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Sankt Lukas Hospice and Lukashuset

HELLERUP, DENMARK

Sankt Lukas Hospice and Lukashuset

HELLERUP, DENMARK

CLIENT

Den A.P. Møllerske Støttefond

TYPOLOGY

Health

SIZE M2/FT2

8,500 / 91,500

STATUS

IN DESIGN

The new Sankt Lukas Hospice and Lukashuset is conceived as a village surrounded by nature, rooted in the history of the Sankt Lukas Foundation which dates back to the 1930s.

 

The new 8,500 m2 palliative care center will house an outreach hospice team, Denmark’s first day hospice, and units for children, youth, and adults. With plans to care for approximately 2,100 patients annually, the two new building structures will more than triple the current capacity, fostering an environment guided by three core principles – safety and a sense of home, solitude and togetherness, arrival and farewell.

 

Defined by simplicity and scale, the center will harmoniously blend with the surrounding historic structures, featuring pitched roofs and yellow bricks repurposed from the original on-site buildings. The buildings will be surrounded by serene gardens and sensory spaces, extending the interior spaces outdoors to create a healing connection to nature.

"A hospice provides the framework for the final moments of a person’s life. It becomes our world before we depart. We have sought to create a peaceful and poetic environment, where one can find tranquility and an opportunity to immerse oneself in the world around us. Nature. The weather. The changing of the seasons. The falling leaves. The budding of trees. The blossoming of the meadow. We have chosen living materials with organic textures that age beautifully over time. The grain in the wood. The burnt clay. Instead of the linear corridors of hospitals, we have created an environment of smaller buildings arranged around protected natural gardens. The result is a kind of condensed village for life’s final days. The farewell garden is a building structure where the roof opens fully towards the sky. A space that provides room for the final journey."

Bjarke Ingels — Founder & Creative Director, BIG

Inside, guests are welcomed by an open foyer with a view of lush courtyard gardens. The heart spaces, centrally located in both buildings, provide gathering rooms for community and well-being. In Lukashuset, family rooms offer areas for both privacy and togetherness, along with activity spaces that support play and reflection. Meanwhile, the adult hospice includes larger common areas for activities and meetings.

"The new Sankt Lukas Hospice and Lukashuset have been created with care as the guiding principle - for both people and nature. By repurposing bricks from the existing buildings and drawing inspiration from the site’s traditional craftsmanship, the project is deeply rooted in its environment. The bright, open spaces are designed to foster a sense of peace and presence, where large windows bring nature into the interior. This close connection between indoors and outdoors allows nature and architecture to frame moments of grief, healing, and reflection on life and death."

David Zahle — Partner, BIG

The surrounding landscape acts as a buffer to the life of the city while extending the natural character of the existing park. Planned as a series of interconnected environments, it includes open lawns, intimate gardens, a sensory garden, and winding paths through trees and plantings. Specific areas feature a wild grass meadow, seasonal flowering plants, and gardens inspired by Danish natural landscapes. A rainwater pond encourages biodiversity by attracting native flora and fauna, while benches and small niches along the pathways provide spaces for rest and reflection for patients, relatives, and staff.

 

At the western end of Sankt Lukas Hospice, a farewell garden is placed within a woodland-inspired atrium, providing a peaceful space for final moments. With an open view of the sky, the garden offers a symbolic connection to the infinite.

Bjarke Ingels David Zahle Adrianna Karnaszewska Lisbet Fritze Trentemøller Louise Mould Nanna Gyldholm Møller Roberto Fabbri Ulla Hornsyld Elia Tonutti Paola Yepes Bocanegra Lucas Malthe Mikkelsen Ioannis Mathioudakis Iván Ares Igrexas William Emil George Abdou Matthew Goodwill Victor-Antoine Delorme Aanchal Ashok Tejwani Claudia Jaegerman Gaspard Del Marmol

COLLABORATORS

Creo Arkitekter

Opera and Ballet Theatre of Kosovo

PRISHTINA, KOSOVO

Opera and Ballet Theatre of Kosovo

PRISHTINA, KOSOVO

2025

CLIENT

Ministry of Culture, Youth and Sports (MKRS) - Government of Kosovo

TYPOLOGY

Culture, Public Realm

SIZE M2/FT2

42,395 / 456,336

STATUS

IDEA

The future Opera & Ballet Theatre of Kosovo will house four performance halls and a new public plaza in the capital of Prishtina. As the first opera house in the Republic of Kosovo, the theatre symbolises the country’s rich and diverse cultural heritage while reflecting a new identity for Prishtina rooted in creativity and a commitment to the country’s artistic growth.

 

Commissioned by Kosovo’s Ministry of Culture, Youth, and Sport (MKRS), the theatre will become the new home of the Kosovo Philharmonic, Ballet, and Opera. The building will include a 1,200-capacity Concert Hall, 1,000-capacity Theatre Hall, 300-seat Recital Hall, Theatre Room, and Education and Conference Centre under one roof. Situated next to the Palace of Youth & Sports, the Fadil Vokrri Stadium, and the Public Services Ministry, the venue will contribute to a dynamic new cultural corridor at the heart of the city. 

BIG proposes a simple and pragmatic arrangement of the performance venues draped in a soft, undulating exterior skin of photovoltaic tiles. The theatre’s form is reminiscent of the free-flowing shapes of a performer’s costume and the Xhubleta, a bell-shaped folk skirt traditionally worn by women in Kosovo.

The central location of the theatre provides convenient pedestrian access both at street level and above street level via the podium of the Palace of Youth & Sports. This existing podium will be extended to merge seamlessly with the theatre’s grand outdoor staircase, simultaneously improving pedestrian connectivity and activating the space as a vibrant public plaza.

 

The theatre’s undulating form naturally indicates entrances and key spaces, which welcome guests into a ‘public room’ that is approachable and welcoming from all sides. Serving all four auditoria, the lobby is flooded in natural light from a central skylight, exuding a warm and inviting atmosphere.

"The design for the Opera & Ballet Theatre of Kosovo allows for the flexibility to accommodate the precise needs of the organisations who will occupy the spaces within, while providing a modern facility that can elicit joy and delight for future generations of visitors and performers alike. The theatre's design symbolises a new era of the arts and culture of Kosovo – with the potential to touch the heart of everyone who experiences it."

Andy Young — Partner, BIG London

A consistent design language unifies the interiors of the performance halls, incorporating curved timber elements that create sculptural yet functional environments. The main Concert Hall features intimate seating areas that weave and interlock seamlessly to provide optimal views of the stage, while the three-tiered Theatre Hall offers a grand yet intimate setting supported by a full-height rigging system and concealed technical bridges. The adaptable Theatre Room and the elegantly proportioned Recital Hall offer further flexibility for diverse artistic expressions. 

 

Across all performance spaces, the predominantly matte timber aesthetic complements the lustre of deep velvet upholstery and acoustic curtains particular to each venue.  

“We are deeply honoured to be entrusted with the design of the new home for the performing arts in a country that has gifted the world with an outsized cultural impact in the performing arts. Our design for the Opera & Ballet Theatre of Kosovo is designed like an efficient factory for the fabrication of artistic performances. The rational nucleus is wrapped in a continuous canopy, creating an engaging public space open in all directions. The undulating roof creates a flowing and inviting gesture evocative of the Xhubleta, the traditional national dress of Kosovo.”

Bjarke Ingels — Founder & Creative Director, BIG - Bjarke Ingels Group

The building is framed by a hardscape of natural stone along with a series of landscaped ‘islands’ and winding paths. These islands will be planted with diverse vegetation, including beech trees that will promote biodiversity, provide seasonal variation, and offer shelter.  

Bjarke Ingels Andreas Klok Pedersen Andy Young Enija Skeltona Masa Tatalovic Mike Yin Ania Agnieszka Podlaszewska Jasmine Yang

COLLABORATORS

ALB-Architect
Charcoalblue
bloomimages
bucharest.studio
IMIGO

Suzhou Museum of Contemporary Art

SUZHOU, CHINA

Suzhou Museum of Contemporary Art

SUZHOU, CHINA

2024

CLIENT

Suzhou Harmony Development Group Co. Ltd

TYPOLOGY

Culture

SIZE M2/FT2

60,000 / 646,000

STATUS

IN CONSTRUCTION

Located on the Jinji Lake in Suzhou, the 60,000 m2 Suzhou Museum of Contemporary Art is conceived as a village of 12 pavilions, offering a modern interpretation of the elements that have defined the city’s urbanism, architecture, and landscape.

 

Designed as a reimagination of the traditional garden ‘lang, 廊 – a line that traces a path – the museum spaces frame gardens and coalesce as pavilions. The design of the museum showcases Suzhou’s Garden tradition as part of the exhibitions, taking visitors on a journey and exploration of art, nature, and water. The museum is scheduled for completion in 2025.

The museum’s main design element is the ribbon of the roof, which extends into a pattern of eaves that double as sheltered walkways through the site. Knots in the thread of walkways frame pavilions, and as a result, the museum’s architecture entwines through the landscape, tying water to land, city to nature, and people to history. The draping walkways further extend out into Jinji Lake, which can be regarded from above while on the Suzhou Ferris wheel.

Arriving at the museum, the visitor will be met by an expansive, welcoming plaza in front of the Visitor Centre and main entrance. From here, visitors will be able to proceed with their visit inside or along the exterior, through the gardens and to the waterfront

 

The museum’s landscaping acts as a public space to the front of Jinji Lake through a series of interconnected gardens, ensuring a rich public realm surrounding the museum. Sculptures by contemporary artists will offer Suzhou’s citizens a cultural experience outside the museum’s opening hours. The individual gardens will gradually change from mineral to green to finally water-themed planting, as the visitors move towards the waterfront. 

Our design for the Suzhou Museum of Contemporary Art is conceived as a Chinese garden of pavilions and courtyards. Individual pavilions are woven together by glazed galleries and porticoes, creating a network of interconnected sculpture courtyards and exhibition spaces. Weaving between the Ferris wheel legs, the museum branches out like a rhizome, connecting the city to the lake. The result is a manmade maze of plants and artworks to get lost within. Its nodular logic only becomes distinctly discernible when viewed from the gondolas above. Against the open space of the lake, the gentle catenary curvature of the roofs forms a graceful silhouette on the waterfront. Viewed from above, the stainless roof tiles form a true fifth facade.

Bjarke Ingels — Founder & Creative Director, BIG - Bjarke Ingels Group

Four of the museum’s pavilions comprise the main gallery experience of the Suzhou Museum of Contemporary Art, and the five remaining feature a multifunction hall for events and lectures, a theater, restaurant, and grand entrance

 

Defined by sloping roof eaves, each pavilion’s façade is made of rippled and curved glass, as well as warm-toned stainless steel that reflects the garden colors. The pavilions are connected above- and underground via bridges and tunnels, offering the museum flexibility to plan exhibition flow according to seasons and exhibited art pieces. The paths leading through the site will be covered with natural stone. 

 

The Suzhou Museum of Contemporary Art Museum follows the Chinese sustainability certification, GBEL Green Star 2, including both technical and social approaches to sustainability.  

The Suzhou Museum of Contemporary Art is a tribute to the rich garden heritage of Suzhou. We envision the '廊,' a traditional element of Suzhou gardens, gracefully winding through the landscapes and transforming into pavilions. In doing so, it frames the contemporary gardens, making them an integral part of the exhibition, as significant as the artwork within.

Catherine Huang — Partner, BIG - Bjarke Ingels Group

The Suzhou Museum of Contemporary Art was recognized as a national landmark in China in June 2024, when it was featured on an official postage stamp issued by China Post to celebrate the successful development of Suzhou Industrial Park and the urban landscape around Jinji Lake.

 

Landscaping in renderings is conceptual and will differ from the final design.

Bjarke Ingels Finn Nørkjær Catherine Huang Ole Elkjær-Larsen Haochen Yu Zhonghan Huang Aileen Koh Amanda Lima Soares Da Cunha Andrea Hektor Athena Morella Bjarke Koch-Ørvad Christian Vang Madsen Eddie Can Filip Fot Cris Guoyu Liu Molly Hsiao Rou Huang Izabella Banas Jakub Kulisa Jan Magasanik Jonathan Russell Kekoa Charlot Mathis Paul Gebauer Matteo Pavanello Miles Treacy Paula Domka Shu Du Tyrone Cobcroft Xavier Thanki Andreas Bak Narisara Ladawal Schröder Maria Capuozzo Federico Martínez De Sola Monereo Filippo Cartapani Yihan Liu Yanis Amasri Sierra Alicia De Nobrega Desislava Georgieva Zuzana Faskova Tim Christensen Julia Wilkosz Will Chuanrui Yu Riad Tabbara Phoebe Cowen Cristina Minguela Oliver Steen Jiawen Huang Jurica Pajic Alexander Gale Heiede Janis Bronka Konstantinos Koutsoupakis Thomas Lejeune Tseng-Hsuan Wei Adele Scampoli Romain Thijsen Yingying Guan Ingrid Albina Oliva Lampa Chih-Han Chen Sol Anaid Chacon Levin Philip Kaefer Jana Semaan Megan Nhat Xuan Dang Pei Huang Jonathan Christian Chin Jens Max Jensen Jesús Fernández Fraile Huiyao Fu Kannan Selvaraj Tarek Shater Arda Çinçin Zahra Khademi Tomasz Jakubowski Jason Cheuk Hei Lee Pauline Rytter Todor Todorov Rusev Jiaqi Yang

COLLABORATORS

ARTS Group Co. Ltd. [中衡设计集团股份有限公司]
Front Inc.
Shanghai Shuishi Landscape Design Co. Ltd. [上海水石景观环境设计有限公司]
Rdesign International Lighting [上海瑞逸环境设计有限公司]
BIG Landscape
BIG Engineering

BIG HQ

COPENHAGEN, DENMARK

BIG HQ

COPENHAGEN, DENMARK

2023

CLIENT

Sundmolen BIG aps (BIG HQ Building) | By & Havn (Landscape)

TYPOLOGY

Work, Interiors

STATUS

COMPLETED

The 7-storey HQ is architecturally anchored in Copenhagen harbor’s heritage of warehouses and factories. The small footprint at the end of the pier became the main design dilemma: how to organize a single work environment for all of us when we would have to be split between a minimum of four levels. In a counterintuitive decision, we split all the floors in half and doubled the amount of levels.

 

BIG HQ is BIG’s first example of fully integrated LEAP design – a collaboration between Landscape, Engineering, Architecture and Product designers. Everything from door handles to concrete columns – from urban design to glass facades has been given form by the BIG LEAP team. The building is designed to achieve the Danish sustainability certification, DGNB Gold, through use of FutureCem concrete, which reduces CO2 emission with approx. 25% reduction as well as integration of solar and geothermal energy systems, and natural ventilation of the office spaces.

