seattle central library case study

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Seattle Central Library / OMA + LMN

• Curated by ArchDaily
• Architects: LMN , OMA
• Area Area of this architecture project Area:  38300 m²
• Year Completion year of this architecture project Year:  2004
• Photographs Photographs: Philippe Ruault
• Manufacturers Brands with products used in this architecture project Manufacturers:   RENSON , Bomel Construction Company , Canron Western Construction , Electrical Systems , Energy Labs , Glazing Systems , Henkel , Mechanical Systems , Metal Framing and Drywall , Miscellaneous Iron & Ornamental Metal , The Erection Company
• Consultants : Arup , Bruce Mau Design , Front , HKA , Hoffman Construction Company , Inside Outside , Jones & Jones , Kugler Tillotson , McGuire , Michael Yantis , Pielow Fair , Dewhurst Macfarlane and Partners, Quinze & Milan, Seele, Magnusson Klemencic, Davis Langdon
• Key Personnel:  Rem Koolhaas, Joshua Prince-Ramus, Mark von Hof-Zogrotzki, Natasha Sandmeier, Meghan Corwin, Bjarke Ingels, Carol Patterson
• Client:  Seattle Public Library
• Budget:  US $169.2 M
• Program:  Central library for Seattle’s 28-branch library system, including 33,700 sqm of hq, reading room, book spiral, mixing chamber, meeting platform, living room, staff floor, children’s collection, and auditorium, and 4,600 sqm of parking.
• City:  Seattle
• Country:  United States

Text description provided by the architects. The Seattle Central Library redefines the library as an institution no longer exclusively dedicated to the book, but as an information store where all potent forms of media—new and old—are presented equally and legibly. In an age where information can be accessed anywhere, it is the simultaneity of all media and, more importantly, the curatorship of their content that will make the library vital.

Flexibility in contemporary libraries is conceived as the creation of generic floors on which almost any activity can occur. Programs are not separated, rooms or individual spaces not given unique characters. In practice, this means that bookcases define generous (though nondescript) reading areas on opening day, but, through the collection’s relentless expansion, inevitably come to encroach on the public space. Ultimately, in this form of flexibility, the library strangles the very attractions that differentiate it from other information resources.

Instead of its current ambiguous flexibility, the library could cultivate a more refined approach by organizing itself into spatial compartments, each dedicated to, and equipped for, specific duties. Tailored flexibility remains possible within each compartment, but without the threat of one section hindering the others.

Our first operation was to “comb” and consolidate the library’s apparently ungovernable proliferation of programs and media. By combining like with like, we identified programmatic clusters: five of stability and four of instability.

Each platform is a programmatic cluster that is architecturally defined and equipped for maximum, dedicated performance. Because each platform is designed for a unique purpose, their size, flexibility, circulation, palette, structure, and MEP vary.

The spaces in between the platforms function as trading floors where librarians inform and stimulate, where the interface between the different platforms is organized—spaces for work, interaction, and play.

By genetically modifying the superposition of floors in the typical American high rise, a building emerges that is at the same time sensitive (the geometry provides shade or unusual quantities of daylight where desirable), contextual (each side reacts differently to specific urban conditions or desired views), iconic.

The problem of traditional library organization is flatness. Departments are organized according to floor plans. Each floor is discreet; the unpredictable fits of growth and contraction in certain sections are, theoretically, contained within a single floor.

In 1920, the Seattle Public Library had no classification for Computer Science; by 1990 the section had exploded. As collections unpredictably swell, materials are dissociated from their categories. Excess materials are put in the basement, moved to off-site storage, or become squatters of another, totally unrelated department.

The Book Spiral implies a reclamation of the much-compromised Dewey Decimal System. By arranging the collection in a continuous ribbon—running from 000 to 999—the subjects form a coexistence that approaches the organic; each evolves relative to the others, occupying more or less space on the ribbon, but never forcing a rupture.

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Address: seattle, wa, usa.

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Seattle Central Library by Rem Koolhaas: Flexibility through contemporary

Rem Koolhaas , aged 76, is a world-famous architect who has been recognised by the world for his modern and out of the ordinary designs and architecture marvels . These designs stood out from the rest in an era when others in the field were compromising their style for a little more money. 

He broke the bars and created a name for himself in the field of architecture with a long list of famous structures built all around the world. Despite switching fields from journalism to architecture he managed to achieve more than people who start in the same field. 

One of his more famous designs, a stately structure in the bustling city of Seattle, Seattle Central Library, helps to remind the people that along with the ever-changing world, the ability to process information has also developed. Not only does the library host books, but also other forms of digital media. The architecture of the building is in such a way that it enhances the ability to access the information with ease. 

Space Allocation | Seattle Central Library

The library designed, from 1999 to 2004, was a very specific method. The architects , Rem Koolhaas along with Joshua Prince-Ramus have combined the similarities into sets of clusters based on the programs and media – five based on stability and four on instability. 

Different floors of the library function differently and are designed in such a way that provides maximum productive fruition. The library provides a wholesome experience to intake knowledge in varying forms of media and the unending supply of books known as “The Book Spiral”. 

The programs are arranged through the library across five platforms and four “floating” planes which make the building more cohesive and give the building its charm. As described by the architects at OMA itself they identified five “stable” programmatic clusters which include parking, staff, meeting, Book Spiral, HQ. These five are arranged on overlapping platforms. 

