The studio likewise explores new disciplines bounding on architecture, promoting research and coming up with new perspectives on the cities we will live in years to come. Rather than considering architecture as a self-governing art form isolated from the rest of the world, I truly see the role of architecture and of designers to be totally involved with the rest of society. The concept was to develop a really active architecture where you can stroll and cycle through the pavilion and through the exhibitions, you can dip your toes in the swimming pool in the middle. In lots of methods it is an architecture that does not just try to look beautiful or poetic but it actually develops possibilities. Some individuals would argue that creating a ski slope on top of a power plant has nothing to do with architecture however this is somehow the architecture of arranging all elements of human life in new mixes.

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BIG, established by Bjarke Ingels in 2005, is among the world's most innovative studios in the meaning of urban circumstances and horizons.
BIG has actually worked on many tasks all over the world, all sharing a visionary view and an interest in ingenious theories about contemporary society and way of lives.
Its Two World Trade Center ( offices in Copenhagen and New York unite specialists from all over the world, promoting cultural exchange as a source of wealth in design.
The group's know-how ranges from architecture to style, from principle creation to engineering.
The studio likewise explores new disciplines bounding on architecture, stimulating research and developing brand-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 method of accomplishing these goals. Society, economics and ecology are the styles dearest to Bjarke Ingels and his group, resolved in every one of his tasks.
Ingels started his career working at OMA with Rem Koolhaas; in 2001 he co-founded PLOT (Julien De Smedt and Bjarke Ingels).
In his scholastic career, Ingels has been visiting professor at Rice University School of Architecture and at the Graduate School of Architecture, Planning and Preservation of Columbia University and visiting teacher at Harvard University.
In 2004 he was granted a Golden Lion at the Biennale in Venice for his Stavanger Concert House, and the list below year he won the Forum AID Award for his VM houses.
The Mountain real estate advancement, that made Bjarke Ingels famous all over the world, has received numerous awards consisting of the World Architecture Celebration Real Estate Award, the Forum Aid Award and the MIPIM Residential Advancement Award.
BJARKE INGELS. People simply move freely around the city. And in one of our newest jobs we actually took an area of town houses but with little gardens in front and we created a metropolitan block so people can actually walk or cycle all the way from the garden to the penthouse.
You have an another major continuous project in Copenhagen, which is the Amager Bakke waste-to-energy plant. This is an excellent challenge for the city and for the sustainability of the city.
BJARKE INGELS. The main idea represents the supreme example of sustainability: instead of tossing rubbish in land fills, we recycle 42% of waste and we burn 54% of this waste and use it to produce heat and electrical energy. As a matter of truth 97% of the homes in Copenhagen do not invest any energy on heating although the weather can be cold, due to the fact that they get all the heat from the excess heat produced by the power station. This job is so big and it is in the middle of the city, in the harbour area. We even proposed to develop a ski slope on the roofing system considering that we do get snow here and the nation is entirely flat. We could turn the roof into a manufactured ski slope. In winter season, individuals can take a lift to the top of the power station and simply ski down for fun all the way to the ground flooring.
This is a fine example of mix of public area with town energy. How was the project accepted by the people?
BJARKE INGELS. Normally when you prepare to develop a power plant in the middle of the city, you can expect a great deal of complaints: individuals do not wish to live next to a power plant however we got e-mail messages from individuals asking when the task was going to be finished since they were eagerly anticipating snowboarding!
More recently you won another important international design competition for a new 27.000 m2 cultural complex in Albania, can you tell us more about this project?
BJARKE INGELS. The job is for a complex with a Museum of Religious Harmony, an Islamic Centre and a Mosque. When we went to Tirana to have a look at the project, we went on weekends, on Fridays and unique vacations.
You constantly involve the city in your tasks, and you normally deal with social jobs, however what do you believe is the relationship between architecture and politics?
BJARKE INGELS. I think politics is the procedure of attempting to listen to the demands and desires and concerns of citizens and turn these collective issues into political reality through representation; in an extremely similar though more hid method architecture offers with accommodating the concerns and needs of people. As architects we are at the centre of trying to continuously coordinate the cumulative effort of making sure that our cities and buildings fit with the method we desire to live and in an ideal world that is also what politicians need to be doing.
Do you think that architecture is a promotional tool for politics or politics is a tool for an architect to accomplish something crucial in a city?
BJARKE INGELS. I believe these 2 aspects are most likely real: in some cases an architectural task can have a marketing significance and but likewise as architects, we need to get included with politics because somehow politics form the truth in which we work. Here in Italy I think for instance how odd to see the case of Stefano Boeri, organiser of Festarch and Editor of Abitare, who used to be a designer thinking about politics and now he is probably more like a politician thinking about architecture. Oddly enough it resembles taking the exact same issue about constantly improving individuals's every day life and doing it through legislation rather than style and hopefully he can keep doing both.
Rather difficult I guess. How do you feel when people state you are “l'Enfant horrible” of style and architecture?
BJARKE INGELS. I do not truly understand about that! However I think that quite early in my career I understood I was typically more thinking about the society rather than in taking a look at architecture in isolation. Rather than thinking about architecture as an autonomous art form separated from the remainder of the world, I actually see the role of architecture and of architects to be completely included with the rest of society. As a result often our tasks might relate more to people that are not designers since they create possibilities that in some way plug into everyday life. In the Danish pavilion in Shanghai there was a bath. The idea was to develop a really active architecture where you can stroll and cycle through the structure and through the exhibits, you can dip your toes in the swimming pool in the middle. There is a socially-provocative bench that promotes various forms of interaction with the pavilion. There is an artwork in the shape of a fountain that likewise becomes nearly like a playground for kids. So in numerous ways it is an architecture that does not simply try to look poetic or stunning but it truly develops possibilities. Some people would argue that developing a ski slope on top of a power plant has absolutely nothing to do with architecture however this is somehow the architecture of organising all aspects of human life in new mixes. As a sort of sign of humanistic sustainability, it is both economically and environmentally sustainable by turning rubbish into heat and energy but also socially sustainable by turning a power plant into a public park.

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