With Bjarke Ingels’ pyramid-like tower—dubbed the “courtscraper”—rising quickly on Manhattan’s West Side, the globe-trotting architect has unveiled plans for his latest sloping project. And this one has the Dane back in Denmark. In his home country, in the city of Aarhus, Bjarke has created “Aarhus Island,” a mixed-use development along the water. Like so much of his residential work, Bjarke has gone angular at the island. In Aarhus, the architect creates stepped towers that rise to defined peaks. According to DesignBoom, which first reported the plans, these residential buildings include more than 200 units. At the water’s edge, the sharp lines of those structures meet the curved edges of an extensive boardwalk. This structure wraps around the development and includes an amphitheater, cafes and shops, floating swimming pools, and a sandy beach-like area. With all the tanning bodies in the renderings you almost forget that Aarhus Island is in Denmark and not say, a country where the average summertime temperature is above 70 degrees fahrenheit. Can't win them all. Work is slated to begin next year with the first components of Aarhus Island opening in 2017. Get those swim trunks ready!
Posts tagged with "BIG-Bjarke Ingels Group":
It's strike two for Danish design in Utah. Bjarke Ingels’ second proposed expansion of the Kimball Art Center in Park City, Utah did not fare any better than his first. The Park City News is reporting that the local City Hall rejected the firm’s updated design because it failed to meet the “municipal government's strict Old Town guidelines.” Or, to put it simply, it just didn't fit in. That's essentially what the Park City community said about BIG’s first design—a dramatic, twisting, log cabin-like structure. For the second go-round, BIG opted for a more refined approach with a concrete structure that lifts over the street and forms a 46-foot-high peak at the site's corner. In a statement, the Kimball Art Center’s executive director expressed the board’s disappointment with City Hall’s decision, and said that they are weighing their next steps. The center has a brief, ten-day window to appeal.
The Bjarke Ingels Group (BIG) has begun assembling the pieces of its life-size LEGO House in Billund, Denmark. The wunderkind, himself, recently joined the LEGO Group’s brass (er, plastic?) for the ceremonial groundbreaking, which was really more of a brick-laying as six LEGO-shaped foundation stones were unveiled at the site. Imprinted on those stones were the words: “imagination, creativity, fun, learning, caring, and quality.” According to LEGO, the 129,000-square-foot structure—which, duh is shaped like the little bricks—will offer both “hands-on” and “minds-on” experiences. Those experiences will be had within four separate “play zones.” For the more academic tots, the LEGO House will also present “the story of the family company including the development of the LEGO products, the LEGO brand and the LEGO Group.” Not as exciting, but still important. “[LEGO House] will appear like a cloud of interlocking LEGO bricks that form spaces for exploration and exhibition for its visitors within,” Ingels said in a statement. “On the outside the pile of bricks form the roof of a new covered square as well as a mountain of interconnected terraces and playgrounds."
Some of the most exciting renderings of the past few years came out of the epic face-off between teacher and student for Miami’s convention center. We're of course referring to bids by Rem Koolhaas' OMA and the Bjarke Ingels Group (BIG) to radically expand and transform the facility. While it looked like a pretty evenly-matched fight, Rem ultimately won-out with a dramatic transformation of the site. But it was only a matter of time until project accountants and fiscally conservative politicians made it clear that Rem's billion dollar plans were not going to be realized. As AN covered in January, Miami Beach’s new mayor, Philip Levin said the city should scrap the project entirely and pursue a more modest renovation. Well, half a year later, the team in charge of making that less-exciting plan a reality has been revealed. ExMiami reported that Koolhaas has officially been replaced by Arquitectonica and landscape firm West 8. “Koolhaas, regarded by many as one of the greatest living architects, was given the boot following the election of Philip Levine as mayor,” reported the site, which continued on to lambast the choice. “Instead, mediocre local firm Arquitectonica, with a long history of churning out subpar buildings with especially poor street level design, is now overseeing exterior architecture.” According to the site, the revised plans call for renovating the current space, and adding a meeting room and ballroom. An existing parking lot will be converted into a 6.5-acre park, while new parking spaces will be placed on top of the existing structure. Designs are expected to be released in December.
