Posts tagged with "BIG-Bjarke Ingels Group":

Placeholder Alt Text

MVRDV, BIG, and James Corner Field Operations selected to future-proof Bay Area

Resilient by Design | Bay Area has chosen 10 multi-disciplinary teams to partake in the next phase of a design challenge focused on future-proofing California’s San Francisco Bay Area against the destructive effects of climate change and sea level rise. The 10 teams will partner with community members and organizations over the next nine months to develop innovative approaches for the region. The teams include several notable architecture and landscape architecture firms, including BIG, MVRDV,  and James Corner Field Operations. Each of the selected teams contains at least one community member and several of the teams are entirely Bay Area–based. Resilient by Design is modeled on Rebuild by Design, a federally-funded New York City re-visioning competition held after 2012's Hurricane Sandy. The 10 selected design teams include:
BIG + ONE + SHERWOOD Bionic Team Common Ground HASSELL+ Permaculture + Social Equity Public Sediment The All Bay Collective The Field Operations Team The Home Team Team UPLIFT
The teams were each awarded $250,000 to engage in research over the next three months and to work with community members to analyze chosen sites with the eventual goal of crafting an adaptation strategy for a specific project location by May. “Resilient by Design is creating a blueprint for the world, bring together community members and experts to show how we can collectively tackle climate change,” Amanda Brown-Stevens, managing director of Resilient by Design | Bay Area Challenge, told The Architect’s Newspaper. “We know that it is time for something different, a new approach that matches our new reality but draws on who we are and what we have always been able to do: think differently, innovate, come together, and adapt.” Formal announcements for team and site pairings will be timed to coincide with California Governor Jerry Brown’s scheduled Global Climate Action Summit in December. The most recent announcement comes after the Bay Area Challenge was awarded a $4.6 million grant from the Rockefeller Foundation earlier this year.
Placeholder Alt Text

Heatherwick's London bridge falls, but his London collaboration with BIG gets approval

This week, designer Thomas Heatherwick saw his studio's Garden Bridge project for London officially scrapped as the trust backing it closed down. However, in a turn of fortune, Heatherwick Studio, which is working alongside the London office of Bjarke Ingels Group (BIG) has been given the green light for a design for Google's headquarters at King’s Cross. After a highly controversial process, the Garden Bridge, which was initially backed by former London Mayor Boris Johnson, never came to fruition after incumbent Mayor Sadiq Kahn withdrew tax payer–backed financial support for it. Prior to this stage, some $48 million had been plowed into the project which was touted to cost more than $260 million. "Sadly, we're winding up. Without backing from [the Mayor of London] we cannot make the dream of the Garden Bridge a reality," tweeted the Garden Bridge Trust earlier this week. Others, notably the ardent opposition Twitter handle "Folly for London," weren't quite so dismayed. Bad news, it seems, had a habit of following Heatherwick around. In January, Khan canceled orders on the double-decker London bus he designed due to costs. In March, his Pier 55 project—a 2.75-acre garden over New York’s Hudson River— was stopped by a federal court ruling, though it received a reprieve in June. More solidly good news, though, came from the London borough of Camden where Heatherwick Studio and BIG's Google headquarters scheme was approved this week. The 869,900-square-foot building occupies a slender site by Kings Cross railway station, following the tracks down toward a canal. Hosting more than 5,000 employees—and capable of housing up to 7,000—Google's $780 million new headquarters neighbors the David Chipperfield–designed One Pancras Square which boasts Aldo Rossi overtones with its moulded cast iron columns. The clunky classicalism of that building is not emulated by BIG and Heatherwick's work, and in further contrast, the Google headquarter's design emphasizes its horizontality through timber mullions which double-up as louvres. The ground level will house retail and the eleventh floor will support a heavily-vegetated green roof. An 82-foot swimming pool and 660-foot running track will also feature within the scheme. Speaking to Richard Waite of the Architects' Journal (AJ), Heatherwick—whose studio is based out of Kings Cross—said, "Strong support for an ambitious building in an important part of the city is more proof that London is not afraid of its future. We’re excited to start building." Bjarke Ingels, meanwhile added: "The unanimous planning approval of our first project in the U.K. is obviously great for us and our London office—but more importantly Kings Cross will get a very lively new neighbor and the U.K. Googlers will finally be united." Across the pond, Heatherwick and Ingels are also collaborating on another Google project, the tech giant's Charleston East campus, in Mountain View, California. (It should be noted that Google's main headquarters will remain in Mountain View; the Heatherwick and BIG collaboration is just a London headquarters.)
Placeholder Alt Text