Upon entering the main entrance through a 3 m tall glass door, BIGsters and guests will find themselves in a dramatic Piranesian space, where the inner life of the building reveals
itself through diagonal views all the way up to the top floor.

 

A single stone column of eight different types of rock – ranging from dense granite at the bottom to a porous limestone at the top – form a totem pole to gravity at the heart of the open
space. An open stair ricochets from level to level all the way from the basement to the penthouse.

A series of half floor plates overlap to create a cascading environment of interconnected levels that unite the entire seven-storey building visually and physically into a single space. The floor plates are carried by 20-m-long concrete beams stacked on top of each other, which make the exterior façade appear as a checkerboard of interchanging solid beams and transparent windows.

Each floor has direct access to a balcony connected to the balcony above and below, forming a continuous ribbon of outdoor spaces, spiraling from the roof to the quayside like a mountain path. The ribbon doubles as the additional fire escape freeing up the interior from the obstruction of the traditional core.

At the foot of BIG HQ, BIG’s Landscape team has transformed a former parking area into a 1,500 m2 public park and promenade, inspired by the sandy beaches and the coastal forests of Denmark. Towards the north, native forest trees, such as pines and oaks, create shelter from the harsh winds of the harbour. Towards the south, areas with planting, rocks and woods support habitat creation for biodiversity. At the heart of the park, tucked away between the trees, a sculpture by American artist Benjamin Langholz titled “Stone 40” will surprise and engage visitors of all ages.

Bjarke Ingels Finn Nørkjær David Zahle Jakob Lange Andreas Klok Pedersen Ole Elkjær-Larsen Agla Egilsdottir Marius Tromholt-Richter Matthew Thomson Shu Zhao Jesper Boye Andersen Annette Jensen Alda Sol Hauksdóttir Alexander Jacobson Anders Fønss Andrea Hektor Andy Coward Anna Bertolazzi Anna Wiktoria Wozniak Anne-Charlotte Wiklander Andrea Angelo Suardi Aya Fibert Barbora Hrmova Bart Ramakers Bjarke Koch-Ørvad Christian Eugenius Kuczynski Danyu Zeng Dina Brændstrup Eddie Can Ewa Zapiec Fabiana Cortolezzis Felicia Olufsson Filip Rozkowski Frederik Lyng Frederik Skou Jensen Gabrielle Nadeau Giulia Genovese Graham Forrest Jordan Cris Guoyu Liu Hanne Halvorsen Helen Shuyang Chen Henrik Jacobsen Hilda Heller Ines Zunic Irie Meree Jesper Kanstrup Petersen Jonathan Russell Jonathan Udemezue Joos Jerne Juhye Kim Kanetnat Puttimettipanan Kaoan Hengles De Lima Katrine Juul Kim Christensen Kim Lauer Kristian Mousten Kristoffer Negendahl Lars Thonke Lenya Nikola Schneehage Lisbet Fritze Trentemøller Lone Fenger Albrechtsen Louise Mould Luca Pileri Mads Engaard Stidsen Mads Primdahl Rokkjær Magni Waltersson Marah Wagner Margarita Nutfulina Mariana De Soares e Barbieri Cardoso Martyna Kloda Michael James Kepke Mikki Seidenschnur Milan Moldenhawer Mikkel Marcker Stubgaard Mussa Algasra Nandi Lu Nanna Gyldholm Møller Omar Mohamed Nabil Mohamed Saad Mowafy Paula Madrid Sergiu Calacean Sille Foltinger Snorre Nash Steen Kortbæk Svendsen Thor Larsen-Lechuga Timo Harboe Nielsen Tobias Hjortdal Tommy Bjørnstrup Tore Banke Tristan Harvey Ulla Hornsyld Xavier Thanki Xingyue Huang Xinyi Chen Xinying Zhang Yehezkiel Wiliardy Manik Yunyoung Choi Gül Ertekin Høgni Laksafoss Natasha Lykke Lademann Østergaard Søren Martinussen Andreas Bak Giulia Frittoli Maria Natalia Lenardon Mathieu Jaumain Narisara Ladawal Schröder Sherief Al Rifal Jiewei Li Justas Zabulionis Jonas Rask Dobrochna Anna Klimczak Marija Cvijović Celia de la Osa Muñoz Bartłomiej Lew Krestian Ingemann Hansen Helena Hammershaimb Alexandra-Madalina Nita Anna Lindgaard Jensen Ricardo Candel Brian Malig Collado Louise Brøndbjerg Johan Fredrik Lindqvist Celina Holck Jannik Albæk Fernanda Furuya Arthur Martinevski Kaja Terze Jialin Liang Petra Hajdu Mathilde Jeppesen Atibadi Brugnano Ioannis Mathioudakis Ahmed Badra Adrianna Szmidt

AWARDS

Copenhagen Municipality Architecture Prize, 2024


COLLABORATORS

LM Byg
Pihl & Søn
Aalborg Portland
Centrum Pæle
Connex
El Team Vest
Energy Machines
Skel.dk
Paschal Stillads
Kjellerup VVS
HB Trapper
Eiler Thomsen
Deko
Brønnum
Primatag
Optimus
Krak Bau
Alt om Fugning Aps
YOUR PARTNER
Kvadrat Acoustics
GOTESSONS
Akustik Miljø
Dansk Belægningsenterprise
NO.BA Studio
Ceramica Cielo
TONI Copenhagen
Dinesen Floors A/S
Influit
Helden
Artelia Group
Fritz Hansen
Muller van Severen
Aluflam
Artemide
Kristoffer Negendahl
Windowmaster
Viasol
Schüco
Anker & Co.
E. Nielsens Mekaniske Stenhuggeri A/S
Allremove
Miele
SHURE
Shack Trapper

NOT A HOTEL Setouchi

SAGI ISLAND, JAPAN

NOT A HOTEL Setouchi

SAGI ISLAND, JAPAN

2024

CLIENT

Not a Hotel, Inc.

TYPOLOGY

Hospitality, Urbanism

SIZE M2/FT2

2,350 / 21,500

STATUS

IN DESIGN

Japanese hospitality group NOT A HOTEL has partnered with BIG to expand the company’s existing six hospitality offerings across Japan. Located on a 30,000 m2 site on Japan’s remote Sagi Island, NOT A HOTEL Setouchi brings three villas to the island’s southwestern cape with panoramic views of the Seto Inland Sea.

 

The design for NOT A HOTEL Setouchi builds on the longstanding relationship between Scandinavian and Japanese design values. The luxury resort weaves naturally throughout the remote island’s mountains, incorporating natural and local materials while promoting a connection to nature.

"In the last few decades, Japan has been attracting attention as a place to experience stunning natural landscapes as well as high-end design, innovative architecture, and cutting-edge art. The Seto Inland Sea area, where NOT A HOTEL SETOUCHI will be built, brings together all of these aspects of Japanese tourism into a single site. In partnering with BIG, we are creating one of Japan’s most luxurious villas on Sagi Island, which will be a gateway for more people to experience the charm of the Setouchi region."

Shinji Hamauzu — CEO & Founder, NOT A HOTEL

The relationship between Scandinavian and Japanese design began in the 19th century, when Japan opened their borders to international travellers. Soon after, Scandinavian designers began visiting the country and quickly became fascinated by the Japanese style for its simplicity, use of natural materials and connection to nature the same principles that guided the design ethos for NOT A HOTEL Setouchi.

 

The masterplan for NOT A HOTEL Setouchi prioritises restoration of the undulating terrain, where grass will be harvested before construction begins, while olive trees, lemon trees and other native vegetation will be reintroduced to further enhance the site’s natural beauty. The three villas named ‘360,’ ‘270’ and ‘180’ depending on location and corresponding views intentionally blend into the landscape’s natural contours, aligning with existing roads and infrastructure. Spread across varying elevations, the resort appears like a ribbon winding through the site. 

"Our design approach for NOT A HOTEL Setouchi wasn’t about imposing our ideas on the site; instead, it involved exploring, observing and understanding the landscape. We envisioned how to best leverage this distinctive and remarkable terrain and fixed upon a design that mirrors the elegance of traditional Japanese architecture. Japan is one of the cultures in the world where commitment to craft and care for quality remains intact. The honesty and simplicity of the structure and careful choice of materials can be said to have greatly influenced the traditional architecture of Japan and the modern architecture of Denmark. Maybe that's why when I go to Japan, I always feel like I'm coming home. NOT A HOTEL Setouchi will be an experiment in what happens when the sensibilities of both countries come together – the Danish desire for simplicity and the care and perfection of Japan."

Bjarke Ingels — Founder & Creative Director, BIG

Each villa has distinct design characteristics that fit into their specific location onsite. The ring-shaped ‘360’ is perched at the highest altitude, offering literal 360-degree views of Setouchi’s land and seascape with a central courtyard for privacy. ‘270’ captures a 270-degree panorama of the surrounding archipelago, featuring bathing spaces arranged like floating islands around the pool alongside a sauna and open firepit. At the peninsula’s tip, ‘180’ is the closest to the sea, whose curvature follows the coastal landscape. The home includes an inner courtyard with gentle slopes, mossy pathways and trees that change colour with the seasons.  

The three- and four-bedroom villas reference the design of traditional Japanese single-story houses, incorporating materials local to Japan. The essential elements of the homes – the façade, roof, walls and floor – all preserve traditional Japanese architectural elements while being reimagined for modern-day use. Glass façades that connect the interior and exterior are a modern interpretation of shoji screens, while the pattern of the Genshoseki natural slate floors is inspired by the layout of traditional Japanese tatami mats. The load bearing curved clay walls are achieved using the traditional rammed earth technique, incorporating soil directly from the site. 

Each villa opens into a large, unified space, with areas of functionality such as bathrooms and storage rooms consolidated into separate volumes, or pods. Skylights are placed atop these more private pods to provide views from any point within the buildings – balancing openness with solitude. 

 

 

 

The villas all feature traditional Japanese baths, calming colour palettes, outdoor firepits and heated infinity pools that blur the boundaries between the properties and the surrounding nature. 

The roofs at NOT A HOTEL Setouchi are covered on all sides with solar tiles, representing a technological and modern interpretation of a traditional Japanese roof. Rainwater collected by the elevated roofs is used to irrigate the landscaping, while the operable façades and overhangs promote passive cooling in spring and summer. 

"Setouchi comprises a dense and dramatic archipelago, characterized by beautiful undulating silhouettes of mountainous islands. Our approach for this design aims to simultaneously expand and enhance the vast panoramic views of the archipelago while creating moments of intimacy and privacy through minimal architectural interventions. NOT A HOTEL Setouchi fuses the essence of BIG and modern Danish architecture with the DNA of NOT A HOTEL and traditional Japanese culture."

Ryohei Koike — Associate, BIG

Bjarke Ingels Leon Rost Jan Leenknegt Margaret Tyrpa Sang Ha Jung Yu Inamoto Casey Tucker Andrea Hektor Joanna M. Lesna Mamoru Hoshi Naysan John Foroudi Ryohei Koike Théo Hamy Steven Op Don Chen Ahmad Tabbakh Konstantinos Koutsoupakis Suyue Huo Jeremy Felson Oskar Maly Jasmine Nicholson Cullen Fu Matthew Lau Pavel Tomek Fani Christina Papadopoulou Paul Heberle

COLLABORATORS

Maeda Corporation
ARUP Japan
1moku
NOSIGHT
BOCS
Mir
LIT design

The Plus

MAGNOR, NORWAY

The Plus

MAGNOR, NORWAY

2022

CLIENT

Vestre A/S

TYPOLOGY

Infrastructure

SIZE M2/FT2

7,000 / 75,000

STATUS

COMPLETED

Designed for furniture manufacturer Vestre, The Plus is a factory, visitor center, and 300-acre park located in Magnor, Norway near Vestre’s HQ and steel factory. Norway’s single largest investment in the furniture industry in decades, the 7,000 m2 production facility is dedicated to the cleanest carbon-neutral fabrication of urban furniture in the world.

 

Constructed in just 18 months, the building is made of local mass timber, low-carbon concrete, and recycled steel, and is set to become the first industrial building to achieve the highest environmental BREEAM Outstanding rating. The factory doubles as a public park for hiking and camping and aligns with the region’s mission to establish a green manufacturing hub outside of Oslo.

The Plus is conceived as a radial array of four main production halls – a warehouse, color factory, wood factory, and the assembly – that connect at the center and generate the ‘plus’ shape at its intersection. The layout enables an efficient, flexible, and transparent workflow between the manufacturing units and an intuitive visitor experience.

 

Like a flowchart, the entire interior is organized with the color of each machine overflowing to the floors. Exploring The Plus feels like moving through an archipelago of colorful islands where the experience and overview of the factory’s activities are unified.

 

Inside the factories, each wing has one alternating ceiling corner lifted to create inclined roofs that allow views into the production halls as well as the forest outside. Along the color and wood factory, the sloping roofs are extended to form a pathway for visitors and staff to hike up and down the building while observing the production processes inside. All four production units are built with 21 m free-spanning, cross-laminated timber, creating flexible column freespaces 

"The radical transparency invites visitors and hikers to enjoy the whole process of creation while providing Vestre’s team with the thrill of working in the middle of the forest. To us, The Plus is a crystal-clear example of Hedonistic Sustainability - showing us how our sustainable future will not only be better for the environment, but also more beautiful to work in and more fun to visit."

Bjarke Ingels — Founder & Creative Director, BIG

From all four sides of the buildings, visitors and staff will be invited to hike around the facility and end their walk on the roof. Here, 900 photovoltaic panels are placed and angled according to optimal solar efficiency while effective construction and materials methods, rainwater collection systems, heat and cooling systems, green roofs, and electric vehicles contribute to ca 90% lower energy demand than that of a conventional factory. An ADA-accessible ramp will allow wheelchairs and strollers to enjoy the serpentine path and the experience of being surrounded by pine trees on all sides.  

 

All materials were carefully selected for their environmental impact, with the façade constructed from local timber, low-carbon concrete, and recycled reinforcement steel.
Every aspect of the design is based on principles of renewable and clean energy to match Vestre’s eco-friendly production, such as ensuring a minimum of 50% lower greenhouse gas emissions than comparable factories.

The heart of The Plus draws visitors into the exhibition centers Vestre Energy and Clean Water Center where the public can learn about energy, water and circular design. A logistics office with direct connections to all four production halls allows Vestre’s team to process logistical traffic with maximum efficiency. The central hub wraps around a public, circular courtyard where the latest outdoor furniture collections are displayed according to the changing seasons. The courtyard doubles as a panopticon for visitors and staff to fully experience the factory’s production processes. 

