Bjarke Ingels – BIG Biography

The studio likewise checks out new disciplines bounding on architecture, promoting research study and VIA 57 [#protected_0#] coming up with new point of views on the cities we will live in years to come. Rather than considering architecture as an autonomous art type separated from the rest of the world, I truly see the role of architecture and of designers to be completely involved with the rest of society. The idea was to develop an extremely active architecture where you can walk and cycle through the pavilion and through the exhibitions, you can dip your toes in the swimming pool in the middle. In many ways it is an architecture that does not simply attempt to look beautiful or poetic however it actually creates possibilities. Some people would argue that creating a ski slope on top of a power plant has absolutely nothing to do with architecture however this is in some way the architecture of arranging all aspects of human life in new mixes.

BIG, founded by Bjarke Ingels in 2005, is among the world’s most advanced studios in the definition of metropolitan situations and horizons.

BIG has worked on various projects all over the world, all sharing a visionary view and an interest in innovative theories about modern society and way of lives.

Its two workplaces in Copenhagen and New York unite professionals from all over the world, promoting cultural exchange as a source of wealth in style.

The group’s competence varies from architecture to design, from concept production to engineering.

The studio also explores new disciplines bounding on architecture, stimulating research study and creating new point of views on the cities we will live in years to come. Digital representation technologies are seen not as an end in themselves but as a way of attaining these goals. Society, economics and ecology are the styles dearest to Bjarke Ingels and his group, attended to in every one of his projects.

Ingels began his profession working at OMA with Rem Koolhaas; in 2001 he co-founded PLOT (Julien De Smedt and Bjarke Ingels).

In his scholastic profession, Ingels has actually been checking out professor at Rice University School of Architecture and at the Graduate School of Architecture, Planning and Preservation of Columbia University and going to teacher at Harvard University.

In 2004 he was awarded a Golden Lion at the Biennale in Venice for his Stavanger Concert House, and the following year he won the Forum AID Award for his VM homes.

The Mountain real estate development, which made Bjarke Ingels well-known all over the world, has received many awards including the World Architecture Celebration Housing Award, the Online Forum Help Award and the MIPIM Residential Development Award.

Interview

BJARKE INGELS. When I think about Copenhagen I consider sustainability and in particular how technology does not have to be a downgrade of life quality however rather the way it can enhance the quality of life. Sustainability is often associated with sacrifice, in the method you have to quit some of the quality of living in order to be sustainable. However, I think that in Copenhagen there are quite a couple of examples where sustainability in fact increases the quality of life. Par circumstances in Copenhagen 37% of residents commute by bicycle so we do not hang around in traffic congestion and looking to parking locations. People simply move easily around the city. Likewise the water in Copenhagen harbour has actually ended up being so clean that people can swim in it. In the middle of the harbour we can actually jump in the water and swim. This is the type of mindset we have used to some of our work: we have actually created a building structure with parking centers and an apartment or condo structure where the car park develops a manufactured mountain and all the apartment or condos are become houses with gardens on a south-facing slope. Individuals have a penthouse view and they also have a garden where they can run out and play. And in among our latest tasks we really took a neighbourhood of town houses however with little gardens in front and we designed a city block so individuals can actually walk or cycle all the method from the garden to the penthouse. The result is like a three-dimensional metropolitan condition where social area attacks the vertical part of the city.

You have an another significant ongoing project in Copenhagen, which is the Amager Bakke waste-to-energy plant. This is a good difficulty for the city and for the sustainability of the city.

BJARKE INGELS. This project is so big and it is in the middle of the city, in the harbour location. In winter season, individuals can take a lift to the top of the power station and just ski down for enjoyable all the method to the ground floor.

This is a fine example of mix of public area with town energy. How was the task accepted by the people?

BJARKE INGELS. Typically when you plan to develop a power plant in the middle of the city, you can expect a great deal of problems: people do not wish to live beside a power plant but we got email messages from individuals asking when the task was going to be finished since they were eagerly anticipating snowboarding!

More just recently you won another essential international style competitors for a brand-new 27.000 m2 cultural complex in Albania, can you inform us more about this project?

BJARKE INGELS. This is a cultural complex. As you’ll most likely know, right now there is a little unrest in Tirana due to the fact that of the upcoming elections so we aspire to see how things will progress. The project is for a complex with a Museum of Religious Harmony, an Islamic Centre and a Mosque. The standard idea is to integrate public life with the religious space and also with a view to integrate the religious beliefs into the city. When we went to Tirana to have an appearance at the job, we went on weekends, on Fridays and special holidays. And we could see that the current mosque is too little so people praying actually spill out onto the streets. So the intention is to integrate the city grid of Tirana with the orientation towards The Mecca. On the ground floor, all the three buildings, are oriented towards The Mecca to produce a square in front of the mosque whereas at roofing level the building follows the grid of the city streets and walls. The concept is to get these 2 directions to develop a semi-covered outdoor space, almost extending the mosque outward onto the street however also inviting the street and the public area all the way to the mosque, [#protected_0#] a sort of overlap, which is half inside your home and half outdoors, half mosque and half Tirana.

You always include the city in your jobs, and you normally handle social tasks, but what do you believe is the relationship in between architecture and politics?

BJARKE INGELS. I believe politics is the process of attempting to listen to the needs and desires and issues of people and turn these collective concerns into political reality through representation; in an extremely comparable though more hid method architecture handle accommodating the concerns and needs of people. So as architects we are at the centre of trying to continuously collaborate the collective effort of ensuring that our structures and cities fit with the way we wish to live and in an ideal world that is likewise what politicians need to be doing.

Do you believe that architecture is a marketing tool for politics or politics is a tool for an architect to accomplish something crucial in a city?

BJARKE INGELS. Here in Italy I think for example how strange to see the case of Stefano Boeri, organiser of Festarch and Editor of Abitare, who used to be an architect interested in politics and now he is probably more like a politician interested in architecture.

Rather difficult I guess. How do you feel when individuals say you are “l’Enfant awful” of style and architecture?

Rather than thinking about architecture as a self-governing art type separated from the rest of the world, I actually see the function of architecture and of architects to be completely involved with the rest of society. In many methods it is an architecture that does not just attempt to look poetic or stunning but it actually creates possibilities. Some individuals would argue that producing a ski slope on top of a power plant has absolutely nothing to do with architecture however this is somehow the architecture of arranging all aspects of human life in brand-new mixtures.

Author: vickeyleeper

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