Posts tagged with "BIG-Bjarke Ingels Group":

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The ORB, Bjarke Ingels's floating silver sphere, rises at Burning Man

Fans of large metallic spheres rejoice: The ORB rises. Despite not meeting their crowdfunding goal, Bjarke Ingels and Jakob Lange of Bjarke Ingels Group have successfully created their installation at this year's Burning Man festival in Black Rock City, Nevada. The pair launched an Indiegogo campaign earlier this summer with a goal of raising $50,000 for the project. At the time of writing this article, the pair had raised $34,251 pledged from 127 backers.

#Burningman artists impress. #burningman2018

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AN spotted the ball in Burning Man's official Youtube live stream of the event. The stream peers around the site of the event, known as the Playa to festival-goers, who are also known as Burners. Jakob Lange posted a construction image of The ORB last week to his Instagram account, but neither architect has released official imagery of the project. Burning Man is a temporary event in the Nevada desert where thousands of participants camp, build temporary structures, and engage in various activities of a psychedelic nature. In recent years Burning Man has become synonymous with Silicon Valley and the way in which counter-cultural experiences can be commodified as expensive entertainment. Basic tickets to the week-long festival cost upwards of $300. According to the architects, The ORB will be "a new planet to sci-fi fans, a wayfinder for travelers or just a huge disco ball to those who love a good party!" Although it appears to float above the ground, the 83-foot sphere is held up by a 105-foot steel mast. Renderings and prototype studies showed a mirrored metallic surface to the object, although in the live stream it appears to be either duller or covered in desert dust. The structure will be up during the festival this week, when it will be presumably be dismantled or destroyed along with the rest of the festival's structures.
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BIG, Gensler, and JCFO to design new Oakland Athletics baseball stadium

According to the San Francisco Chronicle, Bjarke Ingels Group (BIG) has been hired to lead design for a new ballpark for the Oakland Athletics baseball team. The decision comes after months of speculation over the team’s future in Oakland as the Oakland Raiders professional football team moves forward with a deal to abandon the Oakland-Alameda County Coliseum—currently shared with the A’s—in order to build a new $1.8 billion stadium in Las Vegas, Nevada, designed by Manica Architecture. A handful of plans have been proposed over the last 18 months for the baseball team’s future home, including purchasing the Coliseum site outright from the City of Oakland for $135 million. But the team is keeping its options open: Aside from the Coliseum bid, the team is currently pursuing plans for a brand new ballpark in the Port of Oakland’s Howard Terminal. https://twitter.com/davekaval/status/1019773158843281409?s=21 The plan for the Howard Terminal site is reportedly favored by Oakland mayor Libby Schaaf, as it would allow the city to buyout Alameda County’s stake in the jointly-owned Coliseum site. The arrangement would give the city control over a centrally-located public amenity that is already connected to mass transit while passing on the costs of redeveloping Howard Terminal to private coffers. Despite Schaaf’s intentions to purchase the park, however, the mayor recently announced that the city does not have the money to make the purchase itself and is unwilling to commit public funding for the plan. In the past, the A’s were also considering a potential partnership with the Peralta Community College District nearby for a new standalone ballpark, though that fell through earlier this year due to community opposition. Previously, it was thought that HOK was on board to design a new A’s stadium, but the latest announcement seems to have scuttled those ideas. Now, it’ll be BIG, Gensler, and James Corner Field Operations working together to craft the new ballpark and the surrounding areas. “We are honored and excited to team with the Oakland A’s to help imagine their future home where sports culture and local community culture unite as one," Bjarke Ingels told The Architect's Newspaper. "We envision a stadium district that will be active and inviting 365 days a year for athletes, fans, and Oaklanders alike.” Announcing the new design team, A’s president Dave Kaval told the Chronicle, “We wanted a team that could look at the ballpark with a fresh perspective…and this is really a game changer.” https://twitter.com/oakstadiumwatch/status/1019785475555450880?s=21 The announcement was somewhat expected, especially for anyone who has been keeping close tabs on relevant social media channels. Earlier this summer, amid a trip to the Bay Area to check in on construction for the forthcoming Googleplex headquarters, BIG’s founder, Bjarke Ingels, took in an A’s game with Kaval. A flurry of Twitter selfies and Instagram stories from the pair hinted at a potential partnership. BIG is no stranger to working in the Bay Area. As mentioned above, the office based in New York City and Copenhagen is currently working with Heatherwick Studios on a new tent-inspired headquarters for Google. The firm also recently unveiled a scheme to reurbanize sections of Islais Creek with Sherwood and ONE. A planned 242-unit mixed-income housing complex in San Francisco’s South of Market neighborhood designed by BIG is under construction, as well.  Designs for the BIG-led proposal have not been released, though Kaval has stated that the new stadium will be privately financed and will open in time for the 2021–2022 season.
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Bjarke Ingels designs stilted Miami Produce Center complex