"Playfulness, democracy, and sustainability are at the heart of the Vestre brand and everything they do; our wooden, colorful factory in the middle of the Norwegian woods - surrounded by a 300,000 m2 public forest park where the local community can come to experience the gigantic Vestre furniture pieces sprinkled throughout - lives and breathes this philosophy."

David Zahle — Partner, BIG

Proving that production can be sustainable and profitable even in a high-cost country like Norway, The Plus – a hybrid of a transparent and open production facility, a public park, and a literal green landmark for the manufacturing industry – exemplifies how advancements in fabrication and manufacturing can help shape both the factories of the future, and the way we experience them. 

Bjarke Ingels David Zahle Ole Elkjær-Larsen Agnieszka Wardzińska Alexander Jacobson Andrea Hektor Andy Coward Ariana Ribas Ariana Szmedra Bjarke Koch-Ørvad Camille Breuil Cæcilie Søs Brandt-Olsen Claudia Bertolotti Duncan Horswill Eduardo Javier Sosa Trevino Eva Seo-Andersen Ewa Zapiec Filip Fot Frederic Lucien Engasser Frederik Skou Jensen Jens Majdal Kaarsholm Jesper Kanstrup Petersen Julia Novaes Tabet Julien Bernard Jacques Picard Julius Victor Schneevoigt Kaoan Hengles De Lima Katrine Juul Katrine Sandstrøm Kristoffer Negendahl Ksenia Zhitomirskaya Luca Pileri Magni Waltersson Miles Treacy Nanna Gyldholm Møller Neringa Jurkonyte Ningnan Ye Palita Tungjaroen Paula Madrid Rron Bexheti Steen Kortbæk Svendsen Thor Larsen-Lechuga Tobias Hjortdal Tommy Bjørnstrup Tore Banke Tristan Harvey Ulla Hornsyld Viktoria Millentrup Xingyue Huang Zuzanna Eugenia Montwill Ákos Márk Horváth Jean-Sébastien Pagnon Andreas Bak Cheng-Huang Lin Giulia Frittoli Sui King Yu Jenna Hukkinen Marcel Götz Jonas Rask Edward Durie

AWARDS

BREEAM Awards, Best New Building, 2024


DOGA-merket for Architecture and Design, 2023

Scandinavian Design Awards for Architecture of the Year, 2023

DETAIL Reader's Choice Awards, 2022

Interior Design Magazine Best of Year Awards for Greater World Sustainability, 2022

COLLABORATORS

Bollinger+Grohmann
Gade & Mortensen
Nordic Architects AS
Asplan Viak
Erichsen og Horgen AS
Norconsult AS
Foyn Consult AS
Fokus Rådgivning
Multiconsult AS
ØM Fjeld AS
Woodcon AS
Reflex
Hallas AS
Loe VVS Prosjekt AS
Cowi AS
Fokus Rad AS
Melby Maskin AS
EMV Construction AS
YC ROR AS
Energima Prosjekt SA
Minel Elinstallasjon US
Solcellespesialisten AS
TKS Heiser AS
Bygganalyse AS
Evotek AS

Joint Research Center

SEVILLA, SPAIN

Joint Research Center

SEVILLA, SPAIN

2021

CLIENT

European Commision Joint Research Center

TYPOLOGY

Work

SIZE M2/FT2

9,922 / 106,800

STATUS

IN DESIGN

The new Joint Research Centre in Seville, ‘Solar Cupola’ delivers on JRC’s commitment to sustainability, unites the European vision of the New Bauhaus initiative, and establishes a new benchmark for workspace that empowers knowledge sharing, collaboration and co-creation.   

 

Located at the former EXPO ´92 site, in Isla de la Cartuja, the new 9,900 m2 building for the European Commission, ties into the City of Sevilla’s goal to become a global benchmark for sustainability by 2025 and the local vision of the eCity Sevilla project to decarbonize and transition Isla de la Cartuja to 100% renewable energy sources.

 

The building will house 12 research units and supporting functions as well as public and private outdoor spaces.

Informed by the shaded plazas and streets of Seville, BIG proposes to cover the entire project site with a cloud of solar canopies sheltering the plaza, garden, and research building underneath, akin to the pergolas typical to Seville. The canopies consist of square lightweight PV sheets supported by slender columns. The roofscape cascades down from the center to a human-scale height at its periphery, creating a variety of public spaces underneath.

"With our design for the Joint Research Centre in Seville, more than anything, we have attempted to allow the sustainable performance of the building to drive an architectural aesthetic that not only makes the building perform better but also makes it more inhabitable and more beautiful - a new Andalusian environmental vernacular."

Bjarke Ingels — Founder & Creative Director, BIG

Inside, the functions of the new JRC building are organized with public program and amenities such as dining, a conference center and social spaces on the ground floor, while the offices and research units occupy the upper floors for privacy and security. The collaborative workplaces face the plaza, while the deep-focus workspaces face the garden. The proposed layout is designed to be entirely flexible and adaptable according to any future needs of the JRC.

 

Following the building geometry and modularity two diagonal voids connect all levels of the building, encouraging physical movement as well as social interaction and informal meetings.

“When we visited the site in Seville and carefully reviewed JRC’s ambitious goals, we realized the potential to not only meet but exceed the requirements of the new JRC by creating a new breed of building - one that could become a beacon for sustainability, the future of public space and work environment - a single system tailored to Seville’s social and physical vernacular.”

João Albuquerque — Partner, BIG

The passive design of the building through its shallow floorplate and constant shading under the pergola cloud enables natural cross ventilation and ideal light qualities, reducing the energy consumption typically used on artificial lightening, air conditioning and mechanical ventilation.

 

The design prioritizes locally sourced materials, such as limestone, wood, and ceramic tiling. The structure is low-carbon concrete, reducing up to 30% of typical CO2 emissions, while the pergola cloud is made from recycled steel. Outdoor gardens, greenery from the region, and water elements reduce/eliminate the heat island effect and create a comfortable microclimate.

The JRC building is positioned diagonally across the site connecting it to the ‘Jardin Americano’ river-front and the Torre Sevilla market in a seamless continuous public space. Placing the building diagonally also creates a new public square on one side of the building and a private garden for the JRC community on the other. The floorplates of the research center step back as the building ascends, creating a series of terraces, shaded outdoor spaces for breakouts, relaxation, and informal meetings with views of the city.

Bjarke Ingels Angel Barreno Gutiérrez Hanna Ida Johansson Matthew Reger Sille Foltinger Stefani Fachini De Araujo João Albuquerque Giulia Frittoli Gonzalo Coronado Maceda Elena Ceribelli Jose Gomez Carbonell Raphaël Logan Barber Saina Abdollahzadeh Miquel Perez Pietro Saccardi Nir Leshem Luca Fabbri Patrycja Tomaszewska Steffen Alvang Dino Vojvodic

COLLABORATORS

Buro Happold
HCP Architecture & Engineering
Grupo Argenia

CopenHill

COPENHAGEN, DENMARK

CopenHill

COPENHAGEN, DENMARK

2019

CLIENT

Amager Resource Center | Amager Bakke Foundation

TYPOLOGY

Infrastructure

SIZE M2/FT2

41,000 / 441,324

STATUS

COMPLETED

Located in an industrial area near Copenhagen city center, CopenHill, also known as Amager Bakke, is an exemplary model in the field of waste management and energy production, as well as an architectural landmark in the cityscape of Copenhagen. The building replaces the 50-year-old Amagerforbraending plant and is the single largest environmental initiative in Denmark.

 

The new breed of waste-to-energy plant is topped with a ski slope, hiking trail, climbing wall, an urban recreation center, and environmental education hub, turning the power plant into a destination. The building embodies BIG’s notion of hedonistic sustainability while contributing to Copenhagen’s goal of becoming one of the world’s first carbon-neutral cities.

Located on the industrial waterfront of Amager, where raw industrial facilities have become the site for extreme sports – from wakeboarding to go-kart racing – the new power plant adds skiing, hiking, and rock climbing to the area. Expert skiers can ski down the artificial Olympic half-pipe length ski slope all year round, test the freestyle park, or try the timed slalom course, while beginners and kids practice on the lower slopes. Skiers ascend the park from the platter lift, carpet lifts, or glass elevator with views inside the 24-hour waste incineration process.

 

CopenHill’s continuous façade features 1.2 m tall and 3.3 m-wide aluminum boxes stacked like gigantic bricks overlapping with each other. In between, glazed windows allow daylight to reach deep inside the facility, while larger openings on the southwest façade illuminate workstations on the administrative floors.

The public can enjoy the rooftop bar, cross-fit area, or the highest observation deck in the city before descending the 490 m tree-lined hiking and running trail within the lush, mountainous terrain. The 10,000 m2 green roof, 85 m high up in the air, features a biodiverse landscape while absorbing heat, removing air particulates, and minimizing storm-water runoff.

 

Biologists have monitored the biodiversity of Copenhill since its inauguration in 2019. At the latest investigation in 2020, 119 different new plant and tree species were observed.

On the longest vertical façade, an 85 m climbing wall is installed making it the tallest artificial climbing wall in the world.

Beneath the slopes, whirring furnaces, steam, and turbines convert 440,000 tons of waste annually into enough clean energy to deliver electricity and district heating for 150,000 homes. The power plant’s infrastructure, from ventilation shafts to air-intakes, helps create the varied topography of a mountain; a man-made landscape created in the encounter between the needs from below and the desires from above.

 

Ten floors of administrative space are occupied by the Amager Resource Center team, including a 600 m2 education center for academic tours, workshops and sustainability conferences.

At the bottom of the ski slope, an après-ski bar welcomes locals and visitors to wind down once the boots are off. Formerly a piece of infrastructure in an industrial zone, CopenHill is now a destination for all citizens and visitors of Copenhagen.

Bjarke Ingels Finn Nørkjær David Zahle Jakob Lange Brian Yang Andreas Klok Pedersen Blake Smith Jelena Vucic Jesper Boye Andersen Ji-Young Yoon Adam Busko Adam Mahfuh Adrien Mans Annette Jensen Alexander Codda Alvaro Garcia Mendive Anders Holden Deleuran Boris Peianov Borko Nikolic Buster Christensen Carl Pettersson Chris Falla Ella Coco Murphy Espen Vik Gonzalo Ivan Castro Vecchiola Helen Shuyang Chen Jean Valentiner Strandholt Joanna Anna Jakubowska Joanna M. Lesna Joos Jerne Kamilla Heskje Kasper Worsøe Pejtersen Kim Christensen Lars Thonke Laura Wätte Lone Fenger Albrechtsen Mads Engaard Stidsen Mathias Larsen Nanna Gyldholm Møller Nynne Brynjolf Madsen Richard Howis Ryohei Koike Sebastian Liszka Seunghan Yeum Tore Banke Yehezkiel Wiliardy Manik Zoltan Kalászi Gül Ertekin Alberto Cumerlato Aleksander Wadas Alexander Eising Alexandra Gustafsson Alina Tamosiunaite Anders Hjortnæs Ariel Joy Norback Wallner Armor Gutiérrez Rivas Ask Andersen Balaj Alin Iulian Brygida Zawadzka Chris Zhongtian Yuan Claus Hermansen Daniel Selensky Dennis Rasmussen Franck Fdida George Abraham Henrick Poulsen Henrik Kania Horia Spirescu Jeppe Ecklon Jing Xu Johanna Nenander Katarzyna Krystyna Siedlecka Krzysztof Piotr Marciszewski Liang Wang Lise Jessen Long Zuo Maciej Jakub Zawadzki Marcelina Kolasinska Marcos Garcia Bano Maren Allen Mathias Bank Stigsen Matti Hein Nørgaard Michael Andersen Narisara Ladawal Schröder Nicklas Antoni Rasch Oanh Nguyen Øssur Nolsø Pero Vukovic Se Hyeon Kim Simon Masson Sunming Lee Takahiro Hirayama Toni Mateu Xing Xiong Yang Zhang Jakob Ohm Laursen

AWARDS

Energy Globe National Award, 2022


World Architecture Festival Best Building of the Year Winner, 2021

World Architecture Festival Best Energy & Infrastructure Category Winner, 2021

IOC, IPC and IAKS award international architecture prize, 2021

Bundesverband GebäudeGrün Green Roof Award, 2020

IDEAT Future Award, Best Public Architecture, 2020

Popular Science Best of What’s New Award, 2020

ICONIC Awards, Innovative Architecture, Best of the Best Award, 2020

Design Educates Award, 2020

German Design Council Innovative Architecture, Best of the Best Award Winner, 2020

Architizer A+ Awards Factories & Warehouses Popular Winner, 2020

ArchDaily Building of the Year Award, Industrial Architecture, 2020

Scandinavian Green Roof Award, 2019

Architizer A+ Award, Architecture Photography, 2019

European Steel Design Award, 2017

Tekla Global BIM Awards, 2015

P/A Progressive Architecture Awards, Citation, 2015

MIPIM AR Future Projects Awards, 2012

COLLABORATORS

Detail Design:
MOE
SLA
Lüchinger+Mayer
Rambøll
Zublin
Jesper Kongshaug
BIG Ideas

Competition:
AKT
Topotek 1
Man Mad Land
Realities: United

A.P. Møller Fonden
Lokale og Anlægsfonden
Nordea Fonden
R98 Fonden
Københavns Kommune
Frederiksberg Kommune
Tårnby Kommune
Dragør Kommune
Hvidovre Kommune

One High Line

NEW YORK, UNITED STATES

One High Line

NEW YORK, UNITED STATES

2024

CLIENT

Witkoff / FAENA

TYPOLOGY

Residential

SIZE M2/FT2

83,000 / 893,405

STATUS

COMPLETED

One High Line is located along the High Line in NYC, neighboring a cluster of buildings by Frank Gehry, Jean Nouvel, and Shigeru Ban among others.

 

The sculptural geometry of the two towers is a direct response to their dense context. At the base, the two towers pull away from each other and the neighboring buildings to maximize urban space and views. The twisting geometry at the corners of the towers reduces the overall bulk of the buildings and creates additional separation between them.

The two towers are connected as they rise 300 and 400 ft into the sky. Their sloping facades open up and allow light and air to descend into the pocket park of the courtyard.

"The sculptural form is a direct response to the site's historic industrial heritage and contemporary architecture. It is the means, not the end. The resulting architecture merges the past and present of Chelsea into a new hybrid identity."