Adjaye Associates, BIG, wHY, and others, unveil designs for Ross Pavilion in Edinburgh

Back in March, The Architect's Newspaper reported that seven teams (from a pool of 125) had been shortlisted for the Ross Pavilion International Design Competition, an effort to reimagine the city's prominent West Princes Street Gardens. The winning team will get the chance to replace an existing 1935 bandstand located in the gardens, as well as make "subtle updates" to the grounds themselves, according to a press release. The jury is now appealing to the public for input—U.K. residents and the international community alike, according to the competition organizers, Malcolm Reading Consultants. Edinburgh’s City Art Centre will exhibit the design concepts—free to the public—from June 21 to July 30. You can also find the designs online here, along with an email address where you can send comments. The winner will be announced this August 2017, “The revival of this, one of Edinburgh’s best and most prominent sites, is a hugely exciting prospect and we now have seven fascinating design concepts from some of the world’s most in-demand creative minds," said Norman Springford, chairman of the Ross Development Trust and competition jury chair, in a press release. Images of each design concept are available in the slideshow above, while you can find short project descriptions below. Once a winner has been selected, construction is planned to start in 2018. Adjaye Associates with Morgan McDonnell, BuroHappold Engineering, Plan A Consultants, JLL, Turley, Arup, Sandy Brown, Charcoalblue, AOC Archaeology, Studio LR, FMDC, Interserve and Thomas & Adamson Adjaye Associates’ proposal for the new Ross Pavilion and the reimagined West Princes Street Gardens is a celebration of Edinburgh as a cultural capital and a reflection of the site’s unique topography and location on the verge between the Old and the New Towns. Our scheme honours the legacy and architectural language of the original bandstand that was once the beating heart of the Gardens in the late 19th century, reinterpreting its function and iconography within the contemporary context. The result is a garden temple responding to the modern-day city, a pleasure pavilion conceived as a sculptural intervention, which serves as a flexible performance space, a community hub and a new icon for Edinburgh. The Pavilion is the focal point of a system of stone-clad outdoor, indoor and in-between public spaces, discreetly embedded into the landscape. Bjarke Ingels Group (BIG) with JM Architects, WSP Parsons Brinckerhoff, GROSS.MAX., Charcoalblue, Speirs + Major, JLL, Alan Baxter and People Friendly At the meeting between the old and the new, the West Princes Street Garden occupies a central location – geographically, historically, and culturally – in Edinburgh. The existing bandstand, in the heart of the Gardens, paradoxically has the feeling of a leftover space that divides rather than unites. We propose to enhance and reconnect the abundant qualities of the Gardens with a pavilion sculpted by its context: its gently undulating canopy reflects the movement of the terrain below and the light of the sky above. Visual transparency at ground level allows for uninterrupted enjoyment of the Gardens. From within, it will frame the context of Edinburgh Castle and its dramatic setting. The rejuvenated bandstand provides momentum to reconsider the Gardens at-large by updating the planting regime, opening up key views, and improving access and connectivity throughout. A refreshment of the historic Gardens that roots its future in the heritage of its past. Flanagan Lawrence with Gillespies, Expedition Engineering, JLL, Arup and Alan Baxter The Gardens form a topographical and visual division between the Old and New Towns, whilst also uniting the people of Edinburgh; a place for people to gather and appreciate the thrilling topography of the city. The sinuous landforms of the Performance Space and Visitor Centre reflect the Garden’s natural landscape in contrast with the angular built form of the Old and New Towns. Our proposals aim to make the Gardens more connected to the city with a dramatic and accessible sense of arrival for all at the Visitor Centre. This is a project of contrasts; between the New and Old Towns and the Gardens that separate them and between quiet tranquil days in the Gardens and vibrant large-scale public events. Our concept is based on creating an architecture that can perform equally well with each of these contrasting modes of behavior. Our design solution is based on understanding how our interventions can be both introverted when the gardens are quiet, and extroverted during the celebrations and events. Page \ Park Architects, West 8 Landscape Architects and BuroHappold Engineering with Charcoalblue and Muir Smith Evans Princes Street