Bjarke Ingels Group is teaming up with Miami Beach developer Robert Wennett to design a mega mixed-use project dubbed the Miami Produce Center for that city's Allapattah neighborhood. The Real Deal reported that Wennett’s Miami Produce Center LLC aims to construct an eight-building development outfitted with residential units, offices, retail, a hotel, a school, and a parking garage, according to a Special Area Plan recently filed to the City of Miami. Property records show the plan for the new buildings covers an 8.54-acre block at 12th Avenue and 21st Street—all of which was bought for a grand total of $16 million back in 2016. Initial renderings for the Miami Produce Center reveal Wennett’s futuristic and tropical vision for the multi-leveled urbanscape. BIG’s design centers around stacked, rectangular structures, all varying in height and set atop thin stilts. The interconnected buildings, with their exposed floor plates, tilted walls, and angular views, are laid out like horizontal Jenga—some reaching as high as 19 stories. Rooftop plantings and greenery soften the stark design while a landscaped plaza, sunlit parking garage, and grass-covered pavilions shade shoppers and visitors within the complex. In recent years, Wennett has purchased old buildings and warehouses in the largely industrial area, which is situated northwest of downtown Miami and west of the airport. His most well-known project, 1111 Lincoln Road, is an award-winning mixed-use garage designed by Herzog & de Meuron in South Beach.
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BIG's Serpentine Pavilion lands in Toronto for the fall

The Bjarke Ingels Group’s (BIG) 2016 summer Serpentine Pavilion, an unzipped exploration of the flat wall, has made an intercontinental leap to Toronto and is set to open in September. During the day visitors will be able to explore an architectural exhibition titled Unzipped, curated by BIG, inside of the “unzipped wall," and at night talks and events will be hosted by developer and owner Westbank. The curvilinear pavilion will be reconstructed to its original size: 88.5 feet long, 39 feet wide, and 49 feet tall. BIG’s design for the structure began with a two-dimensional wall, and then “pulled it apart” from the base to form the vaulted event space. Rather than the traditional brick, BIG stacked extruded fiberglass frames to allow sunlight inside, a material-structure-daylighting confluence also seen in Frida Escobedo’s 2018 Serpentine Pavilion. The soaring interior evokes the awesomeness of sacred interiors, but here, visitors are encouraged to get comfortable and climb on the outside of the installation. The unzipped wall is currently being installed at the intersection of King and Brant Streets, directly in front of BIG and Westbank’s mixed-use King Street West development. The stepped building will resemble the pavilion, as the development also uses cascading, angled units to maximize sunlight exposure. The installation will remain at its current location until November of this year, but Toronto is only the first stop in the pavilion’s multi-city tour across Canada. The structure will ultimately land on the West Coast in front of Westbank’s Shaw Tower on the Vancouver waterfront. Serpentine Pavilions are sold after the summer season ends and leave London's Hyde Park for homes all over the world. Last year’s pavilion, a swooping saucer that loomed over triangularly-patterned walls from Diébédo Francis Kéré, was purchased by Ilham Gallery in Kuala Lumpur and will likely end up in the Malaysian capital city. Smiljan Radic’s fiberglass pebble from 2014 landed on the Hauser & Wirth art campus, located on Durslade Farm in Bruton, England, and SelgasCano’s plastic polygonal color show from 2015 is slated for a second life in Los Angeles. And what about Zaha Hadid’s original tent from the show’s first year in 2000? The multi-gabled pavilion eventually became a public gathering place (and frequent wedding venue) at Flambards Theme Park in Helston, Cornwall.
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San Francisco considers banning employee cafeterias