Bjarke Ingels — Founder & Creative Director, BIG

The façade design is inspired by the punched windows seen in the historic warehouses of the Meatpacking and West Chelsea neighborhoods. The façade patterning functions as an honest expression of the gridded structural logic of the building, which steps to follow the movement of the towers’ geometry. 

A through-block street between 17th and 18th Streets will provide tenant and visitor access to the residential lobbies, with a vehicular drop-off at a landscaped mid-block inner courtyard. The hotel will be accessed on 18th Street adjacent to the High Line. The project also includes below grade parking, a five-story commercial building, and a multi-level retail space with frontage below the High Line, facing a public plaza along 10th Avenue. 

Bjarke Ingels Thomas Christoffersen Beat Schenk Agne Rapkeviciute Alana Goldweit Amir Mikhaeil Andreas Buettner Hector Romero Jan Leenknegt Margaret Tyrpa Pauline Lavie-Luong Terrence Chew Alex Wu Youngjin Yoon Deb Campbell Francesca Portesine Gabriel Jewell-Vitale Ji-Young Yoon Adrien Mans Christopher Farmer Christopher White Daniella Eskildsen Douglass Alligood Doug Stechschulte Francis Fontaine Justyna Mydlak Lasse Kristensen Marcus Kujala Mateusz Wieckowski-Gawron Maureen Rahman Nicolas Vincent Robert Carlier Rune Wriedt Veronica Moretti Hung-Kai Liao Ali Chen Benjamin Caldwell Joanne Zheng Ashley O'Neill

AWARDS

International Architecture & Design Award, 2024


COLLABORATORS

Woods Bagot
Enzo Enea
Langan
WSP
Cosentini Associates
Gabellini Sheppard
Gilles and Boissier
GMS
Tillotson Design Associates
AKRF
Es Devlin

Musée Atelier Audemars Piguet

LE BRASSUS, SWITZERLAND

Musée Atelier Audemars Piguet

LE BRASSUS, SWITZERLAND

2020

CLIENT

Audemars Piguet

TYPOLOGY

Culture, Interiors

SIZE M2/FT2

2,373 / 25,543

STATUS

COMPLETED

Musée Atelier Audemars Piguet is a spiral-shaped pavilion, reminiscent of the spring in a timepiece movement, entirely supported by curved glass walls. The contemporary spiral flanks the original workshop where the Audemars Piguet story began in 1875 and where an earlier version of the museum was housed from 1992 to 2019. The vernacular architecture of the historical building has been fully recovered based on a thorough study of archival materials.

 

With a design that marries tradition and innovation, the Musée Atelier Audemars Piguet offers visitors a unique opportunity to delve into the history of watchmaking in the Vallée de Joux and explore how the brand’s timepieces are crafted in Le Brassus.

Musée Atelier Audemars Piguet is informed by the convergence of form and content in clockwork. It is conceived like the coils of a watch, ticking and advancing in perpetuity like the gallery visitors and watchmakers moving cyclically with the structure. Every element is governed by the functional requirements of the exhibition while appearing as a sculpture conceived in a single gesture. The all-glass structure is made up of two spirals that seamlessly integrate into the existing landscape. The museum’s collection, which showcases some 300 timepieces, is displayed alongside two in-situ production workshops, creating a living museum.

 

Visitors can observe watchmakers working within the curved glass walls of the museum and experience their expertise first-hand.

"Unlike most machines and most buildings today that have a disconnect between the body and the mind, the hardware and the software, for the Musée Atelier Audemars Piguet we have attempted to completely integrate the geometry and the performance, the form and the function, the space and the structure, the interior and the exterior in a symbiotic whole. It's an architecture in which the form is inseparable from its content, exposed like the gears and springs in a skeletonized open work."

Bjarke Ingels — Founder & Creative Director, BIG

As viewers circle the building, the rich collection of watches illuminates the history of Audemars Piguet and of watchmaking in the valley. The visit culminates at the center of the spiral with the display of some of the Manufacture’s most complicated watches. The spiral also includes two workshops, where Haute Joaillerie creations and Grandes Complications are crafted.

 

With the materials, more is less – an approach that takes inspiration from the art of watchmaking: miniaturization, making the elements as small as possible; “skeletonization,” excavating or subtracting all the unused material so the object becomes like a wireframe; and complication, loading as many functions as possible in the smallest amount of space.

The building fulfils the latest Swiss Minergie® requirements in terms of energy efficiency and high quality construction.

Bjarke Ingels Thomas Christoffersen Daniel Sundlin Beat Schenk Jakob Sand Blake Smith Jason Wu Kristian Hindsberg Otilia Pupezeanu Simon Scheller Ji-Young Yoon Adrien Mans Alessandra Peracin Ashton Stare Claire Thomas Spiller Dammy Lee Eva Maria Mikkelsen Evan Wiskup Jan Casimir Julien Beauchamp-Roy Marcin Fejcak Marie Lancon Matthew Oravec Maureen Rahman Maxime Le Droupeet Natalie Kwee Ming Yie Pascal Loschetter Teodor Javanaud Emden Sara Ibrahim Abed Tore Banke Ute Rinnebach Veronica Lalli Vivien Cheng Yaziel Juarbe Høgni Laksafoss Iva Ulam Rune Hansen

AWARDS

MIPIM Best Cultural and Sports Infrastructure, 2022


Ernst & Sohn Ingenieurbaupreis, 2022

Kyoto Design Award, Environment Design of the Year, 2021

AIA NY, Honor Award in Architecture, 2021

Prix Bilan de l’immobilier Public Buildings, 2020

German Design Award, 2020

Interior Design Best of Year Winner Museum/Art Gallery, 2020

Architizer A+ Awards Museum Popular Winner, 2020

COLLABORATORS

CCHE
Atelier Brueckner
Luchinger und Meyer
HG Merz
Muller Illien
BIG Ideas

The Spiral

NEW YORK, UNITED STATES

The Spiral

NEW YORK, UNITED STATES

2023

CLIENT

Tishman Speyer

TYPOLOGY

Work

SIZE M2/FT2

260,129 / 2,800,000

STATUS

COMPLETED

Located on West 34th Street between Hudson Boulevard and 10th Avenue, The Spiral neighbors the elevated High Line and Bella Abzug Park on Manhattan’s west side. The tower extends the parks’ green space up and around its exterior in a spiraling motion towards the sky – from the High Line to the skyline.

 

Developed by Tishman Speyer and built by Turner, the commercial high-rise was designed by BIG in collaboration with Adamson Associates and structural engineer WSP Cantor Seinuk. The tower measures 66 stories and 2.8 million square feet, reaching a height of 1,031.5 feet. The Spiral is pursuing LEED Silver certification. The tower is BIG’s first completed supertall, and first completed commercial high-rise in New York.

From street level, the striking tower draws the eye upwards to the ribbon of greenery that extends the High Line beyond West 34th Street and into the Manhattan skyline. Reminiscent of a conservatory, the tower’s glass panel façade offers passersby a look into the building’s bright and spacious lobby, adorned with artwork by Dutch studio DRIFT and lush foliage, which can be accessed via entrances on both Hudson Boulevard and 10th Avenue.

As a gesture to the building’s surroundings, The Spiral’s lobby incorporates seven different metals to honor the area’s industrial history, with floor panels measured to the exact dimensions of the precast concrete planks spanning the High Line.

The Spiral slowly reduces in volume as it rises, following the zoning envelope of the site. Its stepping language resonates with the design aesthetics of classic Manhattan skyscrapers such as the Empire State Building and Rockefeller Center, while its slender proportions and use of modern materials and detailing speak to the design features of contemporary high-rise architecture.

“The Spiral punctuates the northern end of the High Line, and the linear park appears to carry through into the tower, forming an ascending ribbon of lively green spaces, extending the High Line to the skyline. The Spiral combines the classic Ziggurat silhouette of the premodern skyscraper with the slender proportions and efficient layouts of the modern high-rise. Designed for the people who occupy it, The Spiral ensures that every floor of the tower opens up to the outdoors, creating hanging gardens and cascading atria that connect the open floor plates from the ground floor to the summit into a single uninterrupted workspace. The string of terraces wrapping around the building expands the daily life of the tenants to the outside air and light. As the trees and grasses, flowers and vines have taken root over the last two summers, The Spiral is slowly becoming an ascending ribbon of green wrapping around the entire silhouette of the tower - like a 1000-foot-tall vine at the scale of the city’s skyline.”

Bjarke Ingels — Founder & Creative Director, BIG

As The Spiral ascends, each floor’s accessible terrace offers impressive views over Manhattan, the Hudson River and New Jersey. Select floors offer a double height amenity space and the option to connect adjacent floors via a grand staircase, suggesting an alternative to elevators and encouraging interaction amongst colleagues.

 

Cascading landscaped terraces and hanging gardens climb the tower in a spiraling motion to create a unique, continuous green ribbon that wraps around the façade of the building and supplies each office floor with readily accessible terrace space. 

With approximately 13,000 square feet of outdoor space, a landscape of The Spiral’s size has never been installed at or above 300 feet elevation in New York City. Most of the plant species on the ground cover are native to the American prairie, making them resistant to high winds and droughts. 

 

As the building rises, a second layer of shrubs and taller bushes that blossom in winter are introduced, and finally, the landscape is crowned with single- and multi-stem trees that flower as early as February, along with vertical trellises with English and Boston ivy that keep their leaves through the winter. The plant palette differs on each side of the building depending on sun orientation and endurance against high-velocity winds. 

“The Spiral pioneers a new landscape typology by bringing gardens to a high rise. Its continuous cascade of greenery from one level to another provides office spaces with a new vertical dimension of social and biophilic connectivity. Designed to strengthen collaboration and wellbeing, each terrace hosts plantings specific to the varying daylight, winds and temperatures at every floor of the tower. These gardens will welcome neighboring birds, bees and butterflies to expand New York's biodiversity to the city skyline.”

Giulia Frittoli — Partner, BIG

On the 66th floor, The Spiral offers its very own ZO Clubhouse, reserved exclusively for people to gather, connect and recharge in the private lounge or open-air terrace.

 

The Spiral promotes a contemporary workplace where nature becomes an integrated part of the office environment and spatial features are continuously adaptable to the changing needs of its occupants. To foster a connection to the outdoors and support The Spiral’s interior foliage, a generous ceiling height and specially selected exterior glass coating enables a deeper incursion of natural light. The building’s water management system collects overflow rainwater to treat and redistribute throughout the tiered landscaping, allowing it to save thousands of gallons of water annually. This not only allows for sustainable irrigation – it also further cements The Spiral as a green addition to the Manhattan skyline.

Bjarke Ingels Thomas Christoffersen Daniel Sundlin Beat Schenk Agla Egilsdottir Agne Rapkeviciute Alvaro Velosa Andreas Buettner Andrew Lee Dominyka Voelkle Florencia Kratsman Haochen Yu Jan Leenknegt Julie Kaufman Kate Cella Kelly Neill Mackenzie Keith Marcus Wilford Margaret Tyrpa Veronica Acosta Megan Van Artsdalen Morgan Mangelsen Otilia Pupezeanu Ryan Duval Seo Young Shin Terrence Chew Tracy Sodder Won Ryu Emily Chen Lawrence-Olivier Mahadoo Tony-Saba Shiber Stephen Kwok Chris Tron Deb Campbell Dylan Hames Francesca Portesine Gabriel Jewell-Vitale Janie Green Adam Sheraden Adrien Mans Anton Bashkaev Armen Menendian Benjamin Johnson Brian Rome Cadence Merrie Bayley Carolien Schippers Cheyenne Vandevoorde Christopher White Daniele Pronesti David Brown Davide Maggio Denys Kozak Douglass Alligood Erin Yook Gabriella Den Elzen Gaurav Sardana Ibrahim Salman Jan Casimir Janice Rim Jennifer Wood Joshua Burns Juan David Ramirez Kristoffer Negendahl Kurt Nieminen Lisbet Fritze Trentemøller Lucio Santos Manon Otto Maria Eugenia Dominguez Martynas Norvila Mateusz Rek Matteo Gawlak Maureen Rahman Michael Zhang Nicholas Potts Phawin Siripong Rachel Coulomb Ruo Wang Sarkis Sarkisyan Simon David Simon Lee Thea Gasseholm Tore Banke Ute Rinnebach Varat Limwibul Veronica Moretti Wells Barber Will Fu Yaziel Juarbe Yenhsi Tung Zoltan Kalászi Hung-Kai Liao Ali Chen Benjamin Caldwell Dong-Joo Kim Giulia Frittoli Jack Lipson Josiah Poland Luke Lu Peter Lee

AWARDS

Beacon Awards, 2024


Engineering News-Record, Best of the Best Award, 2024

NYCxDESIGN Awards, 2024

CTBUH Award of Excellence, 2023

CoStar Impact Award, 2023

ASLA NY Design Merit Award, 2017

COLLABORATORS

Adamson Associates
WSP Cantor Seinuk
Turner Construction
Cosentini
Langan
Edgett Williams Consulting Group
Thornton Tomasetti
Heintges
Vidaris
Entek Engineering
FMS
Pandiscio Green
Doyle Partners
Squint Opera
Siteworks
Northern Designs
Space Copenhagen
Michaelis Boyd
Studio Drift
Banker Steel
Roger & Sons Construction
Permasteelisa
CMI
Vitrocsa
W + W
Top Shelf Electric
Otis Elevator Company
National
Bamco
Garcia
Jacobson & Company
Cooper Plastering
Sponzilli
JBB
BIG Landscape
BIG Ideas

LEGO Brand House

BILLUND, DENMARK

LEGO Brand House

BILLUND, DENMARK

2017

CLIENT

Kirkbi A/S | LEGO Foundation | LEGO Group

TYPOLOGY

Culture, Interiors

SIZE M2/FT2

11,960 / 128,737

STATUS

COMPLETED

The LEGO brand House in Billund, Denmark is as playful and inviting as the world’s famous LEGO toy itself. Applying the ratio of the famous LEGO brick throughout the architecture, LEGO Brand House embodies the culture and values at the heart of all LEGO experiences. Simultaneously, the colorful building cements Billund’s status as the home of the LEGO brick and the children’s capital of the world.

 

Due to its central location in the heart of Billund, sitting at the site of the city’s former town hall, LEGO House is conceived as an urban space as much as an experience center. Consisting of 21 overlapping architectural blocks, a 2,000 m2 public square allows visitors and citizens of Billund to spend time inside or simply shortcut through the building.

The LEGO square is energized by an urban character, welcoming locals and visitors to the café, restaurant, LEGO store, and conference facilities. The plaza appears like an urban cave without any visible columns and is illuminated through the cracks and gaps between the volumes above.