Gardens, linking the New Town to Old, is a landscape for viewing the spectacular setting, a garden of commemoration, and a garden to enjoy. The lengthy flower bank to Princes Street is world unique. Our strategy is simple: we leave this alone. Splendid new entrances, self-evident way-finding, and a re-visioned ‘Blaes’ area provide for contextual augmentations to a new Ross Pavilion which includes a combined visitor center and performance venue. In Classical garden tradition, there is a typology of a grotto fed by springs for assembly, marriage, song, and dance—the Nymphaeum. In imagining the new Ross Pavilion we have carved into the landscape such a grotto. A stage at the foot of the ‘Castle Rock’; marking the memory of the old ‘Nor Loch’, lined in pillars of decorated stone echoing the ‘modern henge’ Royal Scots memorial and surmounted with a golden copper roof in the spirit of the ‘Ross Fountain.’ Reiulf Ramstad Arkitekter with GROSS.MAX., AECOM, Charcoalblue, Groves-Raines Architects and Forbes Massie Studio How can the Ross Pavilion offer a new world-class cultural venue not just for Edinburgh, but the whole of Scotland? The Ross Pavilion will be the focal point of the city of Edinburgh and its many visitors, but it can also be a symbolic place for all of Scotland as well. The intervention into the Gardens is therefore conceived as a facility for the entire nation, indeed it is a project that has the potential to capture the imagination of people across the country. For the Ross Pavilion, we propose a public asset that can not only perform as a modern performance venue, but a visitor experience that explores the varied landscapes and histories of the Gardens and the terrains of Scotland beyond. A simple but bold design allows us to propose a venue that can host the wide variety of functions the pavilion calls for. Furthermore, it offers us the flexibility to propose a wider range and intensification of human activities in the Gardens and unleash the incredible potential the site has for Edinburgh. For that matter it can tap into the long history the city’s backdrop has had for inspiring some of mankind’s highest achievements in the arts, literature, philosophy, and science. Our approach to the architecture and landscape has been that of sensitive interventions into the historic fabric of the Gardens. Elements are formed from their context and crafted from quality and timeless materials, and completed with water terracing that recalls the Nor Loch. wHY, GRAS, Groves-Raines Architects, Arup, Studio Yann Kersalé, O Street, Stuco, Creative Concern, Noel Kingsbury, Atelier Ten and Lawrence Barth with Alan Cumming, Aaron Hicklin, Beatrice Colin, Peter Ross, Alison Watson and Adrian Turpin Butterfly / Pavilion The word ‘pavilion’, from the Old French for butterfly (papillion), parsed through the pictogram of a highly-decorated tent, evokes the fluttering canvas and heraldry of a field campaign with a glorious connection between nature and humankind. The butterfly is unity of symmetry and organic form, whose lines can be traced and followed, eagerly denoting meaning. Occasionally alighting, it is of the air but connects with the ground. It delights and draws you in. And so it is with this new ‘pavilion’. Pleasure will be drawn from rock and fold, from seam and segue. There are glimpses of history and the promise of a performance. People will connect through their common story and shared song. There is music in the air. Light, space, sound, and poetry. Castle, rock, garden, and fountain. Without nature, the city is lifeless. This is a place for people and their perpetual delight. William Matthews Associates and Sou Fujimoto Architects with BuroHappold Engineering, GROSS.MAX., Purcell and Scott Hobbs Planning A PLACE FOR PEOPLE These four words defined both the brief and our response—a place for people to gather and celebrate the performing arts in one of the global capitals of culture. The inspiration for the project came from Celtic spirals, the remarkable stone circles of Orkney and the circular forms of the original Bandstand, the Ross Fountain and the Royal Scots memorial. They were reinterpreted to create a new typology of pavilion and viewing platform for the West Princes Street Gardens. The proposal is a powerful landmark symbolizing the unity of Edinburgh: its history, originality, art, and culture. The rings offer new panoramic views of the important heritage sites of the city. They connect the New Town, the Castle and the Old Town without disturbing the existing axial paths of the Gardens. Contrasting with the light and floating spiral are the Visitor Centre and the Performance Space. They blend into the urban context of Princes Street on one side and the Gardens on the other, ready to come alive for the cultural events for which Edinburgh is famous.
Placeholder Alt Text

