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.
Posts tagged with "BIG-Bjarke Ingels Group":
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 Swedish Transport Administration launched a conceptual design competition in 2011 for a new bridge in Skuru, Sweden. The competition received great national and international response, including one fanciful proposal by Danish firm, Bjarke Ingels Group (BIG). The competition brief stated that the new bridge should adhere to high aesthetic standards and coincide with the existing bridge and the surrounding valuable cultural and natural landscape. Ingels deploys his characteristic hedonistic sustainability to bring nature onto the bridge itself. While the design only a concept, BIG has presented an innovative structure with the aim to create a symbiotic relationship between infrastructure and nature. The bridge consists of three main elements: a lower level arc-shaped bridge, a linear road bridge above this, and ultra-slim columns which connect the two. The arched bridge is a visual allusion to a hill between both sides of the strait and also responds to the arch of the existing bridge in profile. This space serves as a green pedestrian walkway filled with vegetation and creates an uninterrupted flow of parkland from one shore bank to the other. According to BIG, "Investments in infrastructure are all too often at the expense of the environment—an untouched natural landscape becomes tainted by a highway intersection...Skuru Parkbridge represents a new form of social infrastructure—which is not only aesthetic and environmentally well-integrated with the existing bridge and the natural landscape—but is also socially activating by creating a place and park for the people who live and work on both sides of the strait." All images courtesy BIG.
The Bjarke Ingels Group (BIG) has completed its latest cultural offering in its homeland: the Danish Maritime Museum in the city of Helsingør. Located a mere 1,600 feet from the historic Kronborg Castle, a UNESCO World Heritage site and the setting of Shakespeare’s Hamlet, the museum honors Denmark’s historic and contemporary role as a leading maritime nation. Faced with the challenge of establishing a fitting facade while preserving the views from the nearby castle, BIG principal Bjarke Ingels tucked the 65,000-square-foot museum 23 feet below grade by carving out space around an existing, decommissioned dry dock. “By wrapping the old dock with the museum program,” Ingels explained in a statement, “we simultaneously preserve the heritage structure while transforming it to a courtyard bringing daylight and air in to the heart of the submerged museum. Turning the dock inside out resolved a big dilemma: Out of respect for Hamlet’s Castle we needed to remain completely invisible and underground—but to be able to attract visitors we needed a strong public presence. Leaving the dock as an urban abyss provides the museum with an interior façade facing the void and at the same time offers the citizens of Helsingør a new public space sunken 16 feet below the level of the sea.” Through this creative scheme, the BIG team managed to create a sculptural museum filled with the jarring angles and raw materiality while maintaining the discreet sensibility and downplayed scale appropriate for the historic site. Inside the museum, a continuous series of exhibition spaces loop around the dock, sloping downward as they showcase over 600 years of Danish maritime history. The dock itself serves two new roles, one as the centerpiece of the museum, demonstrating the scale of shipbuilding and Denmark’s industrial heritage, the other as a new public open space for Helsingør, accessible by two descending staircases. Three, two-tiered bridges zigzag across the dock, add a dash of dynamism to the museum’s otherwise low-key outward appearance. The southernmost bridge provides access across the sunken space to the nearby castle and housing the museum’s auditorium within, while the other two direct visitors to the museum’s entrance and provide shortcuts within. Exhibition design was lead by Dutch specialists Kossman.dejong, while KiBiSi designed the above ground seating. Drawn from the form of ship bollards, the benches and stools beside the museum are arranged to contain a secret message written in Morse code.
