Founders Henry Clay Folger and his wife, Emily Jordan Folger, established The Folger Shakespeare Library (FSL) in 1932 as a gift to the American people. It has the world’s most extensive collection of printed works by William Shakespeare. The Library has expanded its holdings, becoming a world-class research center. Yet, the lack of meaningful public engagement with the collections limited the FSL impact in the Washington community as well as with tourists.
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Folger Shakespeare Library Museum
Interior Design (Built)
Firm
Studio Joseph
Architect/Designer
Wendy Joseph
Design Team
Wendy Evans Joseph, Principal Monica Coghlan, Director of Design Ruben Gomez, Designer Wonwoo Park, Designer Alexandra Adamski, Designer Brandon Studer, Graphic Design Anthony Roy, Graphic Design
Location
Washington DC
Country
United States
Photographer/Copyright
©Naho Kubota
An extensive architectural expansion created a new public entry and two large galleries. The North Gallery’s content centers on Shakespeare, the man, his works, times, and legacy. It includes their 83 First Folios, surrounded by a playful armature of illustrations, artifacts, numerous interactive media, and hands-on experiences. The South Gallery houses an area for shared exploration, and “Out of the Vault,” a dense display of collections.
This project is built on the emerging proposition that today’s libraries are an effective forum for learning as part of social bonding in public. The FSL takes Shakespeare off his pedestal and brings his works to everyone in a way that meets them where they are. There is no “Shakespeare test,” but rather questions, insights, and gentle provocations—adapt the sacred, embrace the profane, reframe Shakespeare worship, and relish in the silly, mundane, and irreverent.
North Gallery
A high conservation case for the Library’s 83 first folios is at its physical and intellectual epicenter of the gallery. Visitors use interactive media, diving deeply into content to find exciting facts that illuminate the unique quality of each folio’s 400-year history. Who owned the folio? What marks did they leave? The case is a tour-de-force of technical design embracing multiple layers of conservation and security, including a VESDA system, humidity/temperature control, Oddy-tested materials, and dedicated supply and return ducted air. There are multiple layers of security. Ambient and programmed lighting is in sync with the interactive media. Camouflaged access and laminated glass contribute to high-level security.
The entire gallery is “papered” in bold graphics. Printed on 8.5×11, Tyvek, the leaves create an audaciously textured environment that holds the narrative while unifying diverse stories. This exciting, intense, visual, and spatial armature met the challenge of drawing the visitor into the fascinating but often obscure realm of historical books.
A series of physio-digital experiences bring other parts of Shakespearian times forward. “Printing with Light” allows visitors to assemble phrases using facsimile blocks and see how they would print. It’s fun to use and reminds people that the printer entered the type into the press upside down and backward. “Shake up your Shakespeare” is a verbal battle of quotes that visitors can bring up to explore how Shakespearean language was at once playful and targeted. Although the vocabulary might feel antique, the ideas continue to resonate today.
South Gallery
Casework for changing exhibits allows curators a flexible format to present diverse themes and ideas over time. The theatrical display combines graphics, quotes, and colorful, sheer curtains to amplify a visitor’s journey. The museum can change the layout over time to reflect changing themes and stories.