BIG unveils “Alphabet of Light” installation with Artemide at Salone del Mobile

In tandem with this year’s Salone del Mobile Euroluce event, Artemide partnered with Bjarke Ingels Group to create a new light series, Alphabet of Light. Inspired by neon lights, BIG worked with Artemide to create an updated, LED light that could be formed into letters or graphics—creating a new font in the process. Alphabet of Light is composed of straight and curved light modules with high-tech optoelectronics to ensure a smooth, even light.

To showcase this new product, BIG and Artemide installed the modular system in the east courtyard of the Università degli Studi di Milano using the classic typography sentence, “Quick Brown Fox Jumps Over the Lazy Dog,” which uses every letter in the alphabet. The installation is part of the event Interni Material Immaterial.

For more Salone del Mobile and Milan Design Week coverage don’t miss The Architect’s Newspaper’s Instagram with our live updates.

Placeholder Alt Text

BIG, Adjaye, and wHY among seven shortlisted teams for Ross Pavilion Design Competition

This article was originally published on ArchDaily as "BIG, Adjaye Among 7 Shortlisted for Ross Pavilion Design Competition."

The Ross Development Trust, in collaboration with the City of Edinburgh Council and Malcolm Reading Consultants, has announced the seven finalists teams that will compete for the design of the new Ross Pavilion in the heart of Edinburgh, Scotland. Located in West Princes Street Gardens below Edinburgh Castle and at the intersection of the UNESCO World Heritage recognized Old and New Towns, the £25 million project will feature a landmark pavilion to replace an existing bandstand, a visitors center with cafe, and a subtle reimagination of the surrounding landscape. The new pavilion will host a range of cultural arts programming.

From an entry pool of 125 teams, the following seven were unanimously selected to continue on to the second stage of the competition:

  • Adjaye Associates (UK) with Morgan McDonnell, BuroHappold, Turley, JLL, Arup, Plan A Consultants, Charcoalblue and Sandy Brown Associates
  • BIG Bjarke Ingels Group (Denmark) with jmarchitects, GROSS. MAX., WSP | Parsons Brinckerhoff, Alan Baxter Associates, JLL, Speirs + Major, Charcoalblue, and People Friendly Design
  • Flanagan Lawrence (UK) with Gillespies, Expedition Engineering, JLL, Arup, and Alan Baxter Associates
  • Page \ Park Architects (UK) with West8, BuroHappold, Muir Smith Evans, and Charcoalblue
  • Reiulf Ramstad Arkitekter (Norway) with GROSS. MAX., AECOM, Groves-Raines Architects, and Charcoalblue
  • wHY (USA) with GRAS, Groves-Raines Architects, Arup, O Street, Creative Concern, Noel Kingsbury, Yann Kersalé Studio, Lawrence Barth, Stuco, Alan Cumming, Aaron Hicklin, Alison Watson, Peter Ross, Adrian Turpin, and Beatrice Colin
  • William Matthews Associates (UK) and Sou Fujimoto Architects (Japan) with GROSS. MAX., BuroHappold, Purcell, and Scott Hobbs

“We were absolutely delighted by the response of designers from around the world to the competition’s first stage. The quality of the 125 teams on the longlist sent a strong signal that the international design community regards this as an inspirational project for Edinburgh that has huge potential to reinvigorate this prestigious site,” said The Chairman of the Ross Development Trust and Competition Jury Chair, Norman Springford.

“Selecting the shortlist with our partners from City of Edinburgh Council was an intense and demanding process. We’re thrilled that our final shortlist achieved a balance of both international and UK talent, emerging and established studios. Now the teams will have 11 weeks to do their concept designs – and we’re looking forward to seeing these and sharing them with the public.”