To the chagrin of downtown delis, pizza joints, and taquerias everywhere, tech companies in San Francisco have found yet another treasured urban tradition to disrupt: lunch.  Specifically, in recent years, as San Francisco’s South of Market neighborhood has been transformed by the arrival of sizable offices for Twitter, Uber, Google, and others, street life in the area has fizzled. The culprit, critics say, are the free lunches often provided by tech companies to their employees, one of the many perks used to lure new hires and build team morale. A potential side effect, however, is that office workers no longer go out to eat as often as in the past, and the shift is threatening to upend the livelihoods of businesses that have traditionally catered to the nine-to-five crowd. In response, San Francisco Supervisors Aaron Peskin and Ahsha Safaí have introduced a new city ordinance that would ban start-up style “employee cafeterias” from new office developments. The bill would aim to curb employers from providing free or tax-free food to their workers on a regular basis but would have no effect on the 51 cafeterias currently in operation across the city. Safaí told The San Francisco Chronicle that the ban was about instigating a cultural shift, adding, “This is about getting people out of their office, interacting with the community and adding to the vibrancy of the community.” In a statement, Peskin explained the motion would also hold companies accountable for the promises they made while pursuing approvals from the city. He said, "Many of these companies touted the boost their employees would have on our local economy, only to provide everything from round-the-clock gourmet catering to dry-cleaning on-site.” The measure, if passed, would be the second such initiative in the region, following a precedent set by nearby Mountain View. There, the municipality forbade Facebook from subsidizing employee meals as part of a recent expansion in a bid to get the tech company to engage economically with the local community.  Michael Kasperzak, the former Mountain View mayor who helped craft the 2014 ordinance told The Chronicle, “It really was geared more around trying to make sure we didn’t have 400,000 square feet of office space with people that never left the building.”

The initiative has not been expanded to include other businesses yet, but could potentially apply to a new 595,000-square-foot, tent-like headquarters Google, BIG, and Heatherwick Studio are planning in the city. There, designers have proactively included plans for publicly-accessible cafes and dining areas that would be shared with Google employees. 

The San Francisco Board of Supervisors is due to take up its proposed ban later this year. 
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BIG's Shenzhen International Energy Mansion looks better than the renderings

Long after the golden era of corporate modernist skyscrapers (think Mies van der Rohe’s Seagram Building, SOM’s Lever House, and so on), many contemporary office skyscrapers are still designed with traditional glass curtain walls that have low insulation and cause overheating from unnecessary direct sunlight. Bjarke Ingels Group (BIG) conjured an otherworldly alternative for Shenzhen International Energy Mansion: a sawtooth, zigzagging curtain wall comprising glass panels and powder-coated aluminum that blocks direct sunlight, thereby reducing solar gain by up to 30 percent. The 1-million-square-foot structure is composed of two towers and a nine-story connecting block complete with a shared cafeteria, conference rooms, and various retail shops: The uppermost 13 floors of the 42-story north tower houses the Shenzhen Energy Mansion headquarters. As a starting point, BIG considered the subtropical climate in Shenzhen, gauging how they could create comfortable working spaces in hot and humid conditions while at the same time reducing energy consumption. The solution? A passive facade. “Our proposal for Shenzhen Energy Mansion enhances the sustainable performance of the building drastically by only focusing on its envelope, the facade,” said Andreas Klok Pedersen, partner and design director at BIG. Collaborating with Transsolar, the design studio dedicated to addressing climate change, the firm employed various solutions to reduce solar-derived heat and glare without relying on machines or heavy glass coating (which would make views out seem gray and bleak). The building has achieved two out of three stars with the Chinese Green Building Evaluation Label and a LEED Gold rating. BIG and Transsolar developed a multifaceted passive program with a facade folded in an origami-like shape consisting of closed and open subsections. The closed sections provide high insulation values by blocking direct sunlight. “With solid facade panels on the southeast and southwest side for shading, the glazed facade facing northwest and northeast is able to achieve high sustainability requirements with more clarity and less coating,” said Pedersen. All in all, the effect enhances the environmentally sustainable performance of the building and creates an office mise-en-scène bathed in soft light reflected from the direct sunlight diffused between interior panels. Meanwhile, the double glazing applied to the low-e tempered Super Energy-Saving Insulated Glass Units (IGU) by Shanghai Yaohua Pilkington Glass on the folded facade provides open views through the clear glass in one direction via a series of simple deformations in the geometry that allows for larger openings. These interjecting pockets of glass create cavernous folds that interrupt the smooth facade in various interior areas, including lobbies, recreational areas, and meeting areas. This seemingly precarious arrangement of views is made possible by the aluminum cladding's comprising full-height extruded panels that form a meandering profile. The setup enables the panel system to interlock smoothly, creating a uniform surface with almost seamless joints. A profile of twists and turns accentuates the reflections of light. In effect, these solid facade panels located on the southeast and southwest sides directly obstruct solar penetration. “The amount of insulation used in the curtain wall is a result of optimization between visibility and sustainability,” said Pedersen. Location: Shenzhen, China Architect: Bjarke Ingels Group Consulting Architect: SADI Shenzhen Architecture and Design Institute Contractor: CSCEC Engineer: ARUP Facade Consultants: Front, Inc. and Aurecon Facade Contractor: Fangda Group Sustainability Consultant: Transsolar Glass Manufacturer, Supplier, Glazing: Shanghai Yaohua Pilkington Glass Group Co., Ltd Windows: Aumüller Exterior Cladding Panels: Xingfa Aluminum
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WeWork is using user data to chart their meteoric expansion

