Since announcing his first North American project in New York and opening an office in the Big Apple, BIG-founder Bjarke Ingels has been moving fast. His meteoric ascent into a Danish-American icon is happening so quickly, that the starchitect has landed himself in the Smithsonian, in a manner of speaking. The venerable institution has just hired Ingels to prepare a master plan for the museum's Washington, D.C. campus, and we're left wondering if that might mean a new mountain range rising off the National Mall. The Washington Business Journal reported today that the Smithsonian signed a $2.4 million contract with BIG to create the first phase of the master plan, a task that is expected to take around 8 to 12 months. The project site is bounded by Jefferson Drive along the National Mall, Seventh Street SW, Independence Avenue SW, and 12th Street SW, as indicated on the map below. The study area includes many iconic Smithsonian buildings including the Smithsonian Castle (above) and the Hirshhorn Museum and Sculpture Garden (top). According to the WBJ, the team from BIG will investigate all buildings in the area, studying the architecture, engineering, and programming of the campus in order to recommend a "gateway" that promotes rest, education, and connects with the National Mall to the north. Among the challenges the campus currently presents is a disconnected flow of public space, dark and uninviting interior spaces, and dilapidated quarters.
Posts tagged with "BIG-Bjarke Ingels Group":
It took some negotiating, but New York City Council has approved Durst Fetner’s plans to build West 57th, a 750-unit residential development designed by Danish architect, Bjarke Ingels. Crain's reported that the 32-story pyramidal “courtscraper,” sandwiched between 11th Avenue and the Hudson River, will consist of 750 rental apartments, with an additional 100 units in a converted industrial building. An early point of contention stemmed from what city council viewed as an inadequate plan for income-restricted housing, which will only be affordable for 35 years. While Durst Fetner didn’t budge on this issue, they did agree to donate $1 million to an affordable housing fund.
Phoenix-based developer Novawest wanted a new signature project for the city's downtown, an observation tower from which to admire the far-off mountain ranges and dramatic Southwestern sunsets, so Bjarke Ingels proposed to scoop out the spiraled negative-space of New York's Guggenheim Museum rotunda and plant it 420 feet above downtown Phoenix. Ingels' "Pin," a 70,000 square foot observation tower is elegant in its simple form, a ball on a stick, indeed evoking some far away Gulliver on a real-life version of Google maps finding his way to the Sun Belt. In another light, Phoenicians could ostensibly see a larger-than-life Chupa Chup or an upended mascara brush, but that's the beauty of pure form, right? Visitors will be able to ride one of three glass elevators up the reinforced concrete core to the top of the Pin's observation spiral, where flexible exhibition, retail, and recreation spaces will showcase panoramic views of the surrounding region and descend, round and round, to a restaurant in the lower portions of the sphere. "Like the monsoons, the haboobs, and the mountains of the surrounding Arizonian landscape, the Pin becomes a point of reference and a mechanism to set the landscape in motion through the movement of the spectator." Bjarke Ingels, principal at BIG, said in a statement. "Like the Guggenheim Museum of New York offers visitors a unique art experience descending around its central void, the motion at the Pin is turned inside-out allowing visitors to contemplate the surrounding city and landscape of Phoenix. Like a heavenly body hovering above the city, the Pin will allow visitors to descend from pole to pole in a dynamic three dimensional experience seemingly suspended in midair."
An inventive new park in Copenhagen’s Norrebro district, "Superkilen," designed by Bjarke Ingels Group (BIG), Superflex, and Topotek 1 serves as a sort of cultural collage of artifacts sourced from 60+ nationalities. Superkilen slices its way through the center of the city, soaking up and flaunting its inhabitants’ diverse cultural backgrounds along the way. The kilometer-long wedge of urban space, completed this summer, is divided according to use into three distinct color-coded zones and sports bike paths linking directly to Copenhagen’s cycling highways. The park’s "urban furniture" integrates a range of symbolic and functional items from all over the world. Armenian picnic tables join Iraqi swings, Brazilian benches, Chinese Palms, Islamic tiled Moroccan fountains, and an Indian climbing playground, among others. A "Green Park," almost entirely green, offers trees, plants, and grassy hills suitable for sunbathing, sports, strolling, and picnicking. The "Red Square" is brightly painted in geometric patches of radiant reds, oranges, and pinks and is intended for recreational use with indoor and outdoor sports arenas and exercise facilities. Locals can gather and mingle at the "Black Square," which acts as the city’s “urban living room,” and play a game of backgammon beneath a Japanese cherry tree, illuminated by a giant neon-red star from the USA.
