computer use (such as Microsoft PowerPoint mastery).

Browsing Library and Cafe: Level 1

The Browsing Library on the first floor makes it easy for patrons to find popular, current, and high demand items.
The librarians in this area take great pleasure in discussing your reading interests, helping you find more books
like the ones you've recently enjoyed, and introducing you to new authors and subjects.
A place to relax with a cup of coffee was one of the most requested services by the public. The City Library is
pleased to be able to provide this space next to the Browsing Library where you can enjoy a drink or snack from
The Salt Lake Roasting Company.

The Canteena: Level 2

The City Library has made a strong commitment to reaching out to and serving young adults. Designed to appeal
to teens, the Canteena contains materials of high interest for that age group as well as literature published
especially for them. The media and technology in this area encourage group study as well as individual
exploration. A cantilevered stair takes teens directly from the Canteena to the cafe on Level 1.

Newspapers and Magazines: Level 2

On display are more than 600 newspaper and magazine titles to which the library subscribes. Current issues of
these titles are on display; back issues are shelved in the periodical stack area of the library. Older magazines
and newspapers are housed in the closed stack area to preserve materials that are often fragile and easily
damaged. Even as more current material is available online, the demand for back issues and microfilm continues.
This treasure trove of information is the only resource of its kind between Denver and San Francisco.

Languages and Literacy: Level 3

As the population of Salt Lake City becomes more diverse, the need for materials in other languages has steadily
increased. This area provides books, magazines, and newspapers in 25 languages, and language study materials
for people learning English as well as those learning other languages.

Special Collections: Level 4

The City Library has a small but very interesting collection of old and rare materials, plus examples of various
types of publishing and items of special significance to our region. Our librarians are happy to help you use the
materials in the Special Collections, but the fragile nature of these collections requires that they be used in this
room.

The Gallery at Library Square: Level 4

The City Library has a long history of supporting the arts through a program of changing exhibits. These exhibits
expose thousands of Salt Lake City residents to a wide variety of art media, including paintings, watercolors,
drawings, collage, photography, and sculpture.

Public Art in the Main Library

More than one percent of the construction cost of the Main Library was dedicated to public art and has resulted in
powerful, unique, whimsical, clever, and spectacular works integrated throughout the entire library complex.
Boston artists Ralph Helmick and Stu Schechter developed a large hanging sculpture titled "Psyche" for the
Urban Room. The finished work consists of nearly 1500 small sculptures of books and fluttering butterflies which
coalesce into a large, composite human head. The word "psyche" comes from the original Greek, meaning "mind"
and "butterfly." Some of the butterflies sport wings covered with words in twenty different languages, taken from
the universal declaration of human rights. Several of the butterflies flutter their wings due to mechanics and a
small electric current.
Kinde Nebeker developed a series of whimsical, thoughtful, profound, and poignant quotes that appear in
surprising places throughout the building. Nebeker's talents have been put to use as the building matures,
identifying new locations and uses for quotes.

James Charles created a large painting built up in layers, with each new layer affecting our understanding of the
previous one. The upper portion of the painting is formed by shaped stretcher bars and covered by a semitransparent material, a reference to the new library structure. The lower section is a grid of small boxes containing
sign and symbol figurative elements, referencing the painting's concept of the pursuit of knowledge. The painting
is found in the Lower Urban Room at the end of the hall leading to the lower entrance of the Auditorium.
Bonnie Sucec and Day Christensen designed "Shards," large free-standing and hanging glass sculptures which
appear as ribbons of color throughout the building.

Flickr - User:
offset
The upper floors contain book stacks for 250,000 volumes, a student computer lab, a viewing area for
videotapes and DVDs, listening areas for music, offices for use of faculty members, and 210 specially
designed study carrels for students. On these floors are approximately 450 different seating types
scattered among the building in different rooms, such as some lounges and on a terrace that encircles
the building along the exterior of the fourth floor.

 Flickr - Ed Brodzinsky
Kahn used Exeter brick on the exterior of the nine story building, a material made in Exeter itself and a
design factor that was important to the Academy. He also used stone and slate in the interior, and
finished certain aspects of the library in natural wood. The woodcontrasted the stone by giving the
spaces a sense of warmth and a glow that welcomed readers when the natural light flooded upon this
natural material.

 Flickr - User: Kiel Bryant

The Academy was finally content with their new library when it was completed in 1972. Kahn
was successful in meeting all of their resquests through his own principles of design. The building is
functional and meets the needs of the readers first while still standing as an innovative structure in
itself. It is, in Kahns words, the thoughtful making of spaces. In 1995 the building was officially
named the Class of 1945 Library in honor of Phillips Exeter Academys eighth principal.