Clearly, higher ups at the Bjarke Ingels Group (BIG) are channeling beloved New York rapper Notorious B.I.G.’s approach to urban space. The firm’s recent high-profile commissions (hello, Pittsburgh!) reflect Biggie’s mantra: “the sky is the limit, and [you] know that you can have what you want, be what you want, have what you want, be what you want,” ad infinitum.
Now, Ingels is again looking skyward with a new project along New York’s High Line.
Since 2008, there has been a giant hole where Santiago Calatrava’s Chicago Spire was supposed to rise some 2,000 feet out of the ground. The project lapsed due to financial woes by Irish developer Garrett Kelleher. The foundation is in place, and it looks like a place where a giant swimming pool or music venue would fit nicely, but AN is hearing that developers are working with Bjarke Ingels’ Danish firm BIG on a possible Spire part to.
Bjarke Ingels receives LafargeHolcim Global Bronze Prize for his work to make a more resilient Manhattan
The LafargeHolcim Foundation for Sustainable Construction has recognized New York City‘s commitment to progressive and resilient solutions by awarding Danish architect Bjarke Ingels of his eponymous firm BIG the Global Bronze Prize. AN was on hand as Ingels and company accepted the award.
High-Style Hacks: Bjarke Ingels, Henning Larsen, and Norm Architects tweak an Ikea flat-pack classic
Danish kitchen purveyor Reform has enlisted Bjarke Ingels, Henning Larsen Architects, and Norm Architects to put their spin on a mainstay of Ikea‘s kitchen designs, the Metod. While the architects’ work is confined to surface treatments and small details, the results definitely elevate the kitchen above the generic flat-pack model.
For Two World Trade Center, Bjarke Ingels has created a tower with multiple personalities. From the 9/11 Memorial, the building, with its seamless glass facade, appears like a somber glass giant huddled around the hallowed site with its peers. But from pretty much anywhere else, the building is quite expressive with a stepped massing scheme that appears like a stack of boxes, a ziggurat sliced in half, or a staircase for King King.
Bjarke Ingels and James Corner give Philadelphia’s 214-year-old Navy Yard a boost into the 21st century
The following is an abridged version of an open letter by Chicago architect and urban planner Marshall Brown, which was originally presented at the The Design Competition Conference by the GSD and the Van Alen Institute. It follows a previous comment by the author for AN about the state of design competitions in the 21st century. It is in direct response to the Guggenheim Helsinki Competition, which attracted 1,715 submissions before the winner was announced yesterday.
My Dear Colleagues,
I would like to extend sincere congratulations for your recent achievements and the recognition it has brought to your practices. I suppose you may be wondering about the cause for this letter since, at least that I can recall, we have never formally met. One year ago I wrote an essay for AN that criticized the current state of architectural competitions. It concluded with the melodramatic, yet also sincere invitation for likeminded architects to join me in “early, complete, and permanent retirement” from such contests. In the meantime I have mostly managed to follow through on my retreat from the design competition industry, despite several invitations from colleagues to collaborate.
The biggest architecture news this week was obviously the unveiling of Bjarke Ingels’ design for Two World Trade Center. The dramatic departure from Norman Foster‘s original proposal envisions the tower as a series of stepped volumes that gesture toward One World Trade. But does the step-ladder design—easily climbable by giant monsters like King Kong—pose a safety risk for New Yorkers? One petitioner is pleading with Ingels to change the design.