 

Above the square, a cluster of galleries overlap to create a continuous sequence of exhibitions. Each gallery is color-coded in LEGO’s primary colors so wayfinding through the exhibitions becomes a journey through the color spectrum.

"LEGO house is a literal manifestation of the infinite possibilities of the LEGO brick. Through systematic creativity, children of all ages are empowered with the tools to create their own worlds and to inhabit them through play. At its finest, that is what architecture - and LEGO play - is all about: enabling people to imagine new worlds that are more exciting and expressive than the status quo, and to provide them with the skills to make them reality. This is what children do every day with LEGO bricks - and this is what we have done at LEGO House with actual bricks, taking Billund a step closer towards becoming the Capital for Children."

Bjarke Ingels — Founder & Creative Director, BIG

The first and second floors include four play zones arranged by color and programmed with activities that represent a certain aspect of a child’s learning: red is creative, blue is cognitive, green is social, and yellow is emotional. Guests of all ages can have an immersive and interactive experience, express their imagination, and not least be challenged by meeting other builders from all over the world.

The top of the building is crowned by the Masterpiece Gallery, a collection of LEGO fans’ beloved creations that pay tribute to the LEGO community. The Masterpiece Gallery is made of the iconic 2×4 LEGO brick and showcases art beneath eight circular skylights that resemble the studs of the brick. Like the golden ratio, the proportions of the brick are nested in the geometries of everything man-made in the building, from the glazed ceramic tiles in the steps and walls to the overall 21 block scheme. Atop the Masterpiece Gallery, citizens and visitors can get a 360° panoramic view of the city. Some of the rooftops can be accessed via pixelated public staircases that double as informal auditoria for people watching or seating for performances.

The History Collection at the lower level is where visitors can experience an archival immersion into the LEGO company and brand’s story. The Vault – located underneath LEGO Square – is where children and AFoLs (Adult Fans of LEGO) can witness the first edition of almost every LEGO set ever manufactured, including the new 774-piece, 197-step kit replicating the stacked-block formation of the LEGO House.

"All activities in the house are related to our LEGO philosophy that learning through play promotes innovation and creativity. Play runs through the LEGO Group’s DNA, and it is really brought to life in LEGO House. Everything from experience zones and outdoor areas to our restaurant concepts is based on play and creativity, so no matter what you do in LEGO House, it will have something to do with playing."

Jesper Vilstrup — CEO, Lego

Bjarke Ingels Finn Nørkjær David Zahle Jakob Lange Brian Yang Andreas Klok Pedersen Jakob Sand Jesper Boye Andersen Annette Jensen Ask Hvas Birgitte Villadsen Chris Falla Christoffer Gotfredsen Jakob Andreassen Jakub Wlodarczyk Jesper Bo Jensen Kamilla Heskje Kasper Reimer Hansen Kekoa Charlot Lone Fenger Albrechtsen Lorenzo Boddi Mads Engaard Stidsen Manon Otto Michael James Kepke Ryohei Koike Sergiu Calacean Snorre Nash Stefan Plugaru Tobias Hjortdal Tommy Bjørnstrup Høgni Laksafoss Agne Tamasauskaite Ariel Joy Norback Wallner Daruisz Duong Vu Hong Esben Christoffersen Franck Fdida Ioana Fartadi Scurtu Katarzyna Krystyna Siedlecka Katerina Joannides Leszek Czaja Magnus Algreen Suhr Marta Christensen Mathias Bank Stigsen Ole Dau Mortensen Stefan Wolf Thomas Jakobsen Randbøll Thomas Richard Hart Julia Boromissza Katarzyna Stachura Søren Askehave Jakob Ohm Laursen ‍Louise Bøgeskov Hou

AWARDS

EU Mies van der Rohe Award, Shortlist, 2019


Civic Trust Awards, Winner, 2019

IDEAT Future Awards Shortlist, Best Architecture in Commercial Design, 2018

INSIDE World Festival of Interiors, Civic, Culture & Transport Category Finalist, 2018

Danish Design Award Winner, Feel Good Category, 2018

Architizer A+ Award, Jury and Popular Choice Winner for Architecture + Branding, 2018

COLLABORATORS

COWI
Dr. Lüchinger + Meyer Brauingenieure AG
Jesper Kongshaug
Gade & Mortensen Akustik
E-Types

Noma 2.0

COPENHAGEN, DENMARK

Noma 2.0

COPENHAGEN, DENMARK

2018

CLIENT

noma

TYPOLOGY

Hospitality

SIZE M2/FT2

1,290 / 13,886

STATUS

COMPLETED

In 2015, restaurant Noma – known as the “World’s Best Restaurant”- closed its doors to the 16th century warehouse that had been its home for fourteen years. After more than three years of planning and collaboration, Noma reopened in 2018 on the outskirts of autonomous district Christiania – this time at the protected site of an old fortification once used to store mines for the Royal Danish Navy.

 

BIG’s design for Noma 2.0 dissolves the traditional idea of a restaurant into its constituent parts and reassembles them to put the chefs at the heart of the restaurant.

Noma’s new home, a historic fortification from 1917, was once used to store mines for the Royal Danish Navy. Abandoned for several years and covered in graffiti, Noma acquired the linear warehouse named Søminedepotet and had to take into account the strict guidelines for preserving the historically significant site.

“When we found the location for the new Noma, we knew we had to come up with an architectural solution which made sense for our guests, the team and the surroundings. I believe that Bjarke and the BIG team came up with the ideal non-pretentious solution that we enjoy calling our home for years to come. To say that we are thrilled with the end result would be an understatement.”

Peter Kreiner — CEO, Noma

Guests have the opportunity to walk through each of the surrounding buildings and to experience a variety of Nordic materials and building techniques: the barbecue is a giant walk-in steel chimney, and the lounge looks and feels like a room-sized cozy fireplace made entirely of brick – inside and out.

A collection of 11 separate yet connected buildings are tailored to their specific needs and are densely clustered around the restaurant’s heart: the kitchen. Designed like a panopticon, the kitchen allows the chefs to oversee the staff and guest areas, while every guest can follow what would traditionally happen behind-the-scenes.

 

The raw shell of the historic warehouse is preserved and used for back-of-house functions, including the prep kitchen, fermentation labs, fish tanks, terrarium, ant farm, and break-out areas for staff.

Each building within the building is connected by glass covered paths that reveal the changes in weather, daylight, and seasons – making the natural environment integral to the culinary experience.

The greenhouses serve as food production, arrival lounge and experimental kitchen. A permaculture garden designed and planted by Piet Oudolf serves as a garden for the senses, transforming the former military facility into an urban farm for the production, preparation and consumption of new Nordic cuisine.

Bjarke Ingels Finn Nørkjær David Zahle Jakob Lange Ole Elkjær-Larsen Allen Shakir Athena Morella Borko Nikolic Claus Rytter Bruun de Neergaard Dag Præstegaard Duncan Horswill Enea Michelesio Eskild Schack Pedersen Frederik Lyng Geoffrey Eberle Hanne Halvorsen Hessam Dadkhah Hugo Yun Tong Soo Jinseok Jang Jonas Aarsø Larsen Joos Jerne Kim Christensen Kristoffer Negendahl Lasse Lyhne-Hansen Manon Otto Margarita Nutfulina Michael James Kepke Morten Roar Berg Nanna Gyldholm Møller Ningnan Ye Olga Litwa Ryohei Koike Simona Reiciunaite Stefan Plugaru Tomas Karl Ramstrand Tiago Sá Timo Harboe Nielsen Tobias Hjortdal Tore Banke Yehezkiel Wiliardy Manik Yunyoung Choi Gökce Günbulut Gökce Günbulut Aleksander Wadas Andreas Müllertz Angelos Siampakoulis Carlos Soria Giedrius Mamavicius Kyle Thomas David Tousant Nina Vuga Ren Yang Tan Vilius Linge Yan Ma Yoko Gotoh

AWARDS

Berlingske Byens Bedste Award for Construction, Winner, 2019


AIA Institute Honor Awards for Interior Architecture, Winner, 2019

INSIDE World Festival of Interiors, Restaurant Category Winner, 2019

Wallpaper* Design Award for Best New Restaurant, Winner, 2019

Danish Carpentry Award, 2018

Den Danske Lyspris, Winner, 2018

Interior Design Magazine Best of Year Award for Hospitality: Fine Dining, Finalist, 2018

Snedker Craftsmenship Prize, 2018

Architizer A+ Award for Hospitality: Restaurant, Jury + Popular Choice Winner, 2018

COLLABORATORS

NT Consult
Studio David Thulstrup
Thing&Brandt Landskab
BIG Ideas

Marengo Multimodal Transport Hub

TOULOUSE, FRANCE

Marengo Multimodal Transport Hub

TOULOUSE, FRANCE

2024

CLIENT

Région Occitanie Pyrénées Méditerranée

TYPOLOGY

Infrastructure

SIZE M2/FT2

12,000 / 129,167

STATUS

IN DESIGN

As part of Toulouse’s Grand Matabiau Quais d’Oc masterplan, the Marengo Multimodal Transport Hub will revitalise the urban area, facilitate seamless travel, and triple the number of daily passengers travelling to and from the city. Constructed mainly in wood, the 12,000 m2 hub connects to the Gare Matabiau central train station in the west and dovetails the city’s pedestrian and bicycle flows towards the east, acting as a link between the city center, the UNESCO-listed Canal du Midi and the Périole neighbourhood. 

 

Referencing the city’s roofscape and traditional use of the “foraine” brick, the building is characterised by a rose-colored, crystalline roof. From the main entrance canopy in the south, the hub’s structure gradually rises in a sloping movement towards the north, reaching 32 metres in height towards the railway tracks. The hub is set to attain Silver Occitanie Sustainable Buildings certification, as well as the Biodiversity Effinature, and HQE Infrastructure. 

"The new Transport hub's folded roof, rising from the Marengo parvis, defines the main hall with lush greenery and ample daylight, welcoming visitors and leading them to metro and train tracks below. The building's elegant silhouette, growing northward in height, curves along rue de Périole. Ground and lower floors will offer areas for rest and retail and the Maison du Climat event space, while upper floors accommodate regional offices. Pursuing low carbon solutions in the design, we employed mass timber, low carbon concrete, and natural ventilation throughout, with photovoltaics on the roof. This simple yet multifunctional design transforms the roof into Toulouse's new landmark."

Jakob Sand — Partner in Charge, BIG - Bjarke Ingels Group

As the structure grows in height, each level gradually recedes, creating a triangular shape. This enables visual connections across floors and pulls daylight down to the hub’s lowest levels, accommodating comfortable and easy navigation for travellers throughout the day.

 

Passing the bus station and entering through the main entrance, travellers are led below ground to Gare Matabiau, railway, metro lines, and the transport hub’s hangout areas. The ground floor and two sub-levels will feature flexible and informal public spaces open to all, including areas for rest as well as commercial and cultural activities. Here, Maison du Climat, an initiative to further the public’s knowledge on environmental topics, will manage an event space for exhibitions, conferences, and workshops.

 

Floors one through six will function as an office space for the 350 employees of the Occitanie Region. The roof, composed of photovoltaics, is punctured by skylights, allowing in natural light. Local plants and trees are planted in the building and bike station to echo the vegetation of the Haute-Garonne region.

Bjarke Ingels Jakob Sand Agla Egilsdottir Adrianna Karnaszewska Carlos Ramos Tenorio Claudia Bertolotti Federica Fogazzi Gerhard Pfeiler Hyojin Lee Martyna Kloda Raphael Ciriani Giulia Frittoli Maria Capuozzo Mathieu Michel Cardinal Celia de la Osa Muñoz Gustavo Alejandro Lopez Rodriguez Giulia Orlando Johannes Alexander Hackl Yanis Amasri Sierra Will Chuanrui Yu Charlie Laran Sasha Spasic Oliwia Jagla Charles Vidal Dervan Ahmed Tomáš Chrástecký Marco Sartoretto Dong Joo Jo Andrea Vukojevic Ebba Kristina Andersson Lucas Skafte Ryan

COLLABORATORS

A+Architecture
A+R Paysages
ALTO
CLDesign
Cronos Conseil
dUCKS scéno
Systematica
Franck Boutté
LASA
les éclaireurs
l'Echo
schlaich bergermann partner - sbp
Span
MBacity
FER-PLAY
OGI

Johns Hopkins Student Center

BALTIMORE, UNITED STATES

Johns Hopkins Student Center

BALTIMORE, UNITED STATES

CLIENT

Johns Hopkins University

TYPOLOGY

Education

SIZE M2/FT2

13,935 / 150,000

STATUS

IN CONSTRUCTION

The Hopkins Student Center will form a new social engagement hub for all members of the Johns Hopkins University community. The 143,000 sq ft building includes spaces for relaxation and socializing, student resources and support, a digital media center, performance space with seating for 200 people, and a dining hall.

 

Located at the intersection of 33rd and Charles Streets, the Hopkins Student Center will foster greater connectivity between the campus and the neighboring community by creating a prominent point of entry. As a natural gateway, the area will connect Charles Village and the 3,500+ Johns Hopkins students who live in the neighborhood to the heart of the Homewood campus.

The Hopkins Student Center is conceived as a central living room – a dynamic hub – surrounded by a collection of spaces tailored to the needs of the Hopkins community. The building negotiates the sloping grade of the site to allow direct entry from all four levels of the building, while maintaining a human scale and providing several accessible routes across the site. Arriving on Charles Street, students and visitors are greeted by an open building façade with dining areas spilling out onto a plaza.

 

The mass timber structure provides a warm and acoustically comfortable environment as light filters in through clerestory glazed windows. A circular staircase allows for a continuous connection to the building’s perimeter under 29 cantilevered roof planes, which provide shading for the building. The roofs are covered in photovoltaic panels that generate up to 40% of the building’s yearly energy consumption – a design strategy that contribute to the University’s larger sustainability goals, including LEED Platinum Certification.

The design transforms the landscape around the building to create outdoor spaces for student activities and events. A central plaza can host pop-up exhibits or performances, as well as vendors and food trucks to enliven the North Charles Street corridor.