Finalists will have until June 9, 2017, to complete concept designs for the pavilion, visitor’s center, and site, which will need to fully integrate into the existing Gardens, which are of outstanding cultural significance and operated and managed by the City of Edinburgh Council as Common Good Land. A public and digital exhibition will follow in mid-June, with a winner expected to be announced in early August. Construction is expected to begin in 2018.

For more information, visit the competition website, here.

News via Malcolm Reading Consultants. Written by Patrick Lynch. Want more from ArchDaily? Like their Facebook page here. Archdaily_Collab_1
Placeholder Alt Text

BIG and Heatherwick Studios unveil new Google campus renderings

Heatherwick Studios, Bjarke Ingels Group (BIG), and Hargreaves Jones Landscape Architecture have revealed new renderings and designs for the firms’ Google Charleston East campus in Mountain View, California. The renderings, shared via public documents made available by the municipality in advance of a public meeting scheduled for March 7th to discuss the plans and first reported by 9to5Google, showcase a distinctive, tent-shaped structure located on a large, landscaped site.   The canopy is square-shaped in plan and rises gently out of the tree-lined site, rising to a peak of 111 feet above grade. The structure measures 576 feet on each side and is configured as a solar panel-clad canopy hung from a gridded field of steel support columns. The structure’s cascading roof structure is designed to be supported by structurally glazed clerestory walls that have been treated to minimize their impact on local bird populations and are designed to bring diffuse light into the office areas. The 595,000-square-foot, two-story structure is bisected by an interior 15,300-square-foot pedestrian path that turns into a small public square at the center of the building. That path is lined on one end with retail. Retail functions appear again surrounding the central square, which totals 10,000 square feet in all. These areas connect to an expansive, landscaped site that is mostly accessible to the general public and connects to the city’s expansive network of greenways and pedestrian paths known as the Green Loop. According to other documents shared by the municipality, the project will require the removal of 196 heritage trees from the site. As part of a California Environmental Quality Act compliance, those trees are being replaced with 392 new specimens. The publically-accessible ground floor of the structure and the site will be open to the public during daylight hours. The non-public areas along the ground floor will be laboratory spaces, quasi-public assembly areas, and shared employee leisure areas. The second floor of the structure will contain Google’s offices. The floorplates of both levels are punctured throughout with interior courtyards that will bring light into the work areas and also act as circulation cores. The project has yet to be approved by Mountain View officials. Once approved, the designers expect the project to be completed in roughly 30 months.
Placeholder Alt Text

Bjarke Ingels Group wins commission to design San Pellegrino bottling plant in Italy

Bjarke Ingels Group (BIG) has won the commission to design a bottling plant in Bergamo, northern Italy. Sound innocuous? Don't be ridiculous, this is Bjarke Ingels after all. The Danish Designer saw off competition from Dutch firm MVRDV with a proposal that takes cues from Italian Classicism and Rationalism.

The $95 million plant will span 4.3 acres and become the flagship factory for Italian beverage company San Pellegrino. The company, known for its mineral water, has been based in San Pellegrino Terme, Bergamo since 1899. Touching on the company's history in the area, BIG's scheme takes on the classical element of the archway, allowing this to dominate certain aspects of the design. Rationalist inflections can also be found as repeating elements, including the archway, comprise other areas of the plant. Subsequently, certain spaces are encapsulated by wide, sweeping curves from above, while on a smaller scale, archways guide both footsteps and the eye, curating corridors of circulation and framing views onto the mountainside.

Running through the site is the Brembo river, which separates the factory from the San Pellegrino village. A new bridge will cross the water, offering pedestrian and vehicular access to the plant. Trees will then line the water's edge on one side, shielding the infrastructure, while also offering scenic views for those looking out from the factory.

On the other side of the factory, along highway 470 will be "La Pergola"—a series of concrete arches, trees, and foliage that intend to bridge a connection between the factory and the adjacent village. A public plaza, meanwhile, will act as a more explicit gateway between the public and industrial realms of the site, acting as a space for visitors. In the center of the plaza will be a rock obelisk-like pillar. The core sample will comprise claystone, dolostone, chalk, and sandstone and is meant to reflect the journey San Pellegrino's water.