Seeking ideas for a new 645,800 square foot media campus in Berlin, Axel Springer AG revealed its design contest by inviting twenty international firms to propose innovative schemes. Mathias Döpfner, CEO of the company, specified “the building should not be overwhelmingly beautiful, but also address the question: what does material mean in a dematerialized media company, what does an office mean in a mobile working environment, in which offices are no longer really required?” The five shortlisted firms are Bjarke Ingels Group (BIG), Kuehn Malvezzi, Ole Scheeren, Rem Koolhaas (OMA) and SANAA. The winner will be announced in December. (Photo: Google Earth)
Bjarke Ingels and Michael Van Valkenburgh are teaming up to design Pier 6 at the southern end of Brooklyn Bridge Park. As AN reported, the pier will feature a pastoral landscape terminated by a triangular viewing pavilion called the Mantaray. The landscape and viewing platform will offer unmatched views of the Manhattan skyline and accommodate special events like concerts. Take a look at the gallery of renderings below or read more about the project here. All renderings courtesy BIG and MVVA.
In the wake of Hurricane Sandy, architects have been called to arms to both engage in the immediate recovery efforts and to come up with design solutions that will make New York City's buildings more resilient and sustainable in the long-term. The latest in a flood of new Sandy-inspired design initiatives was launched yesterday by New York Restoration Project (NYRP), dubbed "EDGE/ucation Pavillion Design Competition," asking a group of hand-picked, up-and-coming architecture firms to create a storm-resistant pavilion in Sherman Creek Park right on the Harlem River. The structure, located on a former illegal garbage dumping site, would serve as a boating facility and outdoor classroom for a number of activities such as wetland exploration and oyster gardening. The NYRP undertook a major clean-up of the polluted 5-acre area in 1996 and has since transformed it into a healthy and verdant public space for recreation and boating. The project is expected to cost $900,000. With the help of Susanna Sirefman of Dovetail Design Strategists, the NYRP selected eight Manhattan and Brooklyn-based firms, that include: Bade Stageberg Cox, Desai/Chia Architecture, HOLLER Architecture, KNE Studio, Lang Architecture, Taylor and Miller Architecture + Design, Urban Data & Design, and WORKac. The firms will submit their proposals on September 16th, and the following month, a Technical Advisory Group made up of leaders in the field—such as Adrian Benepe, Director of City Park Development for Trust of a Public Land and Thomas Christoffersen of BIG—will select the five finalists. A new jury—including NYRP founder Bette Midler, James Polshek of Ennead Architects, and Christopher Sharples of SHoP Architects—will then look over the submissions. A winning proposal will be announced in late November 2013.
After months of fierce rivalry and contentious one-upping, Rem Koolhaas' OMA has beat out Bjarke Ingels (BIG) in the competition for the Miami Beach Convention Center commission. At times, it appeared as if BIG was in the lead, but OMA crept up and ultimately took home the prize. OMA has proposed a $600 million overhaul of the 52-acre convention center to build a more integrated facility in addition to tacking on more open space and park land. This plan calls for reconfiguring the layout of the convention center to provide enhanced access to Lincoln Road, green space, and existing hotel on the beach. “We wanted to expand the convention center without taking up more space within the city, so one of the key elements of our design is that we stack the hotel and ballroom,” Jason Long, associate architect at OMA, told AN in June. “We integrated the hotel to reduce the footprint of the building and leave some breathing room for open space and as a buffer between the convention center and the Jackie Gleason Theater and new cultural building to the south.” Before announcing their decision, Miami Beach Commission requested trimmed down versions of their proposals. The winning South Beach ACE Team, consisting of OMA and Tishman, shaved off some retail, and axed the residential and cultural buildings.
In the last month, the competition for the Miami Beach Convention Center commission has morphed into an all out, gloves off, battle between two design teams, Bjarke Ingels Group (BIG) and Rem Koolhaas' OMA. The South Florida Business Journal has reported that the Miami Beach Convention Center Advisory Board chose the Portman CMC team—consisting of BIG, CMC Group, Portman Holdings, and West 8—over South Beach ACE in a 4-3 vote on June 18th. But this vote isn't the deciding factor. Next, the Miami Beach Commission will vote on the matter sometime before July 17th. Then it is up to residents to cast their vote for the stand alone convention center plan or the same plan with additional residential and commercial development tacked on.