Bjarke Ingels Leon Rost Agne Rapkeviciute Andres Romero Jason Wu Corliss Ng Elizabeth Mcdonald Florencia Kratsman Guillaume Evain Jamie Maslyn Larson Jan Leenknegt Ken Chongsuwat Kevin Pham Margaret Tyrpa Oliver Thomas Kig Veerasunthorn Terrence Chew Tracy Sodder Veronica Watson Xi Zhang Alex Wu Emily Chen Chia-Yu Liu Lawrence-Olivier Mahadoo Tony-Saba Shiber Bryan Hardin Christopher Pin Deb Campbell Gabriel Jewell-Vitale Jialin Yuan Alexander Jacobson Ema Hristova Bakalova Frederic Lucien Engasser Jakub Kulisa Jesper Kanstrup Petersen Kaoan Hengles De Lima Mengzhu Jiang Tore Banke Tom Lasbrey Benjamin Caldwell Josiah Poland Mike Munoz Mike Munoz Juan Diego Perez Diez Alan Maedo Ryan Henriksen Luca McLaughlin Cynthia Wang Alejandro Guadarrama Matthew Lau

AWARDS

WBC Craftsmanship Award, 2025


COLLABORATORS

Clark Construction
Lindner
StructureCraft
Shepley Bulfinch
Rockwell Group
MVVA
WSP-NYC
WRA
Knippers Helbig
Charcoal Blue
L’Observatoire
Point of Reference Studio/POR
Thornton Tomasetti
Acentech
Ricca
Code Red
Lerch Bates
WJE
Campbell-McCabe
Kalin Associates
Squint/Opera

The Twist

JEVNAKER, NORWAY

The Twist

JEVNAKER, NORWAY

2019

CLIENT

Kistefos Museum Jevnaker

TYPOLOGY

Culture

SIZE M2/FT2

1,000 / 10,764

STATUS

COMPLETED

The Twist is a contemporary art museum situated in the Kistefos Sculpture Park, located around a one hour drive from Oslo. The sculpture park, built around an old paper mill, occupies both embankments of the Randselva river and features sculptures by Olafur Eliasson, Lynda Benglis, Yayoi Kusama, Jeppe Hein, and Anish Kapoor, among others.

 

BIG was invited to design an intimate art museum to transform the visitor experience and add 1,000 m2 of indoor exhibition space to the park. After a careful study of the site, BIG proposed a raw and simple sculptural building across the Randselva river to tie the area together and create a natural circulation for a continuous art tour through the park.

 

Completed in 2019, The Twist is conceived as a beam, warped 90 degrees to create a sculptural form within the park and connect the two riverbanks: a museum, bridge and sculpture in one.

"The Twist is a hybrid spanning several traditional categories: it’s a museum, it’s a bridge, it’s an inhabitable sculpture. As a bridge, it reconfigures the sculpture park turning the journey through the park into a continuous loop. As a museum it connects two distinct spaces - an introverted vertical gallery and an extraverted horizontal gallery with panoramic views across the river. A third space is created through the blatant translation between these two galleries creating the namesake twist. The resultant form becomes another sculpture among the sculptures of the park."

Bjarke Ingels — Founder & Creative Director, BIG

The museum is placed as an abstract shape in the landscape. Its sculptural form is spanning between perfect geometry and specific bridge technology: on one side, it’s a simple box structure; on the other side, it’s a huge warping sculpture. A simple twist in the building volume allows the bridge to lift from the relatively lower forested area towards the south, and up to the hillside area in the north.

 

As a continuous path in the landscape, both sides of the building serve as the main entrance. From the south entry, visitors cross a 16 m aluminum-clad steel bridge to reach the double-height space, with a clear view to the north end, similarly linked with a 9 m pedestrian bridge.

The double-curve geometry of the museum is comprised of straight 40 cm-wide aluminum panels arranged like a stack of books, shifted ever so slightly in a fanning motion. The same principle is used inside, with white painted 8 cm-wide fir slats cladding the floor, wall, and ceiling as one uniform backdrop for Kistefos’ short-term Norwegian and international exhibitions.

 

The museum is comprised of a series of generic gallery spaces where, due to the curved form of the glass windows, the variety of daylight entering the museum creates three distinctive galleries. Stacked vertical, dark galleries with artificial lighting are found to the south, and a large horizontal, naturally-lit gallery with panoramic views is located on the north side. In between these spaces is the sculptural gesture, creating a twisted sliver of roof light.

From either direction, visitors experience the twisted gallery as though walking through a camera shutter. The ability to compartmentalize, divide, or merge the gallery spaces creates flexibility for Kistefos’ artistic programming.

 

The main entrance to the building is from the south, with the information center and visitor facilities such as a cloak and locker room, museum shop, and restrooms located nearby. From this entrance, there is a clear view to the other end of the building, including the sloping gallery which is located along the main circulation ramp – guiding visitors to the panoramic gallery.

 

The panoramic gallery is a large open space suitable for sculptures and large installations, with the ability to be subdivided for special occasions and events. On the north end, a full-height glass wall offering panoramic views to the pulp mill and river tapers while curving upwards to form a 25 cm-wide strip of skylight. A café is situated at this end of the gallery, where guests can enjoy snacks while taking in the view of the historic pulp mill and surrounding landscape. During the summer months, the café service area spills onto the plateau just outside.

A glass stairway leads down to the museum’s lower level on the north river embankment, where the building’s aluminum underside becomes the ceiling for the basement and restroom area. Another full-width glass wall brings visitors even closer to the river below, enhancing the overall immersive experience of being in the idyllic woodlands just outside of Oslo.

 

The art delivery and reception area is shared with the main entrance. Art can be delivered discreetly and securely after hours, and the art shipping crates are stored in the exhibition storage room once the art has been installed in its respective gallery.

Bjarke Ingels Finn Nørkjær David Zahle Jakob Lange Brian Yang Catherine Huang Casey Tucker Aimee Louise Desert Alberto Menegazzo Aleksandra Domian Alessandro Zanini Andre Enrico Cassettari Zanolla Brage Hult Carlos Ramos Tenorio Channam Lei Christian Eugenius Kuczynski Claus Rytter Bruun de Neergaard Dag Præstegaard Edda Steingrimsdottir Espen Vik Eva Seo-Andersen Frederik Lyng Joanna M. Lesna Kamilla Heskje Katrine Juul Kekoa Charlot Kei Atsumi Kristoffer Negendahl Lasse Lyhne-Hansen Lone Fenger Albrechtsen Mads Mathias Pedersen Mael Joseph Jaques Barbe Martino Hutz Matteo Dragone Maxime Le Droupeet Mikkel Marcker Stubgaard Naysan John Foroudi Nick Adriaan Huizenga Norbert Nadudvari Ovidiu Munteanu Rasmus Rosenblad Rihards Dzelme Roberto Fabbri Ryohei Koike Sofiia Rokhmaniko Steen Kortbæk Svendsen Sunwoong Choi Tomas Karl Ramstrand Tommy Bjørnstrup Tore Banke Tyrone Cobcroft Ulla Hornsyld Xin Chen Carlos Suriñach Penella Alina Tamosiunaite Balaj Alin Iulian Christian Dahl David Tao Marcelina Kolasinska Richard Mui Tiina Liisa Juuti Ola Sobczyk

AWARDS

LCD Berlin Leading Culture Destinations of the Year Award, 2020


Building Awards International Project of the Year, 2020

Architizer A+ Awards Architecture + Engineering Jury Winner, 2020

Architizer A+ Awards Gallery & Exhibitions Jury and Popular Winner, 2020

COLLABORATORS

AKT II
ÅF-Belysning
AS Byggeanalyse
Baumetall/Zambelli Group
Bladt Industries
Brekke & Strand
David Langdon
DIFK
ECT
Element Arkitekter
Erichsen & Horgen
Fokus Rådgivning
GCAM
Grindaker
Lüchinger&Meyer
Max Fordham
MIR
Rambøll
BIG Ideas

VIA 57 West

NEW YORK, UNITED STATES

VIA 57 West

NEW YORK, UNITED STATES

2016

CLIENT

The Durst Organization

TYPOLOGY

Residential

SIZE M2/FT2

77,202 / 831,000

STATUS

COMPLETED

VIA 57 West introduces an entirely new typology to New York City: the Courtscraper. The 830,000 sq ft high-rise combines the density of the Manhattan skyscraper with the communal space of the European courtyard, offering 709 residential units with a lush 22,000 sq ft garden at the heart of the building. 

 

Located on the west side waterfront of Manhattan, framed by a power plant, a sanitation garage, and the West Side Highway – the site needed an oasis in the middle of all the infrastructure. BIG essentially proposed a courtyard building that is on the architectural scale – what Central Park is at the urban scale – an oasis in the heart of the city.

A hybrid between the European perimeter block and a traditional Manhattan high-rise, VIA combines the advantages of both: the compactness and efficiency of a courtyard building with the airiness and the expansive views of a skyscraper. By keeping three corners of the block low and lifting the north-east corner up towards its 450 ft peak, the courtyard opens views towards the Hudson River, bringing low western sun deep into the block and graciously preserving the adjacent Helena Tower’s views of the river. 

 

The grand stair leads to access and views to the central courtyard. The courtyard, which is inspired by the classic Copenhagen urban oasis, can also be seen from the street and serves to extend the adjacent greenery of the Hudson River Park into VIA.

The slope of the building allows for a transition in scale between the low-rise structures to the south and the high-rise residential towers to the north and west of the site. The highly visible sloping roof consists of a simple ruled surface perforated by terraces – each one unique and south-facing. The fishbone pattern of the walls is also reflected in its elevations.  

“In recent decades, some of the most interesting urban developments have come in the form of nature and public space, reinserting themselves back into the postindustrial pockets, appearing around the city; the pedestrianization of Broadway & Times Square; the bicycle lanes, the High Line and the industrial piers turning into parks. Located at the northern tip of the Hudson River Park, VIA continues this process of 'greenification,' allowing open space to invade the urban fabric of the Manhattan city grid. In an unlikely fusion of what seems to be two mutually exclusive typologies, the courtyard and the skyscraper, the Courtscraper is the recent addition to the Manhattan skyline, showing that we don’t have to limit our choices to one or the other - we get to have both.”

Bjarke Ingels — Founder & Creative Director, BIG

Every apartment gets a bay window to amplify the benefits of the generous view and balconies. At the upper levels, the apartments are organized in a fishbone layout orienting the homes towards the view of the water. Large terraces are carved into the warped façade to maximize views and light into apartments, while ensuring privacy to the residents. 

 

The material concept for the interior design of the project is “Scandimerican,” another layer of the European-American hybridity: classic modern Scandinavian material sensibility blended with local New York materials. The primary materials of the apartments are oak wood floors and cabinets, with white porcelain tiles in the bathrooms.

The 22,000 sq ft courtyard is complimented by other building amenities – a VIA gym and fitness lounge, a 25-yard swimming pool, a mini golf venue, basketball courts and a variety of resident lounges.

The form of the building shifts depending on the viewer’s vantage point. While appearing like a pyramid from the West Side Highway, it turns into a dramatic glass spire from West 58th Street.  

Bjarke Ingels Thomas Christoffersen Daniel Sundlin Beat Schenk Beat Schenk Pauline Lavie-Luong Sören Grünert Francesca Portesine Ivy Hume Aaron Hales Alessandro Ronfini Alessandro Ronfini Alvaro Garcia Mendive Benjamin Schulte Birk Daugaard Brian Foster Christoffer Gotfredsen Christoffer Gotfredsen David Brown David Brown Gabrielle Nadeau Hongyi Jin Hongyi Jin Jenny Chang Lauren Turner Lucian Mihail Racovitan Marcella Martinez Maya Shopova Mina Rafiee Ola El Hariri Rakel Karlsdottir Tara Hagan Tara Hagan Thomas Fagan Tiago Barros Valentina Mele Valentina Mele Valerie Lechene Yi Li Gül Ertekin Aleksander Tokarz Alessio Valmori Celine Jeanne Eivor Davidsen Felicia Guldberg Florian Oberschneider Ho Kyung Lee Ho Kyung Lee Julian Liang Julianne Gola Laura Youf Maria Nikolova Mitesh Dixit Nicklas Antoni Rasch Riccardo Mariano Stanley Lung Steffan Heath Thilani Rajarathna Tyler Alexander Polich Xu Li Dominyka Mineikyte

AWARDS

ULI NY Award of Excellence for Multi Family, 2021


ASLA NY Merit Award, Residential Landscape Architecture Design, 2018

London Design Awards, Gold Winner, 2017

AIA Housing Award for Multifamily Housing, 2017

AIA New York State Design Award for Residential for Multi Family, 2017

ArchDaily, Housing Building of the Year, 2017

ACEC New York Engineering Excellence Diamond Award, 2017

Brick in Architecture Award for Paving & Landscape, 2017

The Emporis Skyscraper Award, 2016

The International Highrise Award, 2016

CTBUH Best Tall Building Americas, 2016

Residential Architect Design Award for Multifamily Housing category, 2016

Interior Design Best of Year Award for Residence: Lobby & Amenity Spaces, 2016

American Architecture Prize Residential Architecture Silver Award, 2016

ENR New York Best Residential Project, 2016

World Architecture Festival Best Housing Category Finalist, 2016

Concrete Industry Board Award for Quality Concrete Special Recognition, 2015

P/A Progressive Architecture Awards, Citation, 2015

AIANY Design Award, Merit Award for Future Project, 2012

COLLABORATORS

SLCE Architects
Starr Whitehouse Landscape
Thornton Tomasetti
Dagher Engineering
Langan Engineering
Hunter Roberts
Enclos
Philip Habib & Assoc
Nancy Packes
Van Deusen & Assoc
Cerami & Assoc
CPP
AKRF
Vidaris Inc.
Brandston Partnership Inc.

Google Bay View

MOUNTAIN VIEW, UNITED STATES

Google Bay View

MOUNTAIN VIEW, UNITED STATES

2022

CLIENT

Google

TYPOLOGY

Work

SIZE M2/FT2

102,192 / 1,100,000

STATUS

COMPLETED

Google Bay View is Google’s first-ever ground-up campus with the mission to operate on carbon-free energy 24 hours a day, seven days a week by 2030.  The buildings deliver on Google’s ambition to create human-centric, sustainable innovations for the future of Google’s workplace and scalable, replicable solutions for the construction industry and beyond.

 

Located on a 42-acre site at the NASA Ames Research Center in Silicon Valley, the 1.1 million sq ft Google Bay View Campus brings three new buildings, 20 acres of open space, a 1,000-person event center, and 240 short-term employee accommodation units to the area. All three buildings are constructed as lightweight canopy structures optimized for interior daylight, views, collaboration, and activities.  

 

Anchored in three themes defined by Google’s design brief at the beginning of the project –  innovation, nature, and community – the design is driven by flexibility and extraordinary user experience that inspires collaboration and co-creation. Team spaces are on the upper level and gathering spaces are below, separating focus and collaborative areas while still providing easy access to both. The second floor design has variation in floorplates to give teams a designated “neighborhood” area that is highly flexible to change with their needs.