On the other hand, the four “unstable” clusters which include kids, living room , Mixing Chamber, reading room occupy interstitial zones. Each area is defined and equipped in a way that ensures productivity with varying size, pliability, spatial movement, palette, and structure.

Movement between Stable & Unstable Clusters

The Mixing Chamber, as the name suggests is an area to “mix”. The interaction between the librarian and patron happens intensively in this area. It is created to fulfil the need for expert help if somebody needs this essential service. The 132 computers situated in this area provide a good backdrop for the transference of information. 

The librarians manoeuvre curious readers through architecture. They lead them to The Book Spiral which can hold around 14,50,000 books without adding to the 6233 bookcases in the future. The ramps in The Book Spiral flow from one to another very gradually with coexistence between the 2 consecutive ramps. This highlights an important principle of design – rhythm – in the space . 

Aim to Create 

The main aim of Rem Koolhaas, as an architect was to not make the Seattle Central Library a cliché bookstore but an information hub. He wanted it to be a complete experience for the old and new; where the scent of old books and flipping of pages would meet the scent of technology and the clattering of keys on a computer. He wanted all different forms of media to be under one roof for people of all ages to be able to access any information as they wanted. 

Critical Understanding | Seattle Central Library

The library, although made with the best intentions to keep all forms of media aware and alive, there have been a few questions raised or comments passed by bloggers and even revelations by Rem Koolhaas himself. 

Bloggers believed that through the regular followed methods of spatial architecture, security and privatising technology, the public funds would be better utilised. Rem Koolhaas himself accepted that the lack of signages and the social service solutions for the homeless were utilitarian critiques which should have been taken into consideration while creating this diamond-shape faceted piece of architecture. The exterior of the library is a large blanket of a common structure – unity – to cover up the multifaceted insides of the information media. 

It is a structure specific to Koolhaas’ designs away from the paradigm of a regular library.

The library is one of Koolhaas’ famous designs which encompasses a vast idea for a vast range of people under one roof. It fits the idea of something different and away from the regular normed library looking structures created by various other architects. 

The exterior is muted but iconic and one has to go inside to understand the complexity and the way the architects have played with the flow and rhythm from one level to another. There is balance seen by having the unstable programs sandwiched within the parts to form a composed space which is accessible to everyone and combines eras of the past and takes into consideration the future at the same time. 

A 22-year old introvert who loves reading, creating and watching new shows as her escape from the real world. She is an enthusiastic and eager learner, the Monica Geller of her friend group and one is who is usually giving sage advice to her family members.

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#technology, #curtainwall

Seattle Central Library Curtain Wall Design

Design Concept & Collaboration

The diagrammatic form of the Seattle Public Library’s glass and metal skin began with the simple concept of wrapping the entire building in a continuous layer of transparency. This layer, with its faceted planes, outlines elevated platforms of program spaces on the exterior while creating a variety of interconnected spaces on the interior. Unifying these shifting planes of glass, a common diamond module has been utilized for the mullion framing across the entire envelope. Seemingly simple in concept, the curtain wall glazing system is comprised of numerous components, each requiring function both separately and as a complete assembly.

Knowing that a custom curtain wall system would be required, the project team initiated an early bid package describing the scope and design intent of the general system. Using this delivery method, the design team, led by joint venture architect OMA|LMN, hoped to gain greater control over the system’s final outcome by having technical expertise available during the design process. The bid was awarded to the German firm, Seele GmbH & Co, under a design-build contract. This collaboration between architect and manufacturer helped the curtain wall system develop from the initial design concepts into constructible reality with little loss in translation. The team reviewed the design of the system and its components from many aspects including aesthetics, structural capacity, thermal performance, weatherproofing, maintenance, and constructability.

Supporting Structure

In order to understand the construction of the curtain wall system, some understanding of the building’s structural systems is necessary. In general the structure is composed of both load-bearing and seismic systems. The load-bearing system, in the form of columns and beams, supports the elevated platforms containing program spaces. The seismic structure, I-beam steel arranged in lattice-like geometry, connects platform to platform providing bracing during a seismic event. While both systems exist to ensure the building’s stability, they each create different conditions for the support of the curtain wall.

Typical Mullion System

The predominant mullion system sloping in both an overslung (skylight) and underslung (reverse skylight) orientation became the basis for many design development studies. The final design incorporates a diamond module that marries the most efficient use of non-standard glass panel shapes with adequate steel spanning capacity. Since it is directly supported on seismic steel, this particular system incorporates a thinner overall depth with a thickened aluminum section to allow for greater spanning ability and fewer support connections. The resulting engineered mullion system relies on only two connection points per diamond. While adding efficiency to the curtain wall system, the utilization of seismic steel for direct support also added much complexity. Due to its high cost, architectural grade steel could not be specified for the seismic structure; therefore, erection tolerance differences between the steel and curtainwall system are considerable. To allow for these different tolerances, Seele developed setting blocks of various depths with hidden slots routed into them. The slots provide multiple planes of adjustment allowing holes connecting steel and aluminum to align. The mullion system’s multiple components are attached using a screw-within-a-screw attachment allowing for sequenced installation of each component while minimizing the number of connection points needed. To emphasize the component construction of the curtain wall system, each of these stainless steel screw attachments are exposed to view.

Typical sloping mullion detail. Position of metal mesh is indicated by hatching toward the exterior face of glass. Gasketed areas indicate levels of defense against moisture. Width of mullion body equals width of the seismic steel support.

