In 1969, Walter Gropius designed a collection of china for Rosenthal. Named after his atelier in Cambridge, The Architects Collaborative, TAC's elegant and curious forms are pristine in white porcelain. Embellishing Gropius' design would naturally be heresy to some purists. To others, it would reflect his belief in the collaborative process. In their update of the tableware, called TAC Big Cities, architect Bjarke Ingels of BIG and Danish industrial design studio Kilo teamed up to create an urban motif for the collection. The skylines of Paris, New York, Berlin, London, and Copenhagen have been delineated in dark blue with a sure hand (My guess it was wielding a 7B pencil). Not meandering doodles, not too-crisp or CAD-like. This is a friendly, confident line. When wrapping around serving vessels, pitchers, and bowls, the cities' silhouettes are easily recognizable, punctuated with unmistakable architectural icons as the Eiffel Tower, the Empire State Building, and the Brandenburg Gate. But when projected onto the borders of plates and platters—comparatively flat surfaces—the lines distort, and read more like seismic activity graphs. It's a pleasantly unruly ornament. Dining on the town of your choice will cost about $50 for a 11-inch plate.
Posts tagged with "BIG-Bjarke Ingels Group":
LEGO Architecture has released a new box set—and from the looks of it, this isn't your grandmother’s architectural plaything. The new LEGO set is not the usual plastic-brick model of Rockefeller Center or the Empire State Building. No, this new set is cutting-edge. It goes where no other LEGO box set has gone before: it's a replica of an icon so iconic that it doesn’t even exist yet. It’s a limited-edition replica of the Bjarke Ingels–designed LEGO Museum in the company’s birthplace of Billund, Denmark. Spotted by John Hill at A Daily Dose of Architecture and selling on eBay for well over $100, the set also features what appears to be a shaggy-haired Bjarke Ingels figurine, which would place him in the company of Yoda, the Lone Ranger, and the Teenage Mutant Ninja Turtles as icons that have also been shrunk to LEGO-sized proportions. Hill described the set as "LEGO imitating architecture imitating LEGO," a reference to BIG's clear inspiration for the LEGO House. A video-rendering of the project (above) might even double as an assembly guide for the LEGO Architecture Series set. The real LEGO House will be a blocky, 82,000-square-foot exhibition space designed to celebrate the toy’s history. BIG's real-life museum isn't projected to open until 2016, so if you buy the set now, you'll probably beat Bjarke to the finish line.
In early April, the ten finalists in the Rebuild By Design competition unveiled their proposals to protect the Tri-state region from the next Sandy. And in the near future, a jury will select a winner—or winners—to receive federal funding to pursue their plans. But before that final announcement is made, AN is taking a closer look at each of the final ten proposals. Here's BIG's "Big U" that could save Lower Manhattan from the next superstorm. Team BIG encased Lower Manhattan in the "Big U," a ring of flood protection measures and community and recreational programming. The 10-mile system is separated into compartments that provide unique storm mitigation strategies and programming for the distinct communities along Manhattan's outer edge. On the East Side, the Bridging Berm protects against future storms and provides access to riverfront parkland when the waters are calm. Underneath the FDR Expressway, BIG would install panels that are decorated by local artists and can be deployed as storm-walls when necessary. A new berm in Battery Park would protect the country's financial center and provide a new pathway through the already popular public space. And an existing Coast Guard building is replaced with a "reverse aquarium," which "enables visitors to observe tidal variations and sea level rise while providing a flood barrier." The team includes One Architecture, Starr Whitehouse, James Lima Planning + Development, Project Projects, Green Shield Ecology, AEA Consulting, Level Agency for Infrastructure, Arcadis, and the Parsons School of Constructed Environments.
The National Building Museum was smart to wait till April 2nd to announce their latest project, lest anyone think it was a cleverly crafted April Fool's prank. The Washington, D.C.–based institution said today over Twitter ("A-MAZE-ING NEWS") that Bjarke Ingels Group (BIG) will design an unconventional maze to be temporarily housed in its grand atrium. Perhaps inspired by the summer tradition of the corn maze, the BIG installation will debut in the West Court of the building's cavernous Great Hall on July 4th, bringing new meaning to Independence Day to those wandering within its walls. In a material sense the Danish firm has opted to go against the grain, constructing their project out of Baltic birch plywood. Convention is also bucked in the experience of the maze itself. Traditionally a labyrinth grows more confounding as one descends deeper into its clutches. In the case of BIG's maze, penetration fosters clarity. The 18-foot-tall walls that establish the square perimeter of the structure slope towards its center, meaning that upon reaching the heart of the design, visitors are offered a 360 degree view of the entire layout of the labyrinth that, presumably, ensures a relatively painless escape. The maze will be installed through September 1st as part of the museum's Summer Block Party slate of programming. BIG is not the first firm in recent months to try their hand at such work within a museum context. The Royal Academy of Arts in London recruited seven international architects, including Diébédo Francis Kéré and Kengo Kuma to design labyrinthine installations for an exhibit entitled Sensing Spaces. The show opened in late January and runs through April 6th.