 

The site has achieved a LEED-NC v4 Platinum certification – making it the largest LEED v4 BD+C: NC Platinum certified project in the world – and has become the largest facility ever to attain the International Living Future Institute (ILFI) Living Building Challenge (LBC) Water Petal Certification. 

Bay View operates entirely on electric energy. The integrated geothermal pile system at Bay View, which is the largest in North America, is estimated to reduce carbon emissions by roughly 50% and will help both heat and cool the campus. The massive geoexchange field is integrated into the structural system, reducing the amount of water typically used for cooling by 90%, equal to 5 million gallons of water annually.

 

To help deliver on Google’s commitment to replenish 120% of the water the HQ consumes by 2030, the site is net water-positive with all non-potable water demands being met using the recycled water it generates on site. The on-site systems built by Google collect, treat, and reuse all stormwater and wastewater and provide habitat restoration, sea level rise protection, and access to the beauty of natural wetlands for both Googlers and the public on the nearby Bay Trail.

The long-span canopy (120 ft) rests on cruciform columns which also relay services from the solar roof above. The selection of this structural system allows the entire workspace to be open and connected under one roof. Access to natural light and views with reduced glare during working hours were priority design elements, achieved through the use of carefully-placed clerestory windows.

 

On the exterior, all three buildings feature a first-of-its-kind “dragonscale” solar skin roof equipped with 50,000 silver solar panels that generate a total of nearly seven megawatts of energy. 

“Our design of the new Bay View campus is the result of an incredibly collaborative design process. Working with a client as data driven as Google has led to an architecture where every single decision is informed by hard information and empirical analysis. The result is a campus where the striking dragonscale solar canopies harvest every photon that hits the buildings; the energy piles store and extract heating and cooling from the ground, and even the naturally beautiful floras are in fact hardworking rootzone gardens that filter and clean the water from the buildings. All in all, a campus where front of house and back of house, technology and architecture, and form and function have been fused into a new and striking hybrid.”

Bjarke Ingels — Founder & Creative Director, BIG

The Bay View buildings are split across only two floors, with desks and team spaces on the upper level, and the amenity spaces below. A series of indoor “courtyards” throughout the buildings connect the two levels, giving teams easy access to cafes, kitchenettes, conference rooms, and all-hands spaces. The courtyards also encourage the physiological benefits of physical movement when circulating between levels and different modes of work, and double as wayfinding devices. 

 

Rather than being segmented by excessive columns and support walls, the structural innovation of the canopy roof allows for a wide-open workspace; every person has equal access to views across the floorplate, and through the perim­eter facade and clerestory windows to the outdoors. 

"Google Bay View offers a workplace experience that is an antithesis to an urban high-rise; Containing as much area as the tallest office tower in San Francisco, the typically stacked floorplates are redistributed into a flat array, creating a vibrant village. While on-site carbon and water neutrality is challenging for skyscrapers, this bay-scraper typology enables us to harvest the power of the sun, earth, and water. We hope Bay View will provide a quantum leap in the evolution of the workplace, elevate the benchmark for sustainable design, and inspire the next generations of users and visitors to the building."

Leon Rost — Partner, BIG

The campus includes 17.3 acres of high-value natural areas – including wet meadows, woodlands, and marsh – that contribute to Google’s broader efforts to reestablish missing essential habitat in the Bay Area.

 

Google’s mission to unlock advancements for the benefit of the environment and the entire industry have led to several scalable solutions in working on the Bay View campus: increasing modular construction, geothermal at new scales, innovation in PV design, a permitted blackwater system, waste diverted from landfill, improved total number of products vetted for Red List ingredients, and landscape designed to advance water stewardship and create valuable habitat for threatened wildlife. 

 

Overall, the Google Bay View campus has forged a new frame­work, materials language, and ecological approach that will help push both the future of the workplace, and the built environment-at-large, forward.  

Bjarke Ingels Thomas Christoffersen Daniel Sundlin Beat Schenk Leon Rost Agla Egilsdottir Blake Smith Jason Wu Cristina Medina-Gonzalez David Iseri Erik Kreider Florencia Kratsman Guillaume Evain Isabella Marcotulli Jan Leenknegt Linus Saavedra Michelle Stromsta Patrick Hyland Rita Sio Ryan Harvey Seo Young Shin Shu Zhao Siva Sepehry Nejad Terrence Chew Thomas McMurtrie Tracy Sodder Zhonghan Huang Ziad Shehab Deb Campbell Dylan Hames Isela Liu Ji-Young Yoon Alan Tansey Alessandra Peracin Andriani Atmadja Armen Menendian Bernard Peng Brian Zhang Camilo Francisco Aspeny Inostroza Jia Chengzhen Cheyne Owens Christopher Wilson Claire Thomas Spiller Cristian Lera Silva Danielle Kemble Derek Wong Diandian Li Douglass Alligood Eva Maria Mikkelsen Gaurav Sardana Helen Shuyang Chen Jennifer Wood Jian Yong Khoo Joshua Burns Joshua Plourde Kalina Pilat Kurt Nieminen Mads Kjaer Manon Otto Marcus Kujala Meghan Bean Nandi Lu Nicole Passarella Olga Khuraskina Oliver Colman Peter Kwak Ramona Montecillo Tiago Sá Timothy Cheng Tingting Lyu Valentino Vitacca Vincenzo Polsinelli Walid Bhatt Ye Sul Cho Yina Moore Ali Chen Ania Agnieszka Podlaszewska Benjamin Caldwell Hacken Li Sebastian Grogaard

AWARDS

Facade Tectonics Institute's Vitruvian Award, 2023


Silicon Valley Business Journal Structures Award, Best Architecture, 2023

Engineering New Record (ENR)’s Global Best Projects competition, Best Office Project, 2022

COLLABORATORS

BIG - Bjarke Ingels group
Heatherwick Studio
Sares Regis
Adamson Associates
STUDIOS
Populous
Thornton Tomasetti
Integral Group
Olin
BKF
Arup
Sherwood
Holmes
Kleinfelder
Loisos + Ubbelohde
FMS
C.S. Caulkins Co.
Teecom
Whiting-Turner
Applied Wayfinding

Audemars Piguet Hotel

LE BRASSUS, SWITZERLAND

Audemars Piguet Hotel

LE BRASSUS, SWITZERLAND

2022

CLIENT

Audemars Piguet

TYPOLOGY

Hospitality

SIZE M2/FT2

7,000 / 75,347

STATUS

COMPLETED

Watchmaking, architecture, and nature are celebrated at Hôtel des Horlogers which zigzags through the Vallée de Joux town just outside of Geneva. The 8,700 m2 hotel marks the second collaboration between BIG and luxury watchmaker Audemars Piguet following the opening of the neighboring Musée Atelier Audemars Piguet in 2020. 

 

The Hôtel des Horlogers builds on the history of the Hôtel de France, established in Le Brassus in 1857 by members of the Audemars Piguet family. The hotel became an important stop on the Chemin des Horlogers – the watchmaking route that connected the Vallée de Joux workshops to Geneva, where timepieces were sold by retailers. Audemars Piguet hired BIG to design a new hotel in line with the luxury brand’s values and sustainability mission. 

Guided to the hotel entrance from the main access road, guests approach the hotel through a generous driveway. From this entrance, the hotel appears as a single slab, with the four additional floors tucked into the landscape below. Defined by timber and concrete, the exterior entrance introduces the materiality of the hotel-at-large – authentic, pared-back materials that complement the natural landscape enveloping the building. 

 

The system of interwoven wood louvers inspired by the log cabin overlay aesthetic provides shading for the façade, enhancing the building’s energy performance. The shading system is fully integrated with the stepping geometry of the wooden slabs, keeping the transparency from the main access road to the valley, and re-establishing the connection between the village and the pastoral landscape. 

The hotel’s interior design scheme, led by AU*M, draws inspiration from the architecture’s indoor/outdoor vernacular – created through the architecture’s tilting slabs that provide the interior spaces with framed views of the surrounding valley. As guests transition from the main entrance into the reception area, the visual language becomes more sinuous and rustic, with materials such as glass, concrete, stone, and wood blurring the delineation of the constructed and the natural.  

One level below the entry, a spa, conference center, and two restaurants are orientated towards the valley – providing sweeping views and natural light while also acting as individual destinations along the continuous interior path. Giving pride of place to gastronomy, the Hôtel des Horlogers’ restaurants are overseen by three-Michelin-starred French Chef, Emmanuel Renaut.

On the interior, the building’s five slab-layout forms a single, continuous ramping corridor – connecting the interior programs and facilitating both guest and service circulation. This layout also provides all guestrooms with views of the surrounding Risoud Forest.  

Certified Minergie-ECO, a label for new and refurbished low-energy consumption buildings, the hotel addresses the local ecological and social sustainability requirements to reduce its environmental impactfrom the building’s design and construction to its day-to-day operations. Similarly, the hotel is equipped with 86 photovoltaic panels that provide part of the building’s energy needs. 

The zigzagging slabs gradually descend towards the valley, tilting slightly to embrace the site and create a visual path between nature and architecture. While the Audemars Piguet museum located just steps away defines a visitor experience inspired by the centripetal and centrifugal forces of time through the spiral form, the hotel welcomes its guests into the ‘time’ journey by reimagining the historic winding watchmakers’ trail that the region is known for.  

Bjarke Ingels Thomas Christoffersen Daniel Sundlin Beat Schenk Jason Wu Haochen Yu Jan Leenknegt Gil Kilmo Kang Melissa Jones Morgan Mangelsen Otilia Pupezeanu Simon Scheller Terrence Chew Tracy Sodder Veronica Watson Casey Tucker Deb Campbell Francesca Portesine Ji-Young Yoon Aaron Mark Amro Abdelsalam Aurelie Frolet Catalina Rivera Rothgaenger Claire Wadey Claire Thomas Spiller Derek Wong Ethan Duffey Eva Maria Mikkelsen Evan Wiskup Gaurav Janey Ibrahim Salman Il Hwan Kim Ku Hun Chung Lu Zhang Malcolm Rondell Galang Manon Otto Martynas Norvila Matthew Oravec Nicolas Gustin Nicolas Lapierre Pantea Tehrani Pascal Loschetter Phawin Siripong Teodor Javanaud Emden Rasmus Streboel Seth Byrum Shidi Fu Sijia Zhou Stephanie Choi Supakrit Wongviboonsin Xinyu Wang Josiah Poland Karolina Bouros Lou Arencibia Rune Hansen Yvette Liu

AWARDS

World Luxury Hotel Awards: Continent Winner - Luxury Design Hotel, 2022


World Architecture Festival Future Hospitality Category Winner, 2019

BUILD’s 2018 Global Excellence for Future Leisure Project of the Year, 2018

COLLABORATORS

CCHE Architecture
Ingphi SA
Pierre Chuard Ingenieurs-Conseils SA
Sorane SA
Duchein SA
MAB-Ingineurs SA
Ignis Salutem
EcoAcoustique SA
Alterego Concept SA
Jean Pitteloud
Thorens et associes SA
Societe Denogent

UAE International Horticultural Expo Pavilion

DOHA, QATAR

UAE International Horticultural Expo Pavilion

DOHA, QATAR

2023

CLIENT

UAE Ministry of Foreign Affairs in collaboration with the Salama bint Hamdan Al Nahyan Foundation and the National Projects Office

TYPOLOGY

Culture

SIZE M2/FT2

450 / 4,800

STATUS

COMPLETED

The UAE Pavilion at the 2023 International Horticultural Expo in Doha, Qatar is designed to showcase the region’s environmental preservation and agricultural innovation.

Inspired by the deep roots and intertwined branches of the local Ghaf Tree, the pavilion is conceived as a dome-shape, gradually rising towards its center. Its rammed earth structure frames a series of exhibition galleries and 32 gardens, creating an immersive experience of the UAE’s diverse landscape from desert to oasis, and sea to the mountains.

“The UAE Pavilion draws on the natural systems and centuries-old vernacular architecture of the UAE to respond to the world’s current climate challenges. Inspired by the deep roots and intertwined branches of the drought resistant Ghaf Tree, the Pavilion is designed as a network of rammed earth walls framing a series of exhibition galleries and gardens of indigenous species. Walls, floors and roofs are formed by soil, stone and vegetation, creating a physical link to the ground they come from. Meandering paths lead to an outdoor oasis, which is organized as a series of thematic gardens that explore the power of plants as a source of food, health and energy. By weaving together architecture and landscape into a seamless experience, the UAE Pavilion shares the story of humanity’s inseparable bonds with nature."

Giulia Frittoli — Partner & Head of BIG Landscape, BIG

A network of paths within the pavilion takes the visitors on a journey through thematic gardens that explore the power of plants as a source of food, health, and energy.

The Pavilion is primarily made from locally sourced materials with walls constructed in rammed earth, which includes 90% soil and 10% cement for binding. The roof structure is formed by wooden beams topped with palm leaves for shading and limestone rocks are used for paving surfaces.

Throughout the gardens, guests can explore native and non-native plants that are cultivated or found in the wild. The landscaping and greenhouse include 65 species and 6,609 plants with edible plants, fruit trees, medicinal plants, a bee garden, flowers, spices, shrubs, grasses, industrial plants, and perennials. The greenhouse is filled with fruits and vegetables such as tomatoes, bell peppers, figs, and citrus fruits. The plants are selected to highlight species that contribute to the UAE’s agricultural legacy, from past, to present and future. 

Bjarke Ingels Jakob Lange Andrea Hektor Malka Logo Nicolas Vincent Robert Carlier Xavier Thanki Søren Martinussen Giulia Frittoli Bartłomiej Lew Dace Gurecka Jae Yoon Lee Jan-Hendrik Schrader Thomas Lejeune Mónica Galiana Rodriquez Jens Max Jensen Jesús Fernández Fraile Sofia Papadopoulou Giancarlo Albarello Herrera Anna Beatrice Maria Ambrosi Rihab Soukkarieh Hansen Zhu Kannan Selvaraj Alvaro Novás Filgueira Seyederfan Masoumzadeh Nouran Wael Mohamed Rashad Mohamed Sherif Marco Sartoretto Zhiyuan Zhang Carrie Tam

AWARDS

International Horticultural Expo 2023: Gold for Self-Built Pavilion


COLLABORATORS

Conmarble Design Studio
Atelier Brückner
Mace
CEG

Athletics Las Vegas Ballpark

LAS VEGAS, UNITED STATES

Athletics Las Vegas Ballpark

LAS VEGAS, UNITED STATES

2022

CLIENT

Athletics

TYPOLOGY

Sports

SIZE M2/FT2

81,290 / 875,000

STATUS

IN DESIGN

The new ballpark for the Athletics Major League Baseball team in Las Vegas, Nevada will echo the vibrancy of the ‘Entertainment Capital of the World, exuding an outdoor feel with panoramic views of the city’s skyline.