Vertical Mullion

At the vertical glass facades, a different mullion system had to be developed. Unlike the sloping facades, there is no seismic steel at the vertical facades to be used for structural support. For these areas the team designed a deeper aluminum mullion that would withstand lateral loading while spanning from floor to floor along a diagonal. When viewed from the exterior, the appearance of both the vertical and sloped mullion systems match. On the interior however the deeper aluminum profile of the vertical mullion body adds sufficient strength to sustain lateral curtain wall loads between floors. Originally designed as a rectangle profile, the mullion was later shaped to mimic the I-beam profile of the sloping seismic steel. A hollow void within the mullion section allows an aluminum splice plate to join mullions at tall façade sections. The void also provides space for aluminum plates to snap in at each floor edge, closing the gap between slab edge and glass. The vertical weight of each facet is supported from below on armatures connected back to the structure. Lateral bracing is transferred through threaded rod attachments located along the edge of each floor. Not only providing tolerance adjustment, the threaded rods are sized to flex when responding to thermal movement of the curtain wall system.

Typical vertical mullion detail. Exter designed to match the appearance of the sloping mullion. Interior mullion shaped to match the profile of the seismic I-beams found at all the sloping facades. Void shown adds strength while creating space for splice plate to connect mullion ends.

Thermal Performance

Integral to the design development of the curtain wall was the envelope’s thermal performance. Except for the roof, louvers, and exposed concrete foundation walls, the exterior envelope is comprised entirely of vision glass. This posed a considerable challenge to the design team given the current energy codes and required thermal properties the curtain wall system would need to achieve. The entire envelope, including all of its component parts, was considered in the energy calculations. To help meet the required performance level, approximately half of the insulated glazing panels were fabricated with airspaces containing krypton gas and newly developed high performance low-E coatings. In addition, to combat increased solar heat gain experienced during the summer months, an aluminum expanded metal mesh interlayer was chosen for the glass panels receiving the most sun. The mesh’s mini-louvers provide shielding of direct sun while at the same time providing views to the exterior through the mesh. Not only ideal for shading, the micro diamond pattern of the metal mesh mimics the larger diamond pattern of the curtain wall mullions. Originally envisioned to be laminated between sheets of glass, the metal mesh floats within a 2 mm airspace in the final design. Clear low-iron glass is used in front of the mesh to brighten its appearance when viewed from the exterior.

Weatherproofing

In waterproofing the building against Seattle’s rainy climate, Seele designed three levels of defense into the system: 1) the exterior aluminum mullion cap with pre-molded silicone gaskets, 2) insulated glazing panels with flexible butyl tape applied along every joint between panels, and 3) silicone gasket molded to fit the interior surface of the mullion body. While the mullion cap, seals and glass keep most of the water from entering the system, the next two layers channel any remaining moisture to weep holes along the lower edge of each façade. Even standing water caught at the lower vertex of each diamond is addressed by tooling a slight ramp in the sealant joints of adjacent mullions allowing for the water’s release. To verify these measures actually worked as designed, a portion of the building was built at full scale and forced to undergo extreme weather testing in controlled conditions.

Corner Panels

The complicated geometry of the façade facets, including four that are non-planar, meant increased scrutiny where adjacent surfaces meet to form a seam. Insulated aluminum closure panels were designed to transition across each seam while maintaining angle alignment with the adjacent planes of glass. Because the geometry for each facet needed to be precise, the position of the seismic steel was located supplemental to the curtain wall’s position in order to guarantee tight-fitting seams. A typical process would have the steel located first with the curtain wall layered over it.

Each of the building’s four general street elevations has a diamond module contiguous from top to bottom, bending at each horizontal seam. Because of differing geometries, the diamond module is not contiguous around corners. This creates four vertical “corner” conditions, one at each elevation’s edge. Corner panels having an inward profile accentuate the discontinuity of the diamond pattern. All other panels have an in-plane alignment from facet to facet where diamond patterns align. This geometry was tracked throughout the course of the project by use of an “unfolded” elevation diagram depicting the best overall view of the certain wall’s complexity.

Typical corner panel. Insulated aluminum panel formed with notch to emphasize the four corners of the building.

Gutter & Snow Fence

Special attention was given to facets where water collection and snow restraint were of concern. Gutters sized for the required capacity are incorporated as a thin trough across the lower edge of each facet. Since horizontal joints allowing for thermal movement could not be incorporated into the mullion’s diamond pattern, expansion space has been provided at the leading edge of each gutter. Three-quarter inch thick stainless steel snow fences have been located in the gutter openings where necessary. Used to retard snow and ice from sliding off the building’s sloped surfaces, the fences are shaped to appear as if unfolded out of the adjacent gutter void. Each fence is supported by steel armatures that penetrate the gutter’s waterproofing layer and connect back to structural steel.

Gutter and snow fence detail. Stainless steel components of fence shown extending out of gutter wall. Leading edge of gutter has expansion space for vertical façade below.

Window Washing

To clean the expanse of exterior glass, a process inspired by mountain climbing is used. Traditional outriggers at the roof of the building allow window washers to descend each elevation from top to bottom on bosun chairs. While the skylight and vertical facades are scaled more easily, the underslung surfaces require additional measures to reach the glass. Stainless steel eyebolts that protrude through the mullion body and cap are provided at closely spaced intervals. Each eyebolt is attached back to seismic steel members providing load carrying capacity. Window washers use carabiners to connect to these eyebolts in order to pull themselves within reach of the glass. These same eyebolts would also be utilized to support small work platforms should it be necessary to replace any underslung glass panels.

