NEW YORK, UNITED STATES
260129 / 2,800,000
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.”
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.”
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.
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 approximately 4.5 million 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
CTBUH Award of Excellence, 2023
CoStar Impact Award, 2023
ASLA NY Design Merit Award, 2017
WSP Cantor Seinuk
Edgett Williams Consulting Group
Roger & Sons Construction
W + W
Top Shelf Electric
Otis Elevator Company
Jacobson & Company
Amager Resource Center | Amager Bakke Foundation
41,000 / 441,324
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 Ole Elkjær-Larsen 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 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
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
Man Mad Land
A.P. Møller Fonden
Lokale og Anlægsfonden
FORT WORTH, UNITED STATES
8,361 / 90,000
With ‘The Grandmother of Juneteenth,’ Ms. Opal Lee, at the helm, the National Juneteenth Museum is dedicated to preserving the history of Juneteenth and legacy of freedom. Declared a federal holiday in the U.S. on June 17, 2021, when President Joe Biden signed the Juneteenth National Independence Day Act with Ms. Lee by his side, Juneteenth (June 19th) commemorates the Emancipation Proclamation’s enforcement and the liberation of the remainder of the enslaved both in Texas and throughout the newly reformed United States, which happened on June 19, 1865.
Located in the Historic Southside of Fort Worth, Texas which was divided by the I-35W highway in the 1960s and is one of the South’s most underserved communities – The National Juneteenth Museum will be the epicenter for the education, preservation and celebration of Juneteenth nationally and globally, hosting exhibitions, discussions, and events about the significance of African American freedom. The new 50,000 square foot building, expected to break ground in 2023 is designed by BIG alongside the architect-of-record, African American-owned design and build firm, KAI Enterprises.
“Seeing the national museum moving forward is a dream fulfilled. I’ve had a little Juneteenth Museum in that very spot for almost 20 years, and to see it become a central place for discussion, collaboration and learning seems to be the providential next step – from my walking campaign to Washington, D.C., the petition, and having Juneteenth declared a federal holiday. It’s mind-boggling, but I’m glad to see it all come to pass.”
The National Juneteenth Museum, designed in close collaboration with the local Fort Worth community, seeks to provide a cultural and economic anchor for this neighborhood and act as a catalyst for ensuring its future vitality, including immersive galleries, a business incubator, food hall for local vendors, Black Box flex space, and a theater.
The museum’s undulating roof creates a series of ridges, peaks, and valleys of varying heights that combine to create a ‘nova star’ shaped courtyard in the middle of the museum. Meaning ‘new star,’ the nova star represents a new chapter for the African Americans looking ahead towards a more just future. The publicly accessible courtyard will be the anchor for the museum and its activities. At the center of the courtyard, the ‘five point’ star is engraved into the terrazzo pavement. In addition to representing Texas, the last state to adopt and acknowledge the freedom of African American slaves – the star nods to the American flag’s 50 stars that represent all 50 U.S states, representing the freedom of African Americans across the country.
While five street-level entrances allow the galleries and exhibitions to be accessed as individual spaces, two publicly-accessible covered ‘portals’ connect directly to the courtyard and main gallery entrances, welcoming visitors from both the north and the southwest of the site via generous entryways defined by warm, vibrant colors. The mass timber structure that defines the design’s materiality continues into the interior, visually connecting the two realms.
In addition to this visual continuity of the materiality, the building’s public and private realms are also interconnected through the museum’s circular layout; on the ground floor, the two portals that connect to the courtyard are flanked by each of the programs: one portion of the galleries, the business incubator, food hall for local vendors, Black Box flex space, and theatre. To access the museum galleries, which begin on the ground floor, guests enter the generous reception area, and are guided to the light-filled mezzanine level via staircase or wheelchair-accessible elevator.
“The National Juneteenth Museum came to BIG looking for a design that captures the social, cultural, and spiritual importance of Juneteenth celebrations for black people while expressing its historic significance and relevance to all Americans. Our hope is that this building will become a gateway to the Historic Southside community of Fort Worth while serving as a national and global destination. Our engagement with Ms. Opal Lee and members of the community, to really understand their needs, is what informed a lot of the design principles. As a black architect, this project is one of the most rewarding experiences of my career.”
The mezzanine level reveals the rest of the gallery spaces, which are connected by a ring of circulation that wraps the courtyard. Glass is utilized as the interior wall of both the ground and mezzanine floors to create a sense of openness and transparency while complementing the pared-back timber and concrete materials. Similarly, the ‘nova star’ cut out of the roof at the center of the building of which the mezzanine wraps around allows light to travel through the entire space. Wrapping around the nova star shape above, the mezzanine galleries physically connect each of the programs while being literally elevated – providing visitors an above perspective of the public courtyard below, and those in the courtyard with views of the galleries above.