“Rather than imposing a new identity on the existing complex, we propose to grow it out of the complex. Like the mineral water itself—the new S.Pellegrino Factory and Experience Lab will seem to spring from its natural source," said Bjarke Ingels in a press release. "We propose to wash away the traditional segregation between front and back of house, and to create a seamless continuity between the environment of production and consumption, and preparation and enjoyment." Local architects Studio Verticale will work on the project with BIG over the next four years. Groundbreaking is slated to take place next year.
Placeholder Alt Text

BREAKING: BIG unveils gridded, concrete complex for L.A.'s Arts District

Copenhagen and New York City—based Bjarke Ingels Group (BIG) has unveiled plans for a new, L-shaped mixed-use project in L.A.’s aggressively-gentrifying Arts District. The project, first reported by the L.A. Times and called 670 Mesquit, is planned to contain 800,000 square feet of office space, 250 residential units, and two specialty hotels. The project is being developed by Vella Group and will aim to inject an element of public outdoor space into the previously-industrial neighborhood by proposing a large-scale deck connecting the site with the Los Angeles River. The proposed structures and the river are currently separated from one another by a depressed railway interchange along the longest edge of the site. BIG’s proposal is organized within a gridded concrete superstructure running in three directions. Each bay of the superstructure measures 45 feet on each side and contains elements of programming that are intended to be customized by the final tenants as either housing or office space. The size of the frame will allow these users to have a say in how the spaces within are filled in, whether with interior mezzanine levels or fully-built out levels. Certain bays in the development are left open and will act as public passageways aimed at connecting the ground floor retail areas with the proposed river-bound walkway, L.A. River, and surrounding neighborhood. When these passages occur in the project, according to renderings released by the firm, they cut through an entire bay each time, effectively creating three separate buildings strung together by the concrete armature. The resulting masses step either out or in, depending on the tower block, forming ziggurat-or Breuer-inspired massings. The development will contain 41 affordable units, roughly 16-percent of the overall total, with the rest being priced at market-rate. The development marks BIG’s first commission in Los Angeles and is one of a recent crop of California-located schemes that include offices for Google in Northern California with Thomas Heatherwick and a mixed-use complex in San Francisco.
Placeholder Alt Text

What's new with the BIG U?

Four years after Hurricane Sandy, New York City is one major step closer to flood-proofing its shores. The Mayor's Office of Recovery and Resiliency (ORR) and the New York City Economic Development Corporation (NYCEDC) have officially selected three firms to collaborate on the second phase of resiliency measures planned for lower Manhattan. AECOMBjarke Ingels Group (BIG), and ONE Architecture will work on the Lower Manhattan Coastal Resiliency (LMCR) Project, a flood-proofing and park-building measure that extends from the Lower East Side up to the north of Battery Park City. "The project is landscape architecture as public realm, design as policy, and urban planning on an architectural level," said Kai-Uwe Bergmann, partner at BIG. In concert with heavy-duty resilience measures, the LMCR project, he said, aims to improve access to the waterfront and augment green space in the neighborhoods it will traverse. The 3.5-mile-long project will extend from the northern portion of Battery Park City to the Lower East Side's Montgomery Street to pick up where its sister initiative, the East Side Coastal Resiliency (ESCR) Project, leaves off.

Like the ESCR, the LMCR visioning process will begin with extensive community engagement to figure out what, exactly, neighbors want to see on the rivers' edge. The firms plan to take lessons from the ESCR, now in its final stages of design, to this one. Besides the resiliency measures that provided the impetus for the construction, Bergmann said the East Side ESCR constituents expressed a strong desire for more green space, open space, and recreation areas.

Initial renderings for the ESCR depict sinuous parks, lighting to illuminate dark and foreboding highway underpasses, and novel play spaces that bring citizens close to the waterway. BIG and ONE Architecture are working in concert to design the 2.5-mile strip, which costs an estimated $505 million, in collaboration with local, state, and federal agencies. Construction is expected to begin in 2018.