The Durst Organization is launching a composting pilot program for the 600-unit Helena apartment building on Manhattan's West 57th Street. The program will start in the next few months and, if successful, will be implemented in Durst's planned 32-story W57 tower designed by Bjarke Ingels and expected to finish in 2015. This composting scheme, potentially serving 1,350 apartments, will be the largest residential composting project in the New York City. Instead of lugging compost to collecting centers throughout the city, compost at Durst's towers can be tossed out and picked up much like recycling. Tenants will gather their apple cores, eggshells, and other compost-able goods into a biodegradable paper bag and toss them into a communal garbage bin in the building’s garbage room. From there the waste will be picked up three times weekly and schlepped away to Riker’s Island to become fertilizer.
Denmark has chosen one of their own, the Copenhagen and New York-based Bjark Ingels Group (BIG) to design the Blåvand Bunker Museum, a structure to be located—or more specifically embedded—in a historic seaside site where German forces occupied Denmark during World War II. Ingels slices into the landscape and builds lightly out of glass atop the ruin of a massive concrete bunker, all of which will be recreated to serve a completely different purpose. The eye is immediately drawn to what looks like a pair of massive glass guns sitting atop the concrete bunker adjacent an incised hilly landscape of grass-covered dunes, creating a surreal Wonderland on the Danish coast, although it's unclear how Alice, a cheshire cat, and a late rabbit (all of which appear in the renderings) are connected to a World War II museum. The museum's entrance is accessed through a gap in a landscape that appears sliced and peeled back, allowing Ingels to preserve the old bunker's impermeability. Visitors are guided from paths traversing the hilly landscape into a sunken courtyard defining four distinct volumes behind glass walls, providing views of the galleries and hints of what's inside. The four split units—each with different functions—hold three museums and one special exhibition gallery. Inside the lower levels of the museum, an underground tunnel connects to the adjacent bunker and gun turret. Rising from the stronghold of the bunker, a dramatic spiral staircase ascends to a gun turret reimagined as a greenhouse-like glass room, contrasting the rough concrete of the existing bunker. The guns themselves house telescopes looking out onto the North Sea. The Blåvand Bunker Museum presents the old and new in a delicate balance, allowing bright skylights and modern white staircases to play off the ominous aura of a war bunker.
Bjarke Ingels, architect of mountains, now has set his eyes on Everest. The New York and Copenhagen-based architect's firm BIG has been tapped by the Rockefellers to design one of the world's tallest buildings at 1,929 feet for a new commercial development in Tianjin, China, a city of nearly 13 million people. Ingels revealed a cryptic, fog-shrouded rendering of the tower on his web site—indicative of the scarcity of detail yet released on the tower—but this being the information age, AN found more information and views of the tower on a clear day. BIG is working with HKS Architecture and Arup to design the $2.35 billion Rose Rock International Finance Center set within an SOM-designed master plan for the Tianjin Binhai New Area Central Business District. The new commercial neighborhood to the southeast of Tianjin replaces a formerly industrial peninsula with a mix of high-rises, historic sites, and parks anchored by a high-speed rail station and helps to connect it to the coast. Rose Rock Group, founded by Steven C. Rockefeller Jr., Steven C. Rockefeller III, and Collin C. Eckles, held a ceremonial groundbreaking on December 16, 2011 and is promoting the new tower as a key to transforming Tianjin into "the financial center of Northern China." Renderings show a terraced pyramidal tower with a palpable vertical thrust and clear reference to the Art-Deco stylings of its inspiration, the Rockefeller Center in New York. Just as the Rockefellers built ambitiously skyward in New York 80 years ago, Ingels said in a statement, "The Rose Rock International Finance Center will be to the contemporary Chinese city what the Rockefeller Center was to the American city of the 1930s: an architectural landscape of urban plazas and roof gardens designed to stimulate and cultivate the life between the buildings." Only this time, over a thousand feet higher.
Bjarke Ingels has again thrown us for a loop, this time in Bordeaux, France. Ingels' firm BIG has revealed its latest competition-winner called the Maison de l’Économie Créative et de la Culture en Aquitaine, or, for the rest of us, MÉCA. As AN noted in April, BIG won the commission working with Paris-based FREAKS freearchitects, beating out the likes of SANAA and Toulouse-based W-Architectures, but the renderings have been kept under wraps until now. Ingels' explained the design using his signature diagram-based narrative as an array of three visual and performing arts agencies arranged around a 120-foot-tall arch-shaped building. The architects approached the concept of the arch as a functional, programmatic, and symbolic guide in their understanding and design of the building. The arrangement begins (see diagrams in gallery below) along a flat line connecting three cultural institutions—OARA, FRAC, and ECLA—and then twists to create an asymmetrical geometry surrounding a void at the center of the arch housing an outdoor “urban room.” This central public space transitions between the building's interior and the public promenade weaving through the building. The archway, expressive of the building’s cultural function, also implies a connection between the building, its institutions, the waterfront, and the adjoining city of Bordeaux. The three institutions taking residence at the MÉCA each occupy different parts of the arch. Regional performing arts center OARA and the ECLA archives will fill the vertical posts while the regional visual arts center FRAC alights above with sunlit gallery space, including a large roof terrace. The entrance to all three buildings is below the “urban room” and accessible by large ramps leading visitors first underground before ascending either vertical pillar. A large rooftop terrace is also sliced into the sloping roof. The new center is clad in a regionally-traditional limestone with an intricately fenestrated facade adding rich texture and depth to the envelope. The $65.4 million project will be paid for with public funds and is estimated to be complete in 2015.
