Library Buildings around the World

University design guidelines for the “classical core” required a pitched clay tile roof, symmetrical façade and use of white granite.
The screen, an important element of Asian architecture, was reinterpreted using both a traditional cracked ice and contemporary
grid pattern. Sand cast in China, this monumental bronze screen (120 x 35 feet) is the building’s expression of its Asian identity. It
unifies the exterior and creates the illusion of symmetry from the asymmetrical fenestration. From the exterior, the façade is solid,
powerful and mysterious. From the interior, the screens offer a dynamic and filtered view of the surrounding landscape.
Perforated metal screens behind the bronze grilles, prevents direct sunlight from entering the building and minimize cooling loads.
Energy consumption is lowered by embedding the building mass into the land. Occupancy sensors, bamboo flooring, native
plantings, and storm water recharge basins reduce the buildings environmental impact. Constructed of rough concrete and clad in
stone from China, the exterior is massive and dense. This sense of solidity is transformed upon entering. Filtered natural light from a
linear north facing skylight fills a long, central void cutting through the building and brings light to the lowest level. Every floor is
animated by changing light. A stone stairway cantilevered from a structural spine wall rises through the four floors. Connected by
bridges, stacks to either side of the opening clearly display the books and the building’s organization. The use of concrete and stone
is balanced by various materials that add texture and delight to the interiors. American cherry desks and reading tables provide
places to study. A large slab of Claro walnut, with a natural edge serves as the circulation desk. Bronze plaques, embossed with the
Library chop, mark the entry to each room. Walls contain recesses for artwork and vitrines have been designed to hold artifacts. 15
tapestries, which are jet ink screened low cost “walk off mats,” were designed using images from the library’s rare book collection.
They add color to the concrete walls. Cherry wood battens backed by fuchsia fabric help to provide sound dampening. Black-andwhite
landscape photographs taken in China by Coleman Fung hang in one of the media rooms. Everywhere one looks inside there is
something interesting and beautiful to be found. (Todd Williams)
PS 101 Robin Hood Foundation Library, New York, East Harlem, NY – USA 2002
Awards:
NYC AIA Design Award 2003
Robin Hood Libraries
Four rooms were designed as magical places for children. As part of a larger non-profit initiative, four elementary school libraries,
located in difficult neighborhoods throughout New York, were transformed into vital resources for children and their parents. The
four reinvented libraries are located at PS 1, PS 28, PS 32 and PS 101. Custom wood bookshelves serve as meandering walls, creating
spaces where the readers are surrounded by books. Inviting and intimate spaces for reading are adjacent to larger, open areas for
instruction and learning. The walls also house private reading alcoves. Large glass windows are cut into the existing hallways,
announcing the library to the rest of the school and creating a place to look out from within. Lines of sight and movement are
maintained throughout the library. Vibrant spaces in the different locations are created with a variety of vivid materials. Bold
colorful planes float above the shelves. The dropped ceiling creates more intimate areas scaled for children and unifies the space. A
continuous light cove traces around the stacks illuminating the shelves. Sculptural lamp shades hang from the ceiling like large
paper hats. White walls and shades are enlivened with images culled from the Encyclopedia of Diderot and d’Alembert. Natural
cork tiles serve as durable flooring and vivid custom designed wool rugs contributed by V’soske invite the children to sit and read
and dream. 222 Central Park South, New York, NY (Tod)
Woollen, Molzan and Partners, Inc., Indianapolis, IN – USA
The venerable Indianapolis architectural firm that designed many of the city's most recognizable buildings has closed and two of its
leaders have joined a local competitor.
Woollen Molzan and Partners Inc. leaders Lynn Molzan and Kevin Huse started new jobs with Ratio Architects Inc. on Monday
after the closure of their 56-year-old firm.
Woollen Molzan was one of the oldest and, despite its small size, more prominent architectural firms in the city. Its significant
projects include Clowes Hall, the Minton-Capehart Federal Building, the Central Library addition and the White River Gardens
Conservatory Complex at the Indianapolis Zoo.
In addition to partners Molzan and Huse, Woollen Molzan architect Mike Brannan also joined Ratio Architects.
“I’ve known Lynn and Kevin for a number of years, and obviously they’re very talented architects,” Ratio Managing Partner Bill
Browne said. “They do a lot of higher education [work], and we thought that would meld well for our clients.”
Reasons for the closure are unclear. Browne declined to comment, and neither Molzan nor Huse returned phone calls from IBJ.
Reached at his home in Colorado, firm founder Evans Woollen said he sold his interest in the firm 10 years ago, but had been
informed by Molzan that it had closed.
“I am proud of 50 years of work with the firm. I cherish everything we did together,” Woollen, 83, said. “It was a collaborative
effort, and we’ve left many [designs] on the landscape.”
The recession was a likely factor in the closure, said Wayne Schmidt of local firm Schmidt Architects.
Schmidt serves as president of the Indianapolis City Market Corp., which hired Woollen Molzan last year to design the $3.4 million
renovation under way at the historic structure.
“They’ve done a lot of significant work over the years, and they did a great job on the City Market project,” he said. “But, I tell you,
the economy is just a wreck yet, and there’s still not enough work to go around.”
Schmidt said he was “shocked” to hear of the closing and found out through “word of mouth.” Though Woollen Molzan finished its
design work at the City Market, building managers will need to hire another firm to observe construction, Schmidt said.
Woollen Molzan employed four licensed architects in 2006 and had local billings of $1.4 million, the most recent year it submitted
information to IBJ. The firm had as many as nine licensed architects in the late 1990s.
Specializing mostly in libraries and religious buildings, its designs are sprinkled throughout the city. In the 1980s the firm designed
additions to The Children’s Museum of Indianapolis, as well as renovations to Christ Church Episcopal Cathedral on Monument
Circle and to the historic Union Station.
“There’s no question they’ve had a very storied career as an organization,” Browne said.
But perhaps its most notable—and controversial—project is the design of the Central Library expansion.
In 2006, Woollen Molzan agreed to pay the Indianapolis-Marion County Public Library $580,000 to settle a dispute over
construction problems that plagued the $150 million project.
In turn, the library paid Woollen Molzan $130,000 in fees.
The library fired the firm and sued it and others in U.S. District Court in Indianapolis related to design-flaw issues.
The architects filed a countersuit asking the court to order the library to reinstate them or prohibit the library from using the firm’s
design in the new building.
The expanded Central Library reopened in December 2007, more than two years late and roughly $50 million over its original $103
million budget.
Woollen Molzan was founded by Woollen, who opened an office on Monument Circle in 1955.
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