Typical eyebolt detail used to gain access to hard to reach areas of the curtain wall. Stainless steel bar with fixing point shown connected to steel support, penetrating mullion body.

Fabricated entirely in Germany and shipped overseas to Seattle for installation, the library’s curtain wall system has made a long journey both physically and metaphorically. From sketches to shop drawings, the collaborative design and engineering effort has produced a working envelope that fulfills stringent functional requirements while still expressing its earliest conceptual intentions.

Unfolded elevation diagram used to identify facets and diamond geometry of the curtain wall. Areas of storefront glazing are indicated with vertical mullions at grade. Darker diamonds indicate area of mechanical louvers.

East-West section through the building showing the sloped floors of the books platform. Curtain wall segments can be seen connecting edges of the elevated platforms to create varied interior public spaces.

North-South section through the building showing auditorium and atrium areas. Curtain wall segments can be seen connecting edges of the elevated platforms to create varied interior public spaces.

Third floor plan.

Exterior wall section at 4th and 5th floors showing sloped, vertical, and underslung orientations of the curtain wall.

Exterior wall section at books platform showing sloped, vertical, and underslung orientations of the curtain wall.

Information Links

Plans, Sections, Diagrams  of the library from ArchDAILY.com

Excellent articles targeting design, process, and production  of the curtain wall by Front, Inc.

Form Follows Function  article and diagrams published in the Seattle P-I

The Library That Puts on Fishnets and Hits the Disco  – NY Times article by Herbert Muschamp

About the Seattle Central Library  articles posted on the SPL website

Pushing the Envelope  Civil Engineering Magazine article by MKA’s Derek Beaman,P.E. and others

An Engineering Challenge  article and diagrams published in the Seattle P-I

• Random Project
• Collaborate

Seattle Public Library

Introduction.

• Idioms Section

• ‘Level 6-9 ‘ books Spiral ” ‘

Structural systems

Exoskeleton.

• Steel grille is reinforced with an additional layer as reflecting the pattern and location of stress.
• There was a lack of inclusion of transverse angles in columns intervention, allowing carry loads more directly from the points of maximum stress to the nearest support columns.
• Gravity columns were used in slope, in line with the plane of seismic cudrícula.

• 18.400m3 of concrete
• rebar 2.050tn
• 4.644tn Steel Outdoor
• 9,994 pieces of glass exterior curtain 126.767m2. Approximately half of the panels are glass construction of three layers with a mesh of expanded metal trapped between the two outer layers. The mesh, an aluminum sheet is cut and stretched, reducing heat and glare. Most of the glass is cleaned twice a year, and more often for areas that require it.

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Seattle’s Public Library, Libraries for All: “To Bring People, Information, and Ideas Together to Enrich Lives and Build Community”

• First Online: 05 December 2020

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Designed by Rem Koolhaas and Joshua Prince-Ramus from OMA and LMN architecture firm, the Seattle Central Library is the main branch of Seattle’s public library system. Their mission established the goal “to bring people, information, and ideas together to enrich the lives and build community.” This chapter will provide the history of the Seattle Public Library and offer background information on the circumstances that lead to its re-design and construction such as the design considerations and its function. The chapter will focus on what kind of image the city of Seattle wanted to produce through the concept of public library developed in its main branch. A general overview of Seattle’s Public Library influential design, management, programs, and services will be provided. The way in which the area where the library is located will also be analyzed within the context of urban development initiatives set in motion to develop the area.

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Bennett, S. (2005). Koolhaas cathedral is taking shape. Monday, March 3. In Kubo, M. & Prat, R., Office for Metropolitan Architecture, Seattle Public Library OMA/LMN 62–64.

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Fisher, K., Saxton, M., & Edwards, P. M. (2016). Seattle Central Library as place: Reconceptualizing space, community, and information at the Central Library. In  Take One Building: Interdisciplinary Research Perspectives of the Seattle Central Library  (pp. 129–150). Routledge.

Goldsmith, S. (2005). City books Dutch architect for library unorthodox design full of ‘exuberance,’ ‘joy’ cited trustees. Seattle Post-Intelligencer, Thursday, May 27, 1990. In Kubo, M. & Prat, R., Office for Metropolitan Architecture, Seattle Public Library OMA/LMN 49–50.

Kaiman, B. (2005). Novel look, but still for books. The Seattle Times, Sunday, July 9, 2000. In Kubo, M. & Prat, R., Office for Metropolitan Architecture, Seattle Public Library OMA/LMN 60–61.

Kubo, M., & Prat, R. (2005).  Seattle public library, OMA/LMN .

Niessen, S. (2005). Shhhhh, my little parakeets, the library has no clothes. The Seattle Times, Editorials and Opinion, Thursday, December 23 rd , 1999. In Kubo, M. & Prat, R., Office for Metropolitan Architecture, Seattle Public Library OMA/LMN 53–54.

Robinson, K., & Lusebrink, C. (2018). Seattle sees eighth consecutive year record tourism. Visit Seattle , April 2018. Retrieved July 11, 2019 at https://www.visitseattle.org/press/press-releases/seattle-sees-eighth-consecutive-year-of-record-tourism/ .