All the top names in New York City architecture are vying for a piece of Brooklyn Bridge Park, but whether any of their designs will be realized still remains to be seen. As community groups try to block Mayor de Blasio’s controversial plans to bring affordable housing to Michael Van Valkenburgh's celebrated park, the Brooklyn Bridge Park Corporation has unveiled 14 design proposals for two coveted development sites on Pier 6. Those proposals were unveiled just hours before a Brooklyn Bridge Park Corporation meeting that was packed with community members voicing their strong opposition to any new development in the park. The RFP that the corporation issued in May called for two towers—one 315 feet and the other 155—that are 30 percent affordable. This plan has been met with plenty of opposition, and even a lawsuit, from local groups who claim the towers will block views, eat up green space, and not provide appropriate funding for the park. Under a Bloomberg-era deal, revenue from private development at the park is intended to cover its upkeep and maintenance costs. At the meeting, local residents asked the corporation to reevaluate that plan and pursue other forms of funding. Most were adamantly opposed to new residential towers at the 85-acre park. "This is about developer's greed," shouted one woman during the meeting who was quickly met with applause. There were two individuals with signs that read "Parks for All / Not Condo$ for a Few" and even kids stationed right in front of the corporation's members with homemade signs that read "Save Our Park" and "We Love Our Park." Ultimately, the corporation voted 10-3 not to revisit the funding plan. It will, however, complete a new environmental review of the site. As the Wall Street Journal reported on Tuesday, if the lawsuit can be resolved, a decision on the site should be made by the end of the year and construction could start about year after that. The proposals for the pier, which were barely mentioned at the meeting, came from architects including Morris Adjmi, Pelli Clarke Pelli,Bjarke Ingels, Davis Brody Bond, and Selldorf Architects, among others. You can check out all 14 proposals in the slideshow below, which reveal a wide variety of tower aesthetics rendered with most of the standbys we've come to expect in modern visualizations—hot air balloons, regular balloons, and plenty of birds. Surprisingly, not a single kayak.
[beforeafter] [/beforeafter] The so-called "courtscraper"—a marriage of the European courtyard block and the American skyscraper—by Bjarke Ingels Group (BIG) is rapidly rising on New York City's Hudson River waterfront. Officially called West 57 and under development by the Durst Organization, the 870,000-square-foot rental tower will stand 32-stories tall on the western edge of the starchitecture-studded 57th Street. BIG recently shared this construction view showing progress as of June 9, and we overlaid a model of the finished tower over top of it to give it a little more scale. View the before and after by sliding back and forth on the image above. The building is expected to be complete in 2015.
The Bjarke Ingels Group (BIG) has won a design competition held by Audemars Piguet, a Swiss watchmaker, and are now tasked with creating the Maison des Fondateurs museum in Le Brassus, Switzerland. The 25,800 foot Maison des Fondateurs will be located in the midst of numerous workshops and factories embedded in the history of the Swiss watchmaking company. The Copenhagen- and New York–based BIG is no stranger to large-scale projects such as this, and has already begun work on the construction of the museum. The group is partnering with HG Merz, Luchinger & Meyer, and Muller Illien to see the completion of this project. The spiraling building form will feature a contemporary design that follows the theme of a watchmaking facility closely, while still carrying a modern look. At its core is a tightly wound spiral that winds the linear exhibition sequence around a central point, juxtaposing the museum exhibitions with various other workshops. The entrance will connect directly to the existing museum as well as to the company's hospitality program. Renderings of the museum show the complex actually brings the area's landscape onto the building itself with regional greenery incorporated on the exterior. The twisting spiral form also provides ample pathways for sunlight to enter the museum. To the side of the structure there will also be a sunken guesthouse, exposed by two cuts in the landscape. The ceiling will be comprised of a single, continuous metal sheet: a steel roof coated in brass. The rest of the building will mix traditional materials such as timber and stone with modern materials such as concrete and brass. This combination and collaboration of the new and the old is heavily stressed by Ingels in the design of the building.
Brooklyn-based illustrator Paul Tuller was inspired to create a new poster-portrait series, Architecture As Crown, by his architect boyfriend. This series features illustrations of famous architect's wearing their most famous works on their heads. Beginning as a parody of Andy Warhol's God Save the Queen, the project includes such figures as Peter Eisenman wearing House I as a crown. Purchase your own posters here.
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.
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."