For that project and for the LMCR, Bergmann says there's no one design solution that fits all of the waterfront, especially the working waterfront. What Bergman called the LMCR “pinch points”—the tighter areas beneath the raised FDR Drive, or the Staten Island Ferry Terminal—present distinctive design challenges, though he said it’s too early to speak to specific solutions. Public meetings began this summer, and with the next set of meetings planned for February, "we hope the community can see there is traction and movement forward from a devastating event like Hurricane Sandy." 

The city says that by 2018 the LMCR team is to deliver an actionable concept design for the project area, with design and implementation to follow.

The plan, as its realized in stages, differs from the original BIG U, the sexy proposal that wowed both architects and the bureaucrats at HUD. When it first debuted, the floodproofing infrastructure extended all the way up to West 57th Street. “My hope," Bergmann said, "is that the vision will reach its full intention because that completely protects the entire lower Manhattan area."

The only component that's fully funded is the ESCR, so in order to realize both components—and possibly the whole BIG U vision—government at every level would need to open their budgets. Although Trump's infrastructure plan seems like it will focus on prisons, pipelines, and border walls, maybe the president-elect will put aside his climate change denial for a moment to help out his hometown?

Placeholder Alt Text

BIG's two luxury Miami towers spiral into the sky

A decade ago, Sweden's tallest building went up with a twist. The "Turning Torso" by Santiago Calatrava rises up elegantly on the coast of Malmö, a low-rise city that is Sweden's third largest. That same year, across the equally impressive Øresund Bridge that links Copenhagen with Malmö, a sprightly 31-year-old Bjarke Ingels was founding his studio, Bjarke Ingels Group (BIG) in the Danish capital (his hometown). Today, Calatrava's tower still lays claim to its 2005 title, but Ingels' firm has arguably reached greater heights since then. Just over a decade later, BIG has completed its second project in the United States: The Grove at Grand Bay, a pair of luxury 20-story towers that emulate Calatrava's contortions. From Malmö to Miami, however, climatic conditions could not be more different. While cold winds bash the Swedish shoreline, appearing to sculpt Calatrava's work into shape, the same cannot be said in humid south Florida (except for the occasional hurricane, maybe). However, that is not to say BIG's towers are out of place. The glass-clad twisting high-rises at Coconut Grove on Miami's coast bring with them a welcome breeze to the area–even if only implied. Accommodating 98 units, the two towers have floor plates that have been rotated incrementally by three feet from the third floor through the 17th. This feature, twinned with the 12-foot-tall custom insulated fenestration that traces the perimeter of each floor, facilitates balcony space that offers views over the tranquil Biscayne Bay. Panoramic vistas, in fact, can be found all around, especially on the upper levels where residents can look onto South Beach and downtown Miami, something which Ingels said echoes the expansive views associated with the "Caribbean sense of modernism" found in the vicinity. "The main view, though, is out over the water," said Ingels at a presentation of the project in his Manhattan office. The winding nature of the towers caters to the ocean, allowing the luxury units, which range in size from 1,276 to 10,118 square feet (2 – 6 bedrooms), as much exposure as possible to the waterfront vista. "Even though they are perceived as side-by-side, they don't block each other's views," Ingels explained. Optimum orientation, he continued, is realized at the 17th floor—three levels below the top. Ingels also discussed the task of structuring the buildings, for which BIG sought the expertise of Vincent DeSimone, who passed away this November. He described DeSimone (whom he referred to as “Vince”) as a “visionary" and called him "one of the greatest engineers" he worked with in his practice. DeSimone's solution saw poured concrete columns follow the floor plan, rotating with the structure, appearing at a glance to wrap around the building. As for the amenities for the project, luxury add-ons come thick and fast. Five pools for all residents, a 25-meter lap pool, a jacuzzi as well as four more pools for residents in each tower and the owners of rooftop penthouses are included. A fitness center, private treatment spa, and even a spa for pets comes too, along with a library, private dining room, and a "kids and teen room." Developer Terra has spent big on art with $1.2 million going toward sculpture and works in a curated art gallery. Parking for owners of dwellings above 4,000 square feet is also available on site. Unit pricing ranges from $2.96 to $25 million—though all are sold out.
Placeholder Alt Text