Seattle Public Library Impact Report. (2018). Impact on Local Business . Retrieved July 29, 2019 at https://www.spl.org/about-us/library-impact/2018-impact-report/2018-impact-on-local-business .

Zook, J. B. & Bafna, S. (2012). Imaginative content and building form in the Seattle Central Public Library. Proceedings: Eighth International Space Syntax Symposium , In Green, M., Reyes, J., and Castro, A (Eds.). Santiago de Chile.

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Nevárez, J. (2021). Seattle’s Public Library, Libraries for All: “To Bring People, Information, and Ideas Together to Enrich Lives and Build Community”. In: The Urban Library. Springer, Cham. https://doi.org/10.1007/978-3-030-57965-4_4

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Interactive Exhibition Design

The seattle central library orientation and visitor center exhibit.

Seattle Public Library

Venue/Location:

Central Library

Visitor Center exhibit's Look and Learn stations.

Visitors getting oriented at the Look Station.

Look station backlit orientation panels with dynamic animating content.

History and architecture of the Central Library.

Central library directory.

Birds-eye view of the exhibit.

Dynamic visualizer.

Visitors interact with touch station.

Touch station's "attract mode", encouraging visitors to engage with content from StoryCorps.

Visitor center interactive.

Visitors manipulate the building model to see the different ways to look at the Library. Each view contains a set of themed stories.

Directory view.

Story opener.

View of the exhibit from 5th Avenue.

Storycorps stories.

Casework is highly detailed, built to last, and withstand the demands of visitors.

Video content of Rem Koolhaas explaining details of the building.

In their continued pursuit of innovation, the Seattle Public Library partnered with Belle & Wissell to create a new interactive visitor experience at the acclaimed Central Library. The Visitor Center Exhibit welcomes users of all ages to discover more about the city of Seattle, its pioneering library system, and the bold Central Library building, designed by OMA/LMN.

The new Visitor Center Exhibit demonstrates the Seattle Public Library’s commitment to the public. “Look” and “Learn” stations feature interactive and dynamic elements, encouraging visitors to experience the library anew. The design of the exhibit encourages participatory interaction from visitors as they engage with content celebrating librarians, libraries, and their indispensable role as a civic resource.

The Seattle Central Library is a striking, iconic element of the Seattle skyline designed by world-renowned Dutch architect Rem Koolhaas. Its architectural significance and receptive ideology make it the most-visited site in the city, drawing almost 2 million visitors annually. Belle & Wissell worked closely with Lockwood & Sons, a design build company, to realize this exhibit—utilizing the same “form follows function” philosophy that was instrumental in Koolhaas’ building design.

The Visitor Center exhibit was produced in collaboration with the Seattle Public Library and the Seattle Public Library Foundation. StoryCorps produced the personal interviews included in the exhibit experience.

Belle & Wissell Team Credits

Principal:  Gabe Kean Creative Director: Thomas Ryun Senior Designer: Edrea Lita Designer: Eric Harvey Studio Producer: Sarah Trueblood Content Developer: Natalie Karbelnig Technology Lead: Edward Tang Senior Developer: Scott Thiessen Developer: Brent Watanabe Quality Assurance Engineer: Serge Bokach Curatorial Consultant: Aleen Adams Curatorial Consultant: Jacob McMurray Design/Build Partner: Lockwood & Sons

Additional Project Credits

Content Partner: The Seattle Public Library Production Partner: The Seattle Public Library Foundation Interview Producer: StoryCorps Director of Marketing and Online Services: Stephen Halsey Web & Digital Product Manager: Jim Packwood Content Strategist: Heidi Herb Special Collections Librarian: Jodee Fenton Designer: Annie Vasquez Web Dev: Lisa Zicherman

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The flagship of the seattle public library system and a true civic icon, seattle central library.

A building like this had never been built before. The structure conceived by the architects – the Office for Metropolitan Architecture in Rotterdam and Seattle’s LMN, in a joint venture – was a 12-story, glass-clad, asymmetrical building with multiple cantilevers, sloping surfaces, and dramatic geometric angles. The glass cladding was shown in a diamond pattern, and the architects’ desire was for a transparent building that floated with no apparent means of support.

The Seattle Central Library is the flagship of the Seattle Public Library system. Innovative in both form and function, the contemporary, glass and steel building is the third central library to occupy the city block between Fourth and Fifth Avenues.

The design objective, by Rem Koolhaas and Joshua Ramus, in partnership with LMN, was to create a building that honors books, and at same time, is very forward-looking to reflect major technological advances in the information business.

How can a construction team use technology to realize extraordinarily ambitious design goals, including a skin system with thousands of glass panels in a multi-faceted steel web?

It was crucial to join together with the architects and engineers as true partners to bring OMA’s challenging design vision to life. BIM was used to model the library’s complex building skin system, which consists of thousands of glass panels over a steel web. Steel was digitally-scanned daily to create a 3D as-built model. Hoffman’s BIM team then steel erectors then used the scan to adjust the work to keep it perfectly aligned with the planned geometry.

