Commissioning a new library

During the first few decades of the twentieth century, the Bodleian Library began to realise that they no longer had adequate space to house their ever-growing collection of books. An underground store had been built in 1912 but this too was beginning to reach capacity within fifteen years of its construction.

After much deliberation, the University finally decided that an off-site storage facility was the best way to solve the ever-looming problem and a short pamphlet was published to this effect, touching on the various options that were open to them. Within a month of its publication, John D Rockefeller had offered the Bodleian half a million pounds towards the cost of the project.

A committee was formed and a list of twenty-three architects was drawn up including the names of Edwin Lutyens, Edward Maufe, and Elisabeth Scott. Within a month, the committee had whittled down the list to just two names: Charles Holden, the architect of a great many London Underground stations, and Giles Gilbert Scott. These were perhaps the two obvious candidates for the job- Holden had recently been engaged in library-building at the University of London, just as Scott had also been at Cambridge. As David Lewis suggests, Scott’s appointment was not only in part due to his work at Cambridge and indeed at Lady Margaret Hall, but was also partially attributable to his cultivation of a mannered and civil personality. Holden on the other hand was a Quaker with a common-law marriage and was consequently viewed with some suspicion by the University.

Scott’s design

Scott’s design for the New Bodleian Library was a response to both the needs of the Bodleian and the architectural context of Oxford. The design featured a central stack tower, surrounded by a ring of auxiliary services, inspired by American library designs like those at Yale and the Library of Congress. Scott’s plan was revolutionary in its use of artificial lighting and ventilation, allowing for the storage of millions of books within a confined urban site.

However, Scott’s approach to blending modern and traditional elements sparked controversy. His decision to set the building back from Broad Street to create a more spacious setting for the Clarendon Building was initially met with resistance from the university community, who feared it would disrupt the historic streetscape. Despite the opposition, Scott’s plan was ultimately accepted, and the New Bodleian was constructed, albeit with mixed reception.

Scott’s architectural philosophy aimed to respect tradition while embracing modernity. He sought to create a building that was of its time yet harmonized with its historic surroundings. The use of Bladon stone, a material with a coarse texture that resisted the pockmarking seen in older Oxford buildings, was one way Scott attempted to achieve this balance. The New Bodleian’s style, which fused classical ornamentation with modernistic massing, was intended to serve as a bridge to a more modern British architecture.

Reception

Despite Scott’s intentions, the critical reception of the New Bodleian was divided. While some praised the building for its thoughtful integration into the Oxford context, others viewed it as an awkward hybrid, unable to fully satisfy either modernist or traditionalist sensibilities. John Betjeman famously criticized it as a “half-hearted attempt” to blend the ancient with the modern.

In hindsight, Scott’s New Bodleian Library represents a significant moment in the evolution of British architecture, where the tension between tradition and modernity was vividly played out. Scott’s attempt to push architectural evolution forward while maintaining a dialogue with the past reflects the broader challenges faced by architects in an era of rapid technological and social change.

The New Bodleian, despite its initial mixed reception, fulfilled its role as a functional and forward-thinking facility for the University of Oxford. However, like many buildings of its time, it soon reached capacity, highlighting the ever-growing demands placed on academic institutions and the buildings that serve them. Today, the New Bodleian stands as a testament to Scott’s vision and the complexities of architectural progress in the early 20th century.

This project, along with Scott’s other works, underscores his commitment to creating buildings that are not only functional but also deeply connected to their cultural and historical context. As Oxford continues to evolve, the New Bodleian remains a crucial part of its architectural and academic landscape, embodying the challenges and triumphs of developing modernity in a historic setting.

Bibliography

David Lewis, ‘Developing Modernity: Giles Gilbert Scott’s Design for the New Bodleian Library’ in Bodleian Library Record (Vol. 28, 2015)