Library Interior Design Reference Images

A precursor to starting the interior design work for any bespoke library or study is to take reference from the past.  Here are some of the libraries we love.

 

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The Philosopher’s Hall, Strahov Monastery, Prague(we are currently designing a project inspired by this library).  Click this link to see a fascinating detailed 360 tour of this room.

 

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The grand library at Chatsworth.

 

Bookcases in the Library at Hatchlands Park, Surrey.

Bookcases in the Library at Hatchlands Park, Surrey.

 

The Library at Knightshayes Court, Devon. The bookcases are in a Gothic style with linenfold panelling by John Crace.

The Library at Knightshayes Court, Devon

 

View from the Book Room into the Library at Wimpole Hall, Cambridgeshire. The Book Room was created by John Soane in 1806 by annexing part of the orangery.

View from the Book Room into the Library at Wimpole Hall, Cambridgeshire

 

The library steps by Thomas Chippendale the Younger, in the Library at Stourhead, Wiltshire.

The library steps by Thomas Chippendale the Younger, in the Library at Stourhead, Wiltshire

 

The Library, designed by Robert Adam in 1766, at Osterley Park, Middlesex. The room is in a stony white with neo-classical details, the original collection of books would have had colourful bindings and the simplicity of the room was in sympathy with that. In 1885, the original library volumes were sold to pay for the refurbishment of the house.

The Library, designed by Robert Adam in 1766, at Osterley Park, Middlesex.

 

A view from the Hall to the Library at Basildon Park, Berkshire. The Neo-classical plasterwork decoration of the Hall shows the Adam influence on John Carr of York who designed the house in the late eighteenth century. The trophies of arms in panels above the doors are a reminder that entrance halls were used as armouries in earlier times. The Library bookcases are visble through the open door.

A view from the Hall to the Library at Basildon Park, Berkshire

 

The Library at Castle Drogo, Devon. Edwin Lutyens was the architect of Drogo between 1910 and 1930 and he designed the oak bookcases. The lustre dishes above the bookcases are Hispano-Moresque and date from the 1700s.

The Library at Castle Drogo, Devon.

 

The Library at Belton House, Lincolnshire. The room was a dining room in the seventeenth century, changed into a drawing room in 1778, and was converted into a library in 1876.

 

Gilt-brass wirework on one of the bookcases in the Library at Hartwell House, a historic house hotel in Buckinghamshire.

Gilt-brass wirework on one of the bookcases in the Library at Hartwell House, a historic house hotel in Buckinghamshire.

 

Shelves in the Library at Scotney Castle, Kent.

Shelves in the Library at Scotney Castle, Kent.

 

One of the inscribed Gothic hinges on the Library door at Tyntesfield. Only available as a scan.

One of the inscribed Gothic hinges on the Library door at Tyntesfield, North Somerset

 

View of the Library at Nostell Priory: the first room to be remodelled by Robert Adam. The view shows the Chippendale library table, lyre-back chairs (1767-8) and bookcases.

View of the Library at Nostell Priory, West Yorkshire

 

The Library at Anglesey Abbey in Cambridgeshire. The Library was built in 1937-8 by Sidney Parvin to house Lord Fairhaven's collection of books.

The Library at Anglesey Abbey in Cambridgeshire.

 

Looking through the Library door toward the Entrance Hall at Castle Drogo, Devon.

Looking through the Library door toward the Entrance Hall at Castle Drogo, Devon.

 

The library at St Giles House near Shatftesbury, recently restored and owned by the Earl of Shaftestbury.

Baroque Library Design

In late 2013, Artichoke’s architectural design team were approached by the new owner of a magnificent late 17th Century Grade II* Listed Georgian Hall in the English countryside.

The Hall sits in gently undulating parkland with some quite magnificent architectural design features which include a  listed fishing temple with a pedimented Roman Doric portico, and listed Palladian stables.

Among the requirements for the Hall was a grand library in the Baroque style.  For those unfamiliar with Baroque interior design, it can best be described as a dramatic and theatrical take on Renaissance architecture, often including bold features such as opulent use of ornaments and colour, gilding and carving.  For interior architectural designers and cabinet makers, this is an deeply interesting and challenging project.