With a quarter million members in 283 buildings across 75 different cities (and another 183 locations in the pipeline), WeWork is on an expansion tear that’s grown to include retail, education, and maybe even full neighborhoods somewhere down the line. With the company’s first ground-up building, Dock 72, nearly complete in the Brooklyn Navy Yard, AN spoke with the designers and researchers who are making WeWork’s growth possible and tried to divine where the company is going next. In a conversation on the future of data and workplace design at the William Vale Hotel in Williamsburg, Devin Vermeulen, creative director, and Daniel Davis, director of fundamental research, discussed how WeWork is “refining the future of the open office.” Most architecture firms design offices as one-off projects and rarely collect feedback once the spaces are occupied, but because WeWork both designs and manages their co-working spaces, the company can collect post-occupancy data. Through the collection of data via user feedback and integrated sensors, the company has created a massive pool of information from which to build its design guidelines. Planning a floor layout within the constraints of existing buildings can prove challenging, and WeWork is constantly tweaking and updating its offices based on tenant feedback. Every WeWork location outputs a massive amount of what Davis calls “data exhaust,” the information collected as a byproduct of tenants going about their day. Davis points out that data is just a proxy for user interaction, and the feedback collected through WeWork’s room booking app or surveys is just one metric of how their occupants feel. The design of each location changes accordingly based on a user’s needs. Underutilized conference rooms can either be reconfigured to make them more appealing—cramped rooms can be reorganized, and dark rooms can be lit differently—or repurposed into different uses entirely. There’s no reason that a lesser-used conference room can’t be turned into a lounge if it draws tenants. Feedback is aggregated and forms the core of WeWork’s design guidelines worldwide. The key to translating those guidelines across 22 countries is that, as the senior vice president and head of design at WeWork, Federico Negro, describes, only 90 percent of the guidelines are used across all offices. The remaining ten percent varies to adapt to local markets. When WeWork expands into a new city or state, it hires local architects to adapt its traditional model. This might mean a long communal table in Scandinavian offices as everyone gathers to eat lunch together, or larger meeting rooms in China, where one-on-one meetings are eschewed for team gatherings. The local architectural team is vertically integrated with the maintenance staff and utilizes feedback on trash routes, the ease of changing light bulbs, and other practical considerations when creating a layout. As hyped as the bromance between Bjarke Ingels and WeWork cofounder Adam Neumann has been, the Danish architect won’t be contributing much to the company’s day-to-day architecture work; the first “chief architect” will be focusing his attention on marquee projects like the WeGrow pilot school. The ultimate goal of the collaboration is to help WeWork expand into neighborhood planning, something outside of their current design scope. WeWork’s furniture and lighting solutions may appear similar to what's used in other spaces, but everything at WeWork is designed and fabricated by in-house teams. The resultant pieces are tested in WeWork offices, tweaked, and rolled out as kits-of-parts for designers to mix and match as they see fit. On a recent visit to WeWork’s New York City headquarters in Chelsea, the sixth-floor lounge had recently been revamped with plants, technicolor couches, and custom lighting fixtures. The airy palette might have seemed novel to those familiar with the company’s darker coworking spaces of five years ago, but as WeWork grows and matures its aesthetic, what works in the headquarters will ultimately trickle down to its older locations. Negro describes the process as rolling out design like “software updates." Circulation has been given special emphasis in the company’s design considerations, according to Davis. While his team’s algorithmically-generated desk layouts may optimize the number of seats in a WeWork office, guiding people to navigate those spaces in a certain way helps encourage face-to-face interactions. The most obvious intervention is the staircase; at the Chelsea location, the stairs have been relocated to the center of the floor and connect to floating “sky lobbies." Each floor is anchored by its stair, and circulation flows around it out of necessity. That circulation can help guide and divide the energy of the floor, keeping raucous lounge get-togethers distinct from the more subdued private call booths or conference rooms. The company is continuing to expand into both new industries and client groups. During the time of writing this story the company announced that it would be jumping into the real estate brokerage game with WeWork Space Services. Enterprise clients like IBM now compose 25 percent of WeWork’s tenants and represent a new design challenge for the company, but having core information from its prior tenants is helping the design team navigate the transition, said Negro. As open offices continue to evolve, architects and interior designers have tweaked layouts and materials to optimize worker comfort and balance privacy concerns. Will the increasing availability of data help designers refine their solutions in the same way WeWork has done?
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BIG's Bronx police station breaks ground as crime rate spikes in area