On April 14 the Regional Council of Bordeaux, France announced that BIG (Bjarke Ingels Group) was selected to design the new Maison de l'économie créative et de la culture en Aquitaine, a.k.a. "la Méca." The new building on the riverfront site will house three regional visual and performing arts agencies. The website of France's SudOuest newspaper reports that BIG beat out SANAA and the Toulouse-based firm W-Architectures with a design for a 120-foot-tall arch-shaped building featuring a 14,000-square-foot roof terrace. The 52-million-euro scheme awaits final approval at a May 21 council meeting...stay tuned for the renderings!
When Bjarke Ingels makes news, he really makes news. The superhero force behind the juggernaut that is BIG is in the running on Chicago's Navy Pier, has a giant heart pulsing in Times Square, just won a competition for Kimball Art Center in Park City, Utah, and now plans for his 49-story skyscraper in Vancouver, Canada have leaked, revealing a new "twist" on the traditional skyscraper. We've known for over a year that Ingels was planning the Vancouver tower, but now Vancity Buzz has revealed, in addition to the renderings, project details for the Beach & Howe Tower garnered from documents filed with the city. The current proposal calls for 600 residential units occupying the 490-foot-tall tower, which could become the city's fourth tallest building (and BIG's tallest tower, 40 feet taller than their W57 hybrid tower in Manhattan). Condos fill the upper floors while 180 apartments are situated in a nine-story podium base along with a mix of commercial and retail space. The program also calls for 713 parking spaces and 270 bike spaces. The development sits adjacent to the Granville Street Bridge and renderings show a lively array of uses ranging from a beer garden to a weekend market to an outdoor cinema beneath the massive highway deck. The tower's floor plate begins as a triangle at its base and rises, twisting and corbeling to form a rectangle at its summit, an aesthetic he also employed for his winning design at the Kimball Art Center. "The tower and base are a reinvention of the local typology, known as "Vancouverism." In this typology, slender towers are grouped with mixed-use podiums and street walls that define human-scale urban environments. The aim is to preserve view cones through the city while activating the pedestrian street," Bjarke Ingels said in a letter to the city of Vancouver. "The Beach and Howe Tower is a contemporary descendant of the Flatiron Building in New York City," whose site was considered unusable until technology and the economy made the iconic building possible. "Beach and Howe's architecture is not the result of formal excess or architectural idiosyncrasies, but rather the child of its circumstances," he said. Ingels said the tower's base pulls away from the busy elevated roadway, by about 30 feet, to provide extra space between residential units and the noise and pollution of traffic. The triangular shape was employed to allow sunlight to reach a nearby park. As the tower rises and concerns from noise and pollution diminish, the floor plates expand, creating the tower's twisting aesthetic. Details remain scarce at this point, but we're pretty sure the building is going to be pretty green as well.
Bjarke Ingel's meteoric rise is perhaps the fastest of any architect since Eero Saarinen. His firm was just selected to design the renovation and expansion of the Kimball Art Center in Park City, Utah. Bjarke bested Will Bruder, Williams + Tsien, Brooks + Scarpa, and Sparano + Mooney. BIG's design calls for a torqued addition made of stacked railroad timbers. “BIG won the competition by proposing an iconic building that honors the spirit of Park City’s past and looks ahead into the 21st century," said juror Maurice Cox, in a statement. The phased project will begin in 2013 and be completed in 2015.
Last year, BIG (Bjarke Ingels Group) got their heart broken by the Times Square Alliance, which chose a hula-hoop happy design by Freecell Studio for its annual Times Square Valentine's installation. Now a spokesperson from the Alliance admits that they always "loved" BIG's design and were willing to give it a second chance. This year, the Alliance didn't go online looking for love. Instead, they went back to a former flirtation, and chose BIG's entry from last year, shunning the possibility of outside suitors. BIG calls its 10-foot high glowing heart sculpture "BIG♥NYC." The design affair was something of a ménage à quatre, with Flatcut (the fabricator), Local Projects (the interaction designers), and Zumtobel (the lighting designers) pitching in on the effort. Four-hundred LED-lit acrylic tubes wrap a cube that bounds a suspended heart. Not surprisingly, when touched the heart grows brighter.