 

Situated on the Las Vegas Strip, the new home for the Athletics – a 33,000-capacity covered ballpark designed by BIG in collaboration with HNTB – will sit on nine acres between Tropicana Avenue and Reno Avenue. The project builds on a longstanding collaboration between BIG and the Athletics dating back to a different ballpark design in Oakland, California in 2018.

 

The new ballpark’s roof is accentuated by five overlapping shells resembling baseball pennants, paying homage to the sport. For players, these arched “pennants” will attenuate direct sunlight glare while welcoming indirect natural light through northern oriented clerestory windows.

 

The domed ballpark is designed to feature the world’s largest cable net glass wall. The structure’s exterior metal cladding shimmers in the natural daylight and reflects the surrounding Las Vegas lights at night.

"BIG's revolutionary design, created in collaboration with HNTB, represents a captivating ballpark concept, seamlessly blending innovation and technology with an enhanced fan experience. We are very excited to share the work of our design team with the entire Southern Nevada community."

John Fisher — Managing Partner & Owner, Athletics

“Our design for the new Vegas home for the A’s is conceived in response to the unique culture and climate of the city. Five pennant arches enclose the ballpark - shading from the Nevada sun while opening to the soft daylight from the north. A giant window frames a majestic view of the life of The Strip and the iconic New York New York hotel skyline. All direct sunlight is blocked, while all the soft daylight is allowed to wash the field in natural light. The resultant architecture is like a spherical armadillo - shaped by the local climate - while opening and inviting the life of The Strip to enter and explore. In the city of spectacle, the A’s ‘armadillo’ is designed for passive shading and natural light - the architectural response to the Nevada climate generating a new kind of vernacular icon in Vegas.”

Bjarke Ingels — Founder & Creative Director, BIG

An elevated outdoor plaza connects to the bridges over Las Vegas and Tropicana Boulevards, directing fans to the ballpark’s main concourse, where a large glass atrium pulls the city into the venue. This entrance sequence will immediately orient fans in the ballpark, allowing views of the entire field and seating bowl upon entry while optimizing wayfinding and circulation.

 

Secondary north and south entrances are marked by “bouncing” arches to increase visitor accessibility and promote a connection to the outdoors. Once inside, fans are met with bright, open atria, which will also serve as multipurpose exhibition spaces to showcase international and local artists.

 

The Athletics Ballpark is an immersive fan experience. Its tiered design and intimacy, inspired by historic ballparks like Fenway and Wrigley – with split upper and lower bowls – bring fans closer to the action than traditional ballparks and provide clear sight lines from every seat.

The ballpark is currently designed to feature an 18,000-sq-ft jumbotron, which would make it the largest screen in Major League Baseball. An air-conditioning system distributes at the seats rather than from above, making cooling more efficient and energy conscious.

 

The Athletics Ballpark will have the potential to double as a venue for hosting concerts, conferences and other events. Future development is expected to surround the venue, including an onsite hotel and casino.

 

The ballpark has an expected opening date of spring 2028.

Bjarke Ingels Daniel Sundlin Leon Rost Aran Coakley Margaret Tyrpa Ricardo Palma Prieto Thomas McMurtrie Bernardo Schuhmacher Douglass Alligood Ema Hristova Bakalova Frankie Sharpe Don Chen Alan Maedo Jan Klaska Luca McLaughlin Catrina Nelson Jeremy Jackson Ahmad Tabbakh Jeff Yinong Tao Hudson Parris Ashley O'Neill Matthew Lau Sunghwan Um Hongye Wu Pooya Aledavood Paul Heberle Yuzaburo Tanaka

COLLABORATORS

HNTB
Thornton Tomasetti
Henderson Engineers
CAA ICON
Mortenson
McCarthy
Atelier Ten
RWDI
Kimley-Horn
Systematica
WJHW
Jensen Hughs
HKA
WSP
FP&C
Chicago Flyhouse
Duray Duncan
Ed Roether Consulting
Morean
Negativ
Mir

University of Kansas School of Architecture and Design

KANSAS, UNITED STATES

University of Kansas School of Architecture and Design

KANSAS, UNITED STATES

2024

CLIENT

University of Kansas

TYPOLOGY

Education

SIZE M2/FT2

16,598 / 178,663

STATUS

IN DESIGN

Designed in direct response to the needs and wishes of the University of Kansas School of Architecture & Design’s 1,300+ students, faculty and board, the new mass timber building for learning and collaboration, titled the “Makers’ KUbe” consolidates all architecture and design programs into three interconnected buildings, tying together the existing Marvin Hall from 1908, Chalmers Hall from 1978 and the new six-story Makers’ KUbe. The adjacent Marvin Hall’s stone façade and beloved spaces will be historically preserved while Chalmers Hall will be renovated to bring in more daylight. The campus seeks to embody four primary principles: to become an emblem of creativity; to create a connected campus hub; to be innovative and future-proof; and to showcase environmental stewardship.

“We are excited to partner with BIG and BNIM for this generational opportunity to reimagine our home in the heart of this historic campus. From their exceptionally comprehensive response to our submission call and throughout the design process, BIG’s willingness to both listen to us and push us has conceived a project that celebrates our history and embodies the ambitious optimism that animates our academic mission.”

Mahbub Rashid — Dean, University of Kansas School of Architecture & Design

The Makers’ KUbe is a 50,000-sq-ft mass timber cube structure that will serve as a teaching tool, showcasing sustainable practices through its mass timber diagrid design. The KUbe’s distinct frame – engineered by structural engineer StructureCraft – is optimized to reduce material and curtail carbon-intensive concrete. Inspired by traditional Japanese joinery techniques, the building’s structure uses tight-fit dowels and notched glulam – or glued laminated timber – to create an all-wood structure with columns and beams that run diagonally, without steel plates or fasteners. 

 

The stripped back façade – a timber structure enclosed in glass – foregoes cladding and finishing, exposing the KUbe’s MEP systems and further proving the building’s ability to remain minimal and efficient, only using what is necessary. The mix of transparent and opaque insulated glass on the exterior showcases the school’s creativity to the entire University of Kansas campus while creating moments of privacy and reducing glare. The building’s enclosure includes natural fiber thermal insulation in the form of biodegradable HempWool, which is exposed within the facade’s shadow boxes for improved thermal performance.

“Our KU School of Architecture & Design masterplan preserves the school's heritage buildings while keeping them relevant for the 21st century; extends the life and livability of the existing buildings with minimal intervention; and builds a new structure with low-carbon solutions. These programs not only showcase the next chapter of our profession, but they will also inspire the designers of tomorrow to envision a sustainable future.”

Thomas Christoffersen — Partner, BIG

The KUbe’s massing is rotated to align with Wescoe Drive and the surrounding buildings to allow for more light and air to be brought into the existing buildings. Winter garden bridges located on the KUbe’s second floor connect it to Marvin Hall and Chalmers Hall, providing easy circulation between buildings in the colder months and enhancing interactions among students and faculty. The KUbe’s ground-level corners are angled inward, creating inviting canopied entrances that connect the building to the surrounding open spaces, while the upperlevel corners are set back to allow for accessible terraces open to the sky, providing generous views of the campus and the city.

“Our design for the consolidated design studios at KU seeks to deploy all aspects of the profession in three distinct interventions: preservation, adaptation and new construction. The Makers' KUbe is conceived as a showcase in timber tectonics, traditional joinery, robotic manufacturing and sustainable materials. The timber bones of the building are exposed by stripping away all applied finishes - elevating structure to expression. A single staircase doubling as convenience stairs above and fire stairs within ties all student spaces together from park to attic. The building serves as a living curriculum, revealing all function, technology and structure as tangible elements for the students to appreciate and critique - learning solidified into built form.”

Bjarke Ingels — Founder & Creative Director, BIG

Embodying the university’s values, the proposed campus for the school preserves and adapts existing spaces while utilizing timber to minimize its carbon footprint. The Makers’ KUbe and Chalmers Hall feature rooftops with photovoltaic panels to harvest energy for the buildings. Any rainwater accumulated on the KUbe’s roof is stored and used for irrigating the site’s landscaping, which features native species that further reduce water needs.

 

Embodying the university’s values, the proposed campus for the school preserves and adapts existing spaces while utilizing timber to minimize its carbon footprint. The Makers’ KUbe and Chalmers Hall feature rooftops with photovoltaic panels to harvest energy for the buildings. Any rainwater accumulated on the KUbe’s roof is stored and used for irrigating the site’s landscaping, which features native species that further reduce water needs.

Bjarke Ingels Thomas Christoffersen Leon Rost Alana Goldweit Dominyka Voelkle Margaret Tyrpa Tara Abedinitafreshi Yu Inamoto Dylan Hames Isela Liu Ema Hristova Bakalova Will Chuanrui Yu Hudson Parris Paola Bokobsa Youjin Rhee Nele Herrmann Daniela Morin Thomas Guerra Megan Octaviani Praveen Lalitha Kishorekumar

COLLABORATORS

BNIM
StructureCraft
Walter P Moore
Cumming Group
JE Dunn Construction
Smith & Boucher
Forza Consultants
SK Design Group
Rosin Preservation
Kilograph

Manresa Island

NORWALK, UNITED STATES

Manresa Island

NORWALK, UNITED STATES

2024

CLIENT

Manresa Island Corporation

TYPOLOGY

Culture

SIZE M2/FT2

23,226 / 250,000

STATUS

IN DESIGN

Manresa Island is situated on the site of a decommissioned power plant in southeast Connecticut. The industrial peninsula, surrounded by water on three sides, will be transformed into a 125-acre publicly accessible park and a destination with diverse year-round public programs and research partnerships with local universities.

 

Manresa Island will reimagine the site into a new public amenity for the city of Norwalk, unlocking 1.75 miles of waterfront access for the first time in nearly 75 years. BIG was commissioned to preserve and adapt the plant’s main structures: the 22,000-sq-ft boiler building; the 22,000-sq-ft turbine hall; the 8,200-sq-ft office building; and the 350-ft-tall smokestack. Through adaptive reuse, these will be reimagined into a network of event spaces, educational and research facilities, and areas for play.

After Hurricane Sandy damaged the plant and it was decommissioned in 2013, the land has seen a resurgence in its natural environment, with a birch forest growing on the disposed coal ash and increased populations of ospreys nesting throughout the area. Immersing visitors in the site’s ecological richness, Manresa Island’s publicly accessible park, designed by SCAPE, will feature new waterfront walking paths, inviting exploration and connection with nature. The park will include living shorelines, wetland restoration, and tree canopies aimed at mitigating extreme heat and flooding, ensuring a resilient public space that celebrates and protects the island’s biodiversity.

Once home to the Manresa Institute, a retreat and recreation destination in the late 19th and early 20th centuries, the site was converted into a coal-fired power plant in the 1950s. Now, Manresa Island will become a revitalized ecological habitat with educational and recreational opportunities centered around water.

The eight-story boiler building will focus on recreation, including multiple swimming areas and food and beverage options. The turbine hall will be converted into a multi-purpose space, while the adjacent office building – the smallest structure – will provide opportunities for marine and ecological learning as a laboratory with classrooms and research spaces. The design will preserve key aspects of the existing power plant, including the structural framework, smokestack, and administrative space.

"Manresa Island is set to become a much-needed foothold for the public along the otherwise rather privatized Connecticut coastline. With our vision for the powerplant, we seek to rediscover and reanimate the majestic spaces hidden within the bones of the decommissioned piece of infrastructure. Boilers, silos, and turbine halls are postindustrial cathedrals awaiting exploration and reinterpretation. As an extension of SCAPE’s resettlement of the island for the enjoyment of human life among many other forms of life, we seek to extend that resettlement into the cavernous spaces within. By editing rather than adding, we will open up and clear out the existing spaces so that the once coal-powered plant can become the framework for the social and cultural life of Manresa's future—from energy infrastructure to social infrastructure."

Bjarke Ingels — Founder & Creative Director, BIG

The park will not only protect, expand, and revive wetlands and salt marshes, but will also offer a diverse network of outdoor areas for engagement with local habitats. Key features include an expansive green lawn and meadow, a public beach with sweeping views of the Long Island Sound and New York City, and pedestrian bridges that provide opportunities to observe wildlife. Rooted in Manresa Island’s aquatic theme, visitors can also enjoy outdoor thermal pools, a rejuvenated pier, and a boat launch.

Bjarke Ingels Daniel Sundlin Rita Sio Thomas McMurtrie Danna Lei Jeremy Alain Siegel Douglass Alligood Tom Lasbrey Norain Chang Sungmin Kim Alejandro Guadarrama Daniela Morin Fani Christina Papadopoulou Victoire Talien Moya Annastacia Kernan Ethan Blatt Abdallah Kamel Nathaniel Buchanan Albers Yijun Yan Seung Hyo Chang

COLLABORATORS

SCAPE
Atelier Ten
TYLin
Kohler Ronan
CCI
Tighe & Bond
E-Design Dynamics
AKRF
Directional Logic
HR&A Advisors

Museum for Paper Art

JAMMERBUGT, DENMARK

Museum for Paper Art

JAMMERBUGT, DENMARK

2024

TYPOLOGY

Culture

SIZE M2/FT2

2,500 / 26,910

STATUS

IN DESIGN

BIG is set to transform a former supermarket building into the new Museum for Paper Art in the North Jutland region of Denmark. The current 900 m2 museum space, located in a former Aldi supermarket, will be transformed and expanded to double the museum’s annual number of visitors as well as embrace paper as an art form and expertise. BIG reimagines the museum as a 2300 m2 building building with space for workshops, events, teaching rooms, storage, and office facilities.

 

The adaptive reuse project is pursuing DGNB Gold or Platinum certification.

The Museum for Paper Art is conceived as a new lightweight roof structure. Like a single sheet of paper, the roof lands on the existing building and creates space for the new functions around it – uniting the new and old under one roof. The existing building walls will get a new acoustic-regulating layer of paper art on the exterior, inspired by origami and designed in collaboration with several paper artists.

“Paper art is deeply embedded in our cultural heritage, showcased through Denmark's paper art tradition through iconic designs such as Le Klint's folding lamps and H.C. Andersen's paper clips. Carrying this legacy into the future is something that this museum has at its heart. We are also proud of recycling an existing building.”

Karen Bit Vejle — Museum Director and Artist