On the sands of Miami Beach, where the horizon usually belongs to water and sky, Es Devlin has inserted something unexpected: a library that moves. Unveiled as the major centerpiece of Faena Art Miami Art Week 2025, Library of Us is a vast, glowing amphitheater of books, sound, and slow choreography. Commissioned to mark ten years of Faena Art in Miami Beach, the installation stretches across the shoreline as both spectacle and sanctuary, an architecture that asks visitors not to consume, but to pause, read, and share time.
At the heart of the work stands a kinetic, 6 meter tall triangular bookshelf, monumental yet gentle in its motion. The structure is 15 meters long and holds 2,500 books, arranged not as static objects but as part of a living system. The entire bookshelf rotates on its axis once every ten minutes, a pace slow enough to feel almost imperceptible. This gradual movement creates a quiet sense of drift, as if the architecture itself were breathing.
Designer: Es Devlin
The bookshelf is encircled by a shallow mirrored pool that reflects the structure, doubling its presence and softening the boundary between object and environment. Steel, marine plywood, mirror, water, and LED elements work together to transform the beach into a reflective, fluid landscape. In this setting, text does not shout, it glides. A continuous 10 meter LED line streams words across the spine of the bookshelf, making language visible as light and motion. Here, text moves at the pace of tides and pages rather than notifications.
Surrounding Library of Us is a monumental circular reading table that seats hundreds. The table is divided into two concentric rings. The outer circle remains still, while the inner circle rotates with the sculpture. This subtle architectural decision reshapes the act of reading into a collective experience. With every slow rotation, readers find themselves facing a new passage, a new book, and a new person across the table. Without instruction or spectacle, the installation creates moments of shared temporality and quiet connection.
Sound further deepens the atmosphere. A 250 excerpt audio score, read by Devlin herself and layered with music, fills the space with a polyphonic field of voices, memories, and literary fragments. The result is neither performance nor background noise, but something in between, a sonic environment that blurs the boundary between private reading and public ritual.
On view until December 7, 2025, Library of Us functions simultaneously as a public library, an illuminated sculpture, and an arena for collective reading. It also continues Devlin’s ongoing investigation into libraries as kinetic sculptures. Earlier in 2025, she presented Library of Light at the Pinacoteca di Brera in Milan, where daily collective readings drew nearly 200,000 visitors. In Miami, that inquiry expands outward, scaled to the openness of the beach and the civic ambition of Faena Art Week.
The project’s afterlife is just as considered as its form. When the week concludes, all 2,500 books, supplied through a partnership with Penguin Random House, will be donated to public libraries, schools, and community organizations across Miami, extending the work’s impact beyond the shoreline.
Two additional commissions complete the experience. Inside the Faena Cathedral, The Reading Room takes shape as a 14 meter bench integrated with a bookshelf and LED screen, built from phrases contributed by the hotel’s staff including housekeeping, gardeners, security, restaurant teams, maintenance, and long time collaborators. Nearby, Tracing Time presents drawings and paintings on glass, paper, and screens that reveal Devlin’s process through layers, repetition, and mark making. Together, these works form a rare portrait of Es Devlin’s multidisciplinary practice. Library of Us is not simply an installation to be seen. It is an architecture that reads back, reminding us that language gains its greatest power when it is shared, slowed down, and held in common.
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