The New York City Mayor’s Office canceled the scheduled public groundbreaking of the already-in-construction 40th Precinct Station and instead held a press conference addressing the recent spike in crime in the Bronx and how the new building might help create a more secure and equitable borough. “While crime is at a record low in New York City, there is still more work to do to ensure that every New Yorker feels safe in their neighborhood,” said Mayor Bill de Blasio in a statement. “This new precinct will strengthen the bond between community and police, which will ultimately help make the South Bronx and our City safer.” According to newly released crime statistics from the New York Police Department (NYPD), murders have nearly doubled in the borough in the first half of 2018. Already 51 people have been killed compared to 26 reported homicides in the first half of 2017. Eight of the recent homicides occurred in the 40th Precinct, whereas two happened in the district in 2017. Officials hope the new facility, which will serve the South Bronx neighborhoods of Mott Haven, Port Morris, and Melrose, will encourage local residents and the police to work together to bring down such crime in the community. The new Bjarke Ingels Group-designed station will sit at the corner of St. Ann’s Avenue at 547 East 148th Street, just two blocks from one of the most heavily foot-trafficked sites in the city. It will replace the precinct’s current home, a Renaissance Revival structure built in 1922, and move the squad closer to the center of activity in the South Bronx. During this morning’s press hearing, City Council member Rafael Salamanca Jr. noted that the location of the new facility will enhance police presence and oversight near The Hub, the aforementioned busy intersection stocked with retail, restaurants, and mass transit. “I’m thrilled that the new 40th Precinct will be housed in my district,” he said, “and that it will be a much-needed resource near The Hub, which is ground zero for the opioid crisis happening in our city.” The 42,000-square-foot station will feature three levels of space dedicated to officer training, physical fitness, storage, maintenance of gear and vehicles, and the first-ever community events space built in an NYPD facility. This addition to the structure is expected to enhance transparency and communication between the police and the local residents. “Our message to New York going forward is that this is your station house,” said NYPD Commissioner James O’Neill. “We were working in a century-old building that was designed for century-old policing methods. Now we're changing that with a modern facility made for modern, neighborhood policing. Everyone should take pride in not only the jobs they do but where they do them.” Initial plans to design the new building began 10 years ago when the city first tapped Alexander Gorlin Architects to envision the station. After BIG took over the project through the New York Department of Design and Construction's Design Excellence Program, plans to build were finally filed in 2017 to the buildings department. Partial approval was given as of May 1 this year and construction began a few weeks ago, according to the DDC. The $68 million station is expected to be complete in spring 2021.
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Bjarke Ingels is crowdfunding a floating mirrored ball for Burning Man

Bjarke Ingels and Jakob Lange of the Bjarke Ingels Group (and BIG Ideas, the studio's in-house think-tank) have launched a crowdfunding campaign on Indiegogo for its Burning Man 2018 project. ORB is an 80-foot-wide reflective sphere that, if funded, would bring an elevated mirror, wayfinding symbol, and “temporal monument” to the Black Rock Desert’s Playa in Nevada. ORB borrows the Earth's form (at 1/500,000th of the scale) to create a 360-degree mirror that will reflect the sky above and goings-on of the Burners below. Although the ORB will be inflatable to reduce the project’s environmental impact, the piece would be hoisted into the air via a 30-ton, 105-foot-tall steel arm. BIG partner Jakob Lange writes that the installation is a “tribute to mother earth & human expression,” and the piece will seamlessly blend into the desert sky at night as the festival lights dim. Below, the ORB will create a “light shadow” and help visitors navigate the festival's transitory metropolis, the 50,000-strong Black Rock City. The studio is looking to raise $50,000 before the start of this year’s Burning Man, which will run from August 26 through September 3. Backers can pledge to receive engraved stainless steel orbs of varying sizes, with a 40-inch-wide ball going to those who pledge $4,000 or more. Ingels is no stranger to the mind-expanding arts and culture festival, having thoroughly documented his prior trips on Instagram. The ORB will share Playa space with this year’s headlining temple from Arthur Mamou-Mani: the spiraling Galaxia, a timber tower inspired by the movement of planets, galaxies, and the universe as a whole. No word yet if Anish Kapoor will set his sights on the ORB.
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BIG designs customizable cabin in Upstate New York

