Architecture Classics: Luis Ángel Arango Library / Germán Samper

Written by Dan Gamboa Bohorquez | Translated by Antonia Piñeiro

In the mid-20th century, in the heart of Bogotá, Colombia, one of the greatest architectural landmarks in the history of this city was taking shape. At that time, Luis Ángel Arango, the manager of the Banco de la República, began to work on establishing a library to house the collection of books that the bank had been acquiring over 30 years and which continued to grow. It was then that the firm Esguerra Sáenz and Samper appeared on the scene, to whom the design of this space was attributed, created in several stages over a span of twenty years.

Germán Samper is one of the freshest minds in the country, despite his advanced age. Even after all these years, it is possible to see with great skill how his genius remains as relevant today as it was half a century ago, and the Biblioteca Luis Ángel Arango is a perfect example of the aesthetics, urban integration, and respect for scale that characterize this architect so much.

In an area of 7,200 square meters in the heart of the historic center, a unique volume emerges, and its timelessness lies in its sobriety. Germán Samper decides to respond to the city with noble materials such as wood and marble, without exceeding the height of nearby buildings, always respecting the surrounding masses. The library consists of a dense body that appears to float on the slope of the terrain, creating public space underneath as the inclination becomes more pronounced. Glass, as an inheritor and witness of the modernist spirit, takes on a leading role in this volumetric flight and in the various surfaces that intersect the initial volume through flat and sloping roofs to illuminate the interior spaces. This is an important aspect as Germán Samper not only considers the creation of four facades for an immediate environment but also contemplates the volumetric design of the roofs as a fifth facade that allows integration with the sloping roofs of the republican and colonial houses when the project is perceived from the surrounding hills of the city.

Architecture Classics: Luis Ángel Arango Library / Germán Samper - Image 15 of 20 — © Dan Gamboa Bohórquez

As a frequent visitor to the library, I would describe it as an exploration of spaces defined by their carefully planned lighting concentrations and orientations. Each area has a distinct personality, and every space aims to offer visitors a different experience, leaving behind the prejudiced monotony that the word "library" might imply. That's why the project can be understood as a "library of spaces," where each room is thoughtfully designed to provide a unique and enriching atmosphere for visitors.

Upon entering the library, visitors have two options for reading: they can either go "straight to the point" by taking the staircase that leads to the reading rooms, interconnected by bridges and stairs, or head to the information module that integrates the different active spaces of the library. This information module is precisely one of the most distinctive spaces, featuring a volume that seems to emerge from the ground, creating a sense of weightlessness thanks to the expansions in the ceiling and the precise use of lighting.

Beyond the information module, there are customer service offices. After entering an ample open space, there is a cafeteria and some small multiple reading rooms from which all the circulation of the reading rooms can be contemplated, overlooking a void of more than four floors in height. This entire space is protected by a sloped glass roof facing north, allowing natural light to penetrate all levels of the project.

To access the reading rooms, you must continue along the staircase from the library's entrance and follow the passageways covered by the large roof. However, there is a space that Germán Samper wanted to give a distinct character: the periodical reading room. This extension is located on the southern side of the project under a lattice concrete roof with central lighting, a remarkable achievement, and a harmonious blend of design and construction; the aging of the material itself gives the space a unique character.

However, all these spaces could pale in comparison to Samper's favorite space: the concert hall. As a prelude to it, there is a large red room, bathed in soft light provided by an extension in the facade, which also frames the windows of the Casa de la Moneda. The room features a simple yet elegant furniture selection, evoking the beautiful era of the 1950s through the right choice of leather, wood, and marble materials. From its entrance, the concert hall exudes a maternal character due to its elliptical shape, and its centripetal design draws the viewer towards its center to access and witness a magnificent wooden shell. The stepped design of this shell grants it one of the best acoustics in the country.

This continuous generation of spaces, supported by the premises' unassuming materiality, is the project's main characteristic. Areas such as the entrance to the parking lots, the stairs to the audiovisual room, the respectful setbacks to Eduardo Ramírez Villamizar's sculptures, or the cantilever that covers the sidewalk on the southern side, all contribute to keeping the library relevant to this day. This, precisely, is the great lesson of this marvelous classic of Colombian architecture, inviting us to reflect on the importance of the emotional condition of space as a latent determinant of the passage of time.