 

The Philosophical Hall Prague

There are many baroque rooms to take inspiration from when preparing an interior design of this nature.  During design meetings with the Hall’s owner, one particular room caught our eye, the breathtaking Philosophical Hall in the Strahov Monastery in Prague, arguably one of the most beautiful libraries and interiors in The World. The library in the Philosophical Hall was built in 1779.  We flew to Prague to survey some of the detail (with kind permission from the monastery).

 

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The Philosophical Hall at the Strahov Monastary
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Carved angels and garlands adorn the furniture
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Carved gilded Acanthus leaves rise from the base of the frames of each book-case
Each shelf has a gilded front edge. Note the painted interior and the double layer of books

Stunning wild grain walnut was used throughout the library because it is so beautiful and works well in a room of this size.

 

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Raised cabinet door panels in the Baroque style
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Gilded acanthus leaves on the underside of the cornice
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Gilded egg and dart molding, symbolising life and death, runs across the gallery
Creative Design Work
Original plan of the library
Fireplace elevation

Close up of the entablatures below show the gilded swags and tails, egg and dart, dental mold and gilded acanthus leaves.

 

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Hand Carving

This image shows work in progress of the carved gilding work.  All the carving in the library is being undertaken under Artichoke’s direction by Ian Agrell Carving, an English company with offices in London, San Rafael and Calcutta.  The company is run by master carver Ian Agrell, one of the few carving companies who never carve by machine.  Their work is of the highest possible quality (which is why we use them).  All of this work is undertaken by eye using the sharpest chisels.  Ian’s video is below.

 

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An acanthus leaf being worked on by hand.  The carving is undertaken in Calcutta by carvers specially trained in classical detailing.  Their work is crisp, accurate and leaves an excellent surface upon which the gilding teams can layer their gesso and gild work. Note how the hand-drawn paper template guides the carver through the shapes and layers of the detail.

 

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Below are some examples of the carved swags

 

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Samples of gild-work were produced concurrently to help gauge the correct level of brightness for the final gild work.  The above image shows how different types of gilding can alter the final look of carved work.  We have specified water gilding for the library which is a traditional method of applying gold leaf to a surface.  It is the highest quality of all gilding methods.

The larger piece on the left has been lightly antiqued to look in period, while the other items have a much brighter and fresher tone.  We are partnering with Gareth from Watergilders who is undertaking the water gilding of these items.

 

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Production Engineering

Once the final creative design is signed off, we move on to the Production Engineering phase where Artichoke’s technical designers model the room in 3D to work out the most efficient and best methods of constructing the room.  We are, in effect, digital cabinet making at this stage.  Each component is constructed in digital form so we know how it interacts with other component parts.

 

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Water Guilding

Acanthus leaf carvings ready to be watergilded by the Watergilders team

 

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The image below Shows the various stages of the water gilding process being undertaken by the Watergilders team.  Up to ten layers of gesso are added to the timber substrate and smoothed down (bottom right) before a yellow gold gilding clay is added.  Burnishing clay, or bole, is then added to parts of the leaf before the gold leaf is added.  This is then dampened with water to encourage the leaf to stick to the surface before it is then burnished with an Agate stone.

 

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Production

Part of the cornicework in the workshop. The central band of carved lillies will be water gilded. The timber is European Walnut.

 

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Below are images of the base cabinets in assembly at Artichoke’s workshop with the hinges about to be fitted.  Finish has already been applied to the perimeter of the panels which are made from solid walnut.  These solid panels will contract in size as the timber acclimatises to the domestic environment.  Pre-finishing the edge first allows for the panel to contract within the frame without revealing any unfinished timber at the shrinkage points.

 

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Below are images of the watergilded bases and swags fixed in position.

 

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This Video shows the gilders applying oil gild to the walnut frames at Artichoke’s worktops.

 

 

Here is the main entrance door to the library, with the frame mould gilded and the raised and fielded panels about to be fixed

 

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Installation

The installation phase of every project is potentially the most risky.  A great deal of effort is placed on ensuring that we install at the correct time, and that the environment is not damp, dusty or busy with builders and other third party trades.

Images of the installed library are below:

 

 

 

 

 

 

Finally, as a surprise for the client and a thank-you gift to them from us, Artichoke secretly designed in this book operated secret drawer.  Every great baroque library should have one!

 

 

Please click here to see more about our bespoke library design service.  For further information regarding Artichoke’s work, please contact us.

 

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