Contract Type

Seattle Public Libraries

OMA, LMN Architects

Seattle, WA

$107,000,000

2019 Best-Designed Building: Washington State — Architectural Digest

2019 The Best Architecture of the 21st Century (#4) — The Guardian

2005 Honor Award for Architecture — AIA National

2005 Honor Award — AIA NW & Pacific Region

2005 Library Award of Excellence — American Library Association

2005 Platinum Award — American Council of Engineering Companies

2004 Building of the Year — Time Magazine

2004 Platinum Building Team Project Award — Building Design & Construction

The Best-Designed Building in Every U.S. State Architectural Digest — May 22, 2019

Today, much of this construction story is hidden behind the dramatic folds and planes of the Library’s glass exterior. Each day as many as 12,000 visitors pass through the library’s doors, many drawn as much by the building’s structure and architecture as they are the books.

Robust Constructability Through BIM

Looking at the planes and folds of the Library, the word “random” might come to mind. However, the fold transitions were anything but. At some folds, the architects wanted a gutter or “negative” fold to emphasize the edge of a face; in other places, a point was desired. No two folds were alike, due to the building’s geometry and asymmetry, and every time a fold line was shifted, even very slightly, it changed the geometry of the entire building face. Each fold decision also impacted the detailing, design, and construction of the various joins, including the steel connections.

Hoffman led a study to determine the optimum diamond size and shape, both for constructability and cost. Hoffman worked closely with OMA, LMN, MKA and Seele GmBh, the curtain wall design build subcontractor, to establish the optimum grid size and spacing for span, performance, fabrication, and aesthetics.

Creating a “Kit of Parts”

Once the entire building was modeled and steel shapes assigned, MKA and Hoffman assessed constructability for all corner steel conditions. Instead of detailing every one of the thousand or more joints, MKA developed a “kit of parts” with individual details applicable to several conditions.

Laser Scanning

The steel erection sequence was complicated, as the seismic steel grid panels had to support the building not only upon completion, but also during erection. This meant the panels had to be hung and bolted off before the structure could advance upwards. The panels also had to accommodate building movement as construction proceeded, yet still meet stringent construction tolerances. The process called for ongoing and extremely accurate surveying.

Hoffman turned to digital laser scanning, relatively commonplace today, but absolutely cutting edge at the time. Hoffman “shot” every panel erected with the digital laser scanner from at least three separate points, then examined the graphical reports produced for areas where the Xsteel model and the erected surface varied by more than ½ inch. After quickly pinpointing these locations, Hoffman performed field adjustments by either pushing or pulling the steel into place. As might be expected, pulling on one corner of steel can impact the location of the entire piece, so adjustments were complicated. Once the steel was within acceptable tolerances, it was permanently bolted.

Hoffman quickly adopted a routine of hanging steel in the morning, laser shooting it in the afternoon, analyzing the reports in the evening, then reporting the results to the ironworkers the next morning. Any panels adjusted were “reshot” to verify location and determine any corresponding ripple effect. Due to the tight schedule and small construction staging area, the sequence of hanging, shooting, analyzing, adjusting, and reshooting had to be stringently followed.

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Understanding the relationship between architecture and topography in spatial terms: The case of Seattle Central Library

• Nazmiye Nurdoğan İstanbul Technical University https://orcid.org/0000-0001-7189-1806
• Ayşe Şentürer İstanbul Technical University https://orcid.org/0000-0002-5299-1390

This study aims to present the concept of topography as a multi-layered entity and an active given of the architectural design process. Different from the discussions on topography in architecture which reduce topography to its mere physical characteristics, this study’s theoretical framework redefines topography in figural and spatial layers and discusses how they are interpreted in the architectural design practice. To further investigate the insights in the theoretical framework, the case study method is instrumentalized via spatial analysis of the Seattle Central Library. The spatial analysis of the library involves figure ground map and public use diversity and access maps. Accordingly, the diagrammatic representation, the site plan and site section of the project are redrawn in the urban scale of 1:1000 and the building scale of 1:200. Consequently, the design of the Seattle Central Library presented hybrid spaces that are nurtured from connections to the spatial and figural layers of topography. The manipulation of the building envelope, the continuity of the ground floor line and programmatic flexibility of the library’s spaces were critical elements to integrate to the urban topography to create interstitial situations in connection to both figural and spatial layers.

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Digital reading soars in Seattle, creating problems for local libraries

• Clare McGrane
• Patricia Murphy

The Seattle region loves to read. The city is one of just two UNESCO cities of literature in the country.

"We just have voracious readers in Seattle,” said Elena Gutierrez, collection services manager at Seattle Public Library.

In the past four years, reading in the city has also shifted away from print books and toward digital options, like e-books and e-audiobooks.

RELATED : We're No. 2 (and 3)! Why King County Library tops the digital charts

Seattle Public Library is number eight in the world when it comes to digital checkouts from Overdrive, a global distributor of digital books and makers of the Libby app. King County Library System is third . Seattle is the only metro area that appears on the list twice.

Digital reading is convenient — no print book to drag around. It also makes stories and information more accessible for many with disabilities, including dyslexia and vision impairment.

But the increasing demand for digital books is causing problems for local libraries. Last month, SPL announced it was reducing the number of digital holds patrons can place from 25 down to 10.

The reason: Digital books are extremely expensive for libraries, even though they’re generally cheaper than print books for an individual consumer.

“I’ve seen three to 10 times as much charged to a library for the same exact material,” said Kyle Courtney, the director of copyright information policy at Harvard Library. Courtney is also a founder of the eBook Study Group , a nonprofit working to make digital materials more affordable for libraries across the country.