Deeming them to be not "appropriate to a world-class institution nor effective in accommodating day-to-day use," trustees of London's Museum of Natural History put out a call for redesigns to the grounds surrounding the building. The competition has now reached its second stage, with five firms selected as finalists for the project, though who is responsible for which proposal has yet to be revealed. The winning selection will have to ease access for the museum's growing number of visitors and create a new civic ground for the city of London. The following teams have advanced to the second round of the competition:
- BIG (Bjarke Ingels Group) with Martha Schwartz Partners
- Grant Associates with Feilden Clegg Bradley Studios
- Niall McLaughlin Architects with Kim Wilkie
- Land Use Consultants (LUC) with Design Engine
- Stanton Williams Architects with Bradley-Hole Schoenaich Landscape Architects
Thanks in large part to public protest, Bjarke Ingels' plans for a twisted, log-cabin-like box for Park City's Kimball Art Center have been dramatically changed. Earlier this month Ingels' firm BIG unveiled a new design: a concrete wedge lifting 46 feet above the corner of Main and Heber Streets. "The building seems to rise with Main Street and the mountain landscape, while bowing down to match the scale of the existing Kimball," Ingels said in a statement. The former plan (pictured below), chosen in 2012, was 80-feet-tall. Its exposed wood facade paid homage to the area's early settlers and to the city's historic Coalition Mine Building. Besides echoing the local topography, Ingels told the Park City News that the new poured-in-place design "draws on the encounter between the modern functionalist architecture of the Kimball Garage (the museum's original home) and the regional vernacular style of the mountain architecture." Some locals had complained that the original design didn't mesh with the city's context, and that its height would impact property values. When asked how he felt about the Kimball's decision not to pursue his original design, Ingels replied: "The Kimball and BIG did the only thing possible, and now I think we have arrived at a design that can be just as striking a contribution to Part City's streetscape, if only a lot more intimate in scale than our first sketches."
Albany Bahamas Resort Honeycomb Building Architect: BIG + HKS + MDA Location: Albany Bahamas Client: New Providence, The Bahamas Completion: TBD A team comprised of the Bjarke Ingels Group (BIG), HKS, and MDA has unveiled its design for the Honeycomb building at the Albany Bahamas resort. This 175,000-square-foot private residential building takes its name from its hexagonal facade, which mimics the naturally occurring shapes in the coral reefs found off the shores of New Providence. When completed, it will be the tallest structure on the island. Infinity pools on each level create stunning vistas of the Elysium-like surrounds of the golf resort, connecting guests directly to this manicured world of pleasure. Swimmers on their own private balcony pools can imagine that they are immersed in the marina and the ocean beyond. Summer kitchens reinforce this connection to the natural surroundings while providing all of the comforts of modern technology. “Our design is driven by an effort to maximize the enjoyment of the abundant natural qualities of Albany in The Bahamas: the landscape, the sea, and the sun,” said Bjarke Ingels in a statement. “A honeycomb facade functionally supports the pools making them sink into the terrace floor and provides spectacular sight lines while maintaining privacy for each residence. Drawing inspiration from its coastal setting, the hexagonal design evokes the natural geometries you find in certain coral formations or honeycombs.” The building contains units with diverse floor plans to suit a variety of pampered lifestyles, while the architecture itself melts into the lush flora and fauna of the resort’s grounds. All images courtesy BIG.
Arnhem, Netherlands is in the midst of commissioning designs for ArtA, a new cultural center planned for the city. Proposals from an impressive list of four international firms are being considered for the space, which is to house the Museum Arnhem and the Focus Film Theater. Beyond accommodating both exhibition and theater programming, the structure is also meant to act as a link between the city and the waterfront of the adjacent Rhine River. SO-IL, NL architects, Bjarke Ingles Group (BIG), and Kengo Kuma are the four studios shortlisted for the project. SO-IL presented a modular design composed of five units of varying size. A central staircase leads visitors deep into the interior of the structure, while each unit is strategically pierced by large openings that provide views of the river and the surrounding city. In keeping with the two pronged program of the center, BIG elected to place a black box and a white box at either pole of their proposal. These archetypes of museum and theater architecture are fused by a twisted volume and diagonal arts plaza. The torqued form creates new types of semi-protected public spaces in the plaza designated to host the center. Both NL Architects and Kengo Kuma arrive to the competition armed with stepped structures. Kengo Kuma offer a series of offset stacked glass rectangles partially clad in red clay tile, an arrangement that also generates a number of rooftop terraces. The Rhine is metaphorically invited into the site in the form of cascading reflecting pools. NL Architects envisions a more uniformly staggered facade in the form of a large staircase-shaped structure growing in size and stature as it approaches the waterfront. These, too, are coupled with rooftop green space and a sculpture garden, while the steps rest upon an expansive and largely open multifunctional art square.