BIG has designed and built in Upstate New York a prototypical cabin, known as A45, that can be constructed in any location within four-to-six months. Home company Klein commissioned the prototype, and the company plans that homeowners will be able to order, tailor, and customize the unit to suit their individual needs. The design is inspired by traditional A-frame cabins, which feature a pitched roof and angled walls that facilitate rain runoff and construction. The design for A45 was created by taking a square base and twisting the roof 45 degrees, resulting in a crystal-like shape that soars to 13 feet in height. The footprint of the tiny cabin is only around 180 square feet, but contains all of the essentials: an open-plan living and sleeping area, a small cooktop, bath, and lofted area. The house is finished with Douglas fir floors and natural cork walls. The exposed timber frame in solid pine adds to the outside-in feeling of living in the woods. A star-studded team put together the details of the house. The fireplace is designed by Danish wood-burning stove brand Morsøe, while the kitchen is done by Nordic furniture maker Københavns Møbelsnedkeri. Handcrafted furniture is produced by Danish workshop Carl Hansen, and the bed is fitted by Finnish designer Søren Rose Studio finished with Kvadrat fabric. VOLA-designed fixtures go elegantly with the bathroom made of cedar wood. The unit is composed of 100% recyclable modules that are assembled on site. The house is elevated off the ground by four concrete piers so that inhabitants can place it in challenging landscapes without the use of heavy machinery.  
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An over-the-top hat party brings art and architecture to the High Line

The first-ever “Hat Party on the High Line” event drew a rowdy crowd of art, culture, fashion, and architecture aficionados to the elevated park last night courtesy of the Friends of the High Line, with proceeds going to support the park’s continued operation and atmosphere of inclusivity. The night was sponsored by a huge host committee made up of some of architecture’s biggest names (including Diller Scofidio + Renfro, BIG, James Corner Field Operations, Zaha Hadid Architects, Rafael Viñoly Architects, and more) and hosted by Diane von Furstenberg. Perhaps the biggest draw was the 9:00 PM hat contest, where guests strutted their stuff on a runway in front of judges Alan Cumming, Aki Sasamoto, Florent Morellet, Charles Renfro, NYC Parks Commissioner Mitchell Silver, and Vi Vacious and Acid Betty from RuPaul's Drag Race. Partygoers rose to the challenge and presented their wildest hats, most of them inspired by the plant life and views of the High Line, to raucous applause. While BIG debuted a twisting-tower hat reminiscent of their High Line-topping XI, Zaha Hadid Architects 3D printed a swooping blue and white hat reminiscent of the curves found at 520 West 28th, and other studios including SOM and DS+R all competed to take home the crown. Ultimately the night was won by Vinayak Portonovo of Practice for Architecture and Urbanism (PAU), seen modeling the studio’s contribution; a glitzy take on PAU’s plan for the new Penn Station.
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BIG to design Utah's new Kimball Art Center

The Bjarke Ingels Group (BIG) is getting another crack at designing the Kimball Art Center in Park City, Utah. After two unsuccessful attempts at renovating the art center’s historically-sensitive current home in 2011, BIG has now been tapped to design the organization’s new permanent home. BIG had originally proposed two schemes for the art center’s former location on Main Street. Both designs heavily referenced the city’s mining past and resembled different configurations of wooden railroad trestles (albeit with a much more subdued direction for the second plan). After both expansion schemes were rejected by City Hall as being too out of context for the historic neighborhood, the art center left its former home and has been without a permanent location ever since. Now the organization is eyeing a home in Park City’s new arts and culture district, which comes with a much less restrictive set of zoning regulations. The district is being created whole cloth by City Hall and has locked down Kimball Art Center and the Sundance Institute as their first tenants. “We are thrilled to be partnering with both the City and BIG on this project,” said Kimball Art Center’s executive director Jory Macomber. “After committing to becoming an anchor tenant in the future arts and culture district, we needed to select an architect that would help us design our new building while staying true to our mission — to inspire and connect through art.” BIG’s selection is just the first step on the art center’s journey to a new and improved facility. Kimball still has to negotiate ownership of their potential plot with the city, plan the building’s programmatic elements, and conduct community outreach with residents. If everything goes as planned, the new Kimball Art Center should open its doors in 2022.