Gutierrez pointed to Brittney Spears’ 2023 memoir "The Woman In Me" as a prime example of the budget challenges that e-books pose. SPL paid the book’s publisher $17.81 for each physical copy it bought, a few dollars cheaper than what an individual would pay in a bookstore.

Electronic copies were a totally different story. The e-book and e-audiobook are about $17 for a consumer, but the library paid more than three times that price: $64.99 for an e-book and $59.99 for a digital audiobook.

Combine the increasing demand for digital books and the higher prices, and things add up quickly.

“In total, the library's physical copies at one point were $2,500 that we had invested,” Gutierrez said. “But the digital copies cost us $35,000.”

That price tag is only the start of the story. Publishers largely don’t allow libraries to own digital books outright — they have to license them for a set period of time or a set number of checkouts.

In the case of "The Woman In Me," each copy is only rented to the library for two years, then they have to pay again to keep using it.

“It's like throwing money directly out a window,” Courtney said.

It’s a challenge that library systems across the country are struggling with, from small local organizations to the nation’s biggest research institutions.

“My fear is that e-book licenses as they currently are turn libraries into Netflix and Hulu. We don't own anything. We have to continually pay for it and can go away at a moment's notice,” Courtney said. “That idea of, 'last day to see this series,' right? You see that on Netflix and Hulu all the time. It's literally what's happening to our collections libraries. They're disappearing unless we pay more.”

Seattle Public Library buys new digital books for one of two reasons: First, when a new book is published. And second, when there’s high demand for a given title. One of the library’s goals is to keep hold waits down.

As of publishing, the e-book title with the longest hold line was "The Heaven & Earth Grocery Store" by James McBride. SPL has licenses for 300 copies, but more than 2,000 patrons had the book on hold. It would take someone joining the list roughly three months to get a copy.

By reducing the number of holds each patron can place, the library is essentially asking readers to be more choosy about which books to get in line for. Gutierrez said it’s already having an impact on their budget.

“We have reduced the costs for holds by a significant amount,” she said. That means the library can put that money toward other titles.

“We want depth and breadth to the collection. We want to be able to offer a variety of titles and not just feed the best sellers," Gutierrez said. "So, this allows us to have funds redistributed also to acquire new content rather than have hundreds of copies of fewer titles.”

While adjusting policies may offer short-term relief, Courtney said the larger issue of e-book licensing isn’t likely to change without intervention.

He’s working with states across the country to introduce legislation that would use existing consumer protection and contract laws to bring costs down. It would work in a similar way to net neutrality laws that prevent internet service providers from giving certain online activities or sites preferential treatment.

“We're saying, ‘Dear publishers, you want to do business in this state? Whatever state adopts this particular law? Well, we have millions and millions of dollars, so the contract needs to be reflective of the library mission and include these terms or forbid these terms,'” Courtney said.

The Washington Library Association has drafted a bill in partnership with the eBook Study Group and is hoping to introduce it during next year’s legislative session. A spokesperson for the group said they’ve started having preliminary discussions with state lawmakers on the issue.

In the meantime, local libraries offer lists of books that are available to check out with no wait through the e-book and audiobook app Libby . And many local libraries, including Seattle Public Library and the King County Library System, offer cross-system access for Washington residents looking for their next read.

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Clare produces KUOW’s news podcast, Seattle Now. She specializes in episodes on health, especially the Covid-19 pandemic and vaccine, and occasionally produces the show’s Casual Friday episodes.

Patricia Murphy is an award-winning radio journalist who has covered justice, public health, military and veterans affairs for 20 years. She’s currently the host of KUOW’s daily news podcast, Seattle Now.

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Seattle, Washington

Library Revolution

The seattle central library not only changed the way patrons use their public library, but it was also used as an instrument of creating environmental awareness. many strategies were implemented during the design process to achieve this certification, from using recycled materials, to constructing the library near access to public transportation, to ensuring that 90 percent of all regularly occupied spaces have access to daylight and views..

The 362,987-square-foot, state-of-the-art 11-story facility houses 1.4 million volumes of books and is consistently referred to as an inspiring, innovative and futuristic space that redefined the function of a modern public.

The building was truly designed for the library patron of the 21st century, providing access to not only books, but to over 400 computers, several community gathering places, special children’s areas, meeting rooms and a cafe. Over the last ten years, the library has served as an example for other public libraries across the country – demonstrating how they too can make the transition from passive service providers to active and vital forces in their community.

" As in any library, the central focus is the books and the shelving that they sit on. We wanted to create a unique experience for the visitor with the foremost feature of the building being the public spiral book stack, which is one continuous ramp. "

- Pragnesh Parikh, , Managing Architect , LMN Architect

Lighting the Way for Sustainable Design in Seattle

The Seattle Central Library not only changed the way patrons use their public library, but it was also used as an instrument of creating environmental awareness. The building received Leadership in Energy and Environmental Design (LEED) Silver Certification from the U.S. Green Building Council (USGBC) in 2005, becoming one of the 50 first buildings in the nation to receive a Silver rating.

Many strategies were implemented during the design process to achieve this certification, from using recycled materials, to constructing the library near access to public transportation, to ensuring that 90 percent of all regularly occupied spaces have access to daylight and views.