Despite winning the Kimball Art Center renovation commission in February of last year, Bjarke Ingels Group’s design proposal is far from beginning construction in Park City, Utah. After a seven-member jury of officials, architects, and a Park City resident chose the BIG museum revamp from a shortlist of designs from several prominent firms, the public made their dissatisfaction clear. The building is on hold and without community approval it will continue to sit in stasis for an indeterminable amount of time. Rendered as a twisted timber box, BIG’s transformed Kimball Art Center is a “highly-evolved log cabin at an unprecedented scale.” Its wood construction alludes to the building materials used by miners, the area’s first settlers, and the proposed 80-foot height is congruent with an iconic heritage monument that once stood near the site. These architectural intentions do not appease nor appeal to Park City residents. Scott Iwasaki of “The Park Record” reported that some neighbors have complained BIG’s design does not fit with its historic locale while others are worried the tall structure will decrease surrounding property values. Concerns have been so severe that the art gallery’s Board of Directors chose not to submit the plan for a city review, the first step in building construction approval, even after the jury spent six months deliberating a design competition winner. The Board did make a pre-application to Park City’s Historic District Design Review, although this will have no effect on the status of the eventual renovation. Their next move, however, is uncertain. Repeating the competition process for a new design is an option, Kimball Art Center Chairman Matt Mullin said but its subsequent timeline extension would not be ideal. The renovation is meant to provide space to expand the Kimball’s art education classes and until the Park City community is content with the design, its present pause will endure.
Something BIG is coming to Harlem. According to the New York Post, Long Island–based Blumenfeld Development has hired the Bjarke Ingels Group to design a proposed residential project on East 125th street. The Danish and American architects have reportedly signed on to build a 200,000 square-foot apartment building on a site between Lexington and Third avenues, known as Gotham Plaza, which currently contains a decade-old DMV building. While renderings have yet to be unleashed, judging from Bjarke’s incoming West 57 project, we can surely expect something exciting from the 200-unit apartment building, 20 percent of which will be affordable.
A team led by Bjarke Ingels Group (BIG) has won an international design completion for the new Museum of the Human Body in Montpellier, France. Recalling the forms of some of BIG’s other recent projects, most notably Blaavard Bunker Museum in Varde, Denmark (which has just received funding to move forward) and the 200-acre EuropaCity mega-development outside Paris, the 84,000 square foot museum will rise from the surrounding landscape with grass-capped roofs, and a seemingly continuous, curving glass façade. Set to open to the public in 2018, the museum will draw on Montpellier’s history of medicine and humanism as it explores the human body through artistic, scientific, and social perspectives with interactive exhibits, cultural programming, workshops, and performances. Located along the edge of Parc Georges Charpak in the city’s newly developed Parc Marianne area, the museum stitches the landscapes of park and city through eight, rounded, interconnected pavilions that, in the words of the architect, “weave together to for a unified institution–like individual fingers united together in mutual grip”. “Like the mixture of two incompatible substances–oil and vinegar–the urban pavement and the parks turf flow together in mutual embrace forming terraced pockets overlooking the park and elating islands above the city,” explained Ingels in a statement. Above ground, alternating roof gardens of pavement and grass provide spaces for visitors to, in the increasingly strange words of the architect, “explore and express their bodies in various ways.” Meanwhile, a continuous, linear space below grade joins together the eight volumes, maximizing internal connections. To extend Ingels’ finger metaphor and provide appropriate day-lighting for the interior, the building’s glass facade is covered in GFRC-fabricated louvers of varying orientations that somewhat resemble the pattern of human fingerprints. Construction is slated to begin in 2016.
The Nobel Foundation, the body that administers all activities involved in the delivery of the prestigious Nobel Prize, has shortlisted 12 architecture firms to partake in an international design competition for the new headquarters in Blasieholmen, Stockholm. In addition to providing a global headquarters, the establishment will also include a visitors center where the public can explore the natural sciences, humanities, and peace efforts of the United Nations. One of the key factors for the Foundation in selecting the architects to participate involved "their ability to work in intricate urban environments where historical context and the natural environment must be considered with sensitivity." The 12 selected firms include: - 3XN, Denmark - BIG, Denmark - Herzog & de Meuron, Switzerland - Johan Celsing Arkitektkontor, Sweden - Lacaton & Vassal Architectes, France - Lundgaard & Tranberg Arkitekter, Denmark - Marcel Meili, Markus Peter Architekten, Switzerland - OMA, Netherlands - SANAA, Japan - Snøhetta, Norway - Wingårdhs arkitekter, Sweden. - David Chipperfield Architects, England/Germany. At this stage of the competition, all submitted entries are anonymous, and the renderings are available in a public exhibition at the Nobel Museum in Stockholm. The winning design proposal will be announced during the spring of 2014. The design proposals: