Overview
At the centre of the British Museum’s Great Court, the Round Reading Room is one of London’s most remarkable historic interiors. Designed by Sydney Smirke and opened in 1857, its magnificent Grade I listed domed space has been a haven for scholars, writers and poets for nearly two centuries. It served as the principal reading room of the British Library for 140 years before the Library relocated to St Pancras in 1997. Following its use as a temporary exhibition space, the Reading Room closed to the public in 2013 to accommodate the Museum’s archive.
Reopened to visitors for the first time in over a decade, Wright & Wright's sympathetic interventions to the Reading Room have carefully adapted the space for public access, events and programming whilst simultaneously supporting its continued operation as a working archive. Visitors now have access into the heart of the Museum to appreciate the original desks and shelving beneath the iconic dome.
History
History
The Round Reading Room, completed in 1857 to the designs of Sydney Smirke, is one of the most significant 19th-century interiors in the British Museum. Conceived as the centrepiece of the Museum’s courtyard, its vast circular form is defined by a domed roof inspired by the Pantheon, creating a monumental yet ordered space for study. Over time, it has undergone a series of adaptations, most notably its incorporation into the Great Court redevelopment in 2000, reflecting the evolving needs of the institution while retaining its architectural clarity and presence.
Approach
The proposals for reopening have been guided by a 'light-touch' approach. New interventions have been designed to be fully reversible and self-supporting, minimising impact on the existing fabric and making use of existing fixing points wherever possible.
To protect the room’s historic fittings and collections, elements were manufactured off-site and assembled using dry construction methods, limiting works within the space. A detailed photographic condition survey was undertaken before installation, with Museum staff closely overseeing the process.
A deep blue tone has been selected for the new interventions, chosen to complement the historic interior while providing a clear distinction between old and new.