The use of light was actually a critical factor in every aspect of the library’s design, not just a sustainable element. From the exterior maze of windows that wraps the entire building, to the interior 11-floor atrium and polycarbonate ceiling that help to distribute light, to the glass walls that divide the sides of the spiral stacks, every detail was considered in maximizing the natural light.

In keeping with this principal design concept, the design team didn’t want the book stacks to create a visual barrier, so they chose a translucent acrylic material for the top and end panels of the shelving. Engineers at Spacesaver tested different acrylic materials for scratch resistance, durability and strength. The engineering team also sourced unique, stainless steel pins that were used to off-set the panels from the shelving frames and designed special lighting brackets for a custom overhead lighting solution. All shelving units were also seismically reinforced with gussets and additional welded spreaders to assure code compliance and safety.

“Developing the acrylic panels was a challenge,” said Parikh. “Spacesaver stood behind us with engineering support to achieve our goals.”

" Light is very important in Seattle. We wanted to create as much ambient light as possible, as well as one unending visual space stretched across 11 stories. "

- Pragnesh Parikh , Managing Architect, LMN Architect

A New Way of Delivering Books

The majority of the library’s nonfiction collection is housed in this four-level book spiral. The aisles have a gradual upward slope of about 2 degrees, creating a continuous ramp designed to display the library’s nonfiction collection without breaking up the Dewey Decimal System classification onto different floors or sections.

The collection spirals up through the four stories on a continuous series of shelves, outfitted with the acrylic end panels that allow light to flow freely through the space.

In addition to the conventional bookshelves with acrylic end panels that are found throughout most of the library and in the spiral stack area, several high-density mobile shelving systems were installed in non-public areas for infrequently accessed material, like books, periodicals, and even personnel records in locked drawers.

Four of the mobile systems are electrically powered and open and close with a simple push of a button. These units sit on the 6th, 7th, 8th and 9th floors, all situated directly over top of each other. They vary slightly in size but in general are about 30’ in length with between 20 and 32 mobile carriages.

A fifth system is a Mechanical Assist Spacesaver system, operated by a hand crank, and is located behind the children’s area on the main floor. It has 12 carriages and they are 12 feet in length.

These high-density mobile shelving systems provided double the capacity of traditional shelving systems, and helped the library bring everything back to one location. Prior to construction of the Central Library, a large portion of the collection was located in a building a few miles away from the library and was mostly unavailable to the public. If there was a book or document that a patron wanted to view they would have to put in a special request and the book would then be temporarily transferred to the library for viewing. This transfer could take several days.

A Gift Shop Unlike any Other

A sixth high-density mobile system is used in the main lobby of the library to house a gift shop. OMA’s Mark Von Hof-Zogrotzki designed the cabinetry that would be used and then worked with Spacesaver to install the cabinets onto mobile carriages that run on tracks in the floor. The carriages are carefully concealed beneath the cabinets, so all that is seen is the custom cabinets.

The shop can easily be opened each day by manually rolling the custom cabinets along the tracks in the floor. Once the aisles are opened, each cabinet can be plugged into a floor outlet in order to light merchandise and power the cash register. Special carriage rail covers were designed to provide a convenient, safe public space. At the end of the day, the entire shop can be locked into a tight cube.

" The Spacesaver team were open to new ideas throughout the project. When working with designers, it is important to be flexible. Standard solutions are easy to find, but a modified design approach is critical to achieving a unique outcome. If everything we did was readily available in the marketplace, we wouldn’t be designers. "

Redefining storage solutions.

An Authorized Spacesaver Representative helped develop the technical specifications for both the fixed and mobile shelving used throughout the library. He even took designers to a local job site to educate them on the benefits of mobile storage.

Custom elements were incorporated throughout the project, beyond just the acrylic end panels used on most of the static shelving. For example, specially designed drawers were added to the cantilever shelving to accommodate the library’s existing card catalog.

A secured area called “The Seattle Room”, located on the 10th floor houses most of the library’s rare books collection. It is open to the public, however, it has limited hours and library personnel is always present to manage user access. The Spacesaver shelving in this space was outfitted with clear acrylic doors that can close and lock to secure the rare books collection, but still, allow light to enter the space.

The Seattle Public Library broke the barrier of standards when it comes to the designing a space that is built specifically for the benefit of it’s users for an overall better experience within its walls.

Other Projects in Library

Library Robotic Retrieval System vs. Spacesaver High-Bay Library Shelving

Compact Shelving for a University Law School Library

Storing Special Collections in a Library

Library Floor-Loading Considerations for Future High-Density Shelving

Remodeling a Campus Library with Moveable Shelving

Modern Library Design - Free Library of Philadelphia

George Washington Library

Preserving Texas History with Spacesaver Archives Storage

Case Study: Seattle Central Library

It had been ten years since this project was completed with Spacesaver storage solutions and it was time to take a more detailed approach to telling this story. The old case study was converted to the new horizontal format and was re-writted to include more information and customer testimonials. The graphic design team created some illustrations of the building to best show how the storage solution was different and unique.

Skills Used.

Related Projects

Case Study: St. Louis Public Library

Case Study: Notre Dame Athletic Storage

Space to Breathe

To find more information about the services offered, visit our Library Services page

Follow the link to our current hours ., for professional development day, seattle central library will close early this wednesday. our open hours will be 8am-1pm, november 3rd., while we are closed for the holiday and college closure, from december 19-27, library staff will be spreading good cheer and will not be available by email nor phone. we will return on december 28th..

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