Bjarke Ingels, Kengo Kuma, and Dominique Perrault on board for Paris subway overhaul

Danish studio Bjarke Ingels Group (BIG) has been award the commission to design a subway station in Paris. Working with local firm Silvio d’Ascia Architecture, BIG has designed the Pont de Bondy station situated northwest of Paris. The station will one of 68 new stations which will form the Grand Paris Express—a new infrastructure project in the French capital which is due to add 124 miles of rail to the existing subway network. Clad in terra-cotta, the looped "P"-shape design bears an orthogonal frame in section and spans the Ourcq canal, providing a sheltered walkway for pedestrians. Inside the P's counter will be the station area itself, meanwhile the other main entranceway extends along the canal's banks. This will elegantly connect with the sidewalk while passing under the existing tram and road bridge. Keeping with the typographic theme, "PONT DE BONDY" appears to be emblazoned on the structure in BIG's distinctive typeface. The Pont de Body station will be a major part of the Grand Paris Express, being one of nine special "emblematic stations" throughout the new subway network. Conceived by the Société du Grand Paris (a public agency for industrial and commercial transport development), the scheme aims to reduce travel times, link business districts with each other and the center of Paris, as well as connect airports Charles de Gaulle, Orly, and Le Bourget. BIG and Silvio d’Ascia Architecture's station will be part of Line 15, a ring route surrounding Paris, and be the main access point for the business hub that joins the Bondy, Bobigny, and Noisy-le-Sec districts. Other notable architects such as Kengo Kuma and Dominique Perrault are also part of the scheme, with both, like BIG, having won the commission to design a business district node. Kengo Kuma Associates has designed the Gare Saint-Denis Pleyel station located north of Paris and Dominique Perrault Architecture has designed the Gare Villejuif Institut Gustave-Roussy situated south of the capital. Both stations will be on the Line 15 ring route and connect to Pont de Bondy.
Placeholder Alt Text

BIG releases more information on ultra-fast Hyperloop One

After teasing audiences with a 170-second-long video last month, Bjarke Ingels Group (BIG) has unveiled further information on its collaboration with Elon Musk's Hyperloop One, a super high-speed transit network in the United Arab Emirates (UAE). With expected travel times of just 12 minutes between Dubai and Abu Dhabi, the route would slash current car journey times of two hours between the cities. It's a tantalizing prospect and BIG has been working on the project since May of this year. The firm has developed concepts for autonomous point-to-point travel including Hyperloop One's transport portals and pods while also working on a feasibility study financed by the Transport Authority of Dubai (RTA). The plan so far involves a pods—capable of carrying humans and freight—traveling in excess of 680 miles per hour through pressurized tubes that would stretch between Dubai and Abu Dhabi. These pods will carry six people and would be part of a zero-emission electric propulsion system. Speed is also a concern relative to passenger circulation outside the pods. "All elements of the travel experience are designed to increase convenience and reduce interruptions," BIG said in a statement. "The main objective of the design is to eliminate waiting from the passenger experience." BIG's designs for the portals build on a study that looked at inter-city transport network integration with existing infrastructure and population density in the two cities. As a result, the firm's proposal involves easily identifiable departure gates that passengers can swiftly access. While pods may be small in size, BIG explained that their frequency rate of arrival and departure would cater to high demand. Pods would also be able to operate autonomously away from the pressurized tubes, meaning they could travel on regular roads. "Together with BIG, we have worked on a seamless experience that starts the moment you think about being somewhere—not going somewhere,” said Josh Giegel, president of engineering of Hyperloop One, in a press release. “We don’t sell cars, boats, trains, or planes. We sell time.” Bjarke Ingels, founding partner of BIG, added: “With Hyperloop One we have given form to a mobility ecosystem of pods and portals, where the waiting hall has vanished along with waiting itself. Hyperloop One combines collective commuting with individual freedom at near supersonic speed," he said. "We are heading for a future where our mental map of the city is completely reconfigured, as our habitual understanding of distance and proximity—time and space—is warped by this virgin form of travel.”