Outside the museum building, a network of plazas provides wayfinding opportunities, extending the sense of community of the interior to the outdoor spaces. Polished concrete and terrazzo flooring continue out to the exterior spaces, creating visual continuity between the public and private realms. Generous lawns, native landscaping, and wood seating are dispersed throughout the plaza areas, providing places for outdoor exhibitions, large-scale installations and gatherings.
Bjarke Ingels Daniel Sundlin Alejandra Cortes Alvaro Velosa Florencia Kratsman Linus Saavedra Marcus Wilford Terrence Chew Andrea Hektor Douglass Alligood Mama Qicheng Wu Montre'ale Jones Ololade Owolabi Pooja Annamaneni Abdur-Rahman Harunah
7,000 / 75,000
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 free–spaces.
"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."
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."
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
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
Gade & Mortensen
Nordic Architects AS
Erichsen og Horgen AS
Foyn Consult AS
ØM Fjeld AS
Loe VVS Prosjekt AS
Fokus Rad AS
Melby Maskin AS
EMV Construction AS
YC ROR AS
Energima Prosjekt SA
Minel Elinstallasjon US
TKS Heiser AS
ARLINGTON, UNITED STATES
Arlington Public Schools
16,722 / 180,000
The Heights School opens as a cascade of green terraces fanning from a central axis, addressing the academic needs of Arlington’s two county-wide school programs while forming a vertical community within its dense urban context. By merging two existing secondary schools – the H-B Woodlawn Program and the Eunice Kennedy Shriver Program into a new 180,000 sq ft building, the school expects enrollment of up to 775 students.
BIG worked closely with Arlington Public Schools (APS), WRAP (West Rosslyn Area Plan), and the Arlington community, to ensure that the design supports both H-B Woodlawn’s focus on trust and self-governance and Shriver’s extensive resources for students with specialized educational needs. The Heights has been designated LEED Gold certification.
The Heights building is situated within a compact urban site bounded by roads on three sides and a portion of Rosslyn Highlands Park. Conceived as a stack of five rectangular floorplates that rotate around a fixed pivot point, BIG maintains the community feeling and spatial efficiencies of a one-story school.
Green terraces above each floor become an extension of the classroom, creating an indoor-outdoor learning landscape for both students and teachers – an educational oasis rather than a traditional school setting. A rotating central staircase cuts through the interior of the building to connect the four-tiered terraces, allowing students to circulate outside and forge a stronger bond between the neighborhood and the school. While the upper terraces are more suitable for intimate classes and quiet study areas, the spacious first terrace and 18,700 sq ft recreation field also serve as public event venues for school-wide and neighborhood activities.
From Wilson Boulevard, students, teachers and staff are greeted by a triple-height lobby with stepped seating that doubles as an indoor gathering space for both student assemblies and public meetings. Many of the school’s common spaces, including the 400-seat auditorium, main gymnasium, library, reception, and cafeteria are centrally located and directly adjacent to the lobby.
Easy accessibility to the community-oriented programs hosted in the school encourages public interaction throughout the building, creating a welcoming environment while heightening the visual connectivity between the shared spaces. Other specialized student spaces include an art studio, science and robotic labs, music rehearsal rooms, and two performing arts theaters.
The classroom bars serve as the primary organizing elements, surrounding a central vertical core that contains the elevators, stairs and bathrooms. As students enter from the central staircase, they are greeted by an expanded gradient of the color spectrum: each classroom bar is defined by its own color, combining intuitive wayfinding with a vibrant social atmosphere from the ground to the sky.
The Shriver Program providing special education for students aged 11 to 22 occupies two floors of the building accessible from the ground floor, and has specialized spaces dedicated to support APS’ Functional Life Skills program as well as privacy and ease of accessibility; the gymnasium, courtyard, occupational physical therapy suite, and sensory cottage are designed to aid in sensory processing.
The Heights’ exterior is materialized in a graceful white glazed brick to unify the five volumes and highlight the oblique angles of the fanning classroom bars, allowing the sculptural form, and the energy and activity of the inside to take center stage. Keeping the surrounding neighborhood and former Wilson School in mind, the building’s material palette pays homage to the historical architecture of Old Town Alexandria.
Bjarke Ingels Thomas Christoffersen Daniel Sundlin Beat Schenk Aran Coakley Jan Leenknegt Julie Kaufman Kam Chi Cheng Ricardo Palma Prieto Sean Franklin Shu Zhao Terrence Chew Ziad Shehab Tony-Saba Shiber Deb Campbell Elnaz Rafati Francesca Portesine Ji-Young Yoon Adam Sheraden Amina Blacksher Anton Bashkaev Bennett Gale Benson Chien Cadence Merrie Bayley Cristian Lera Silva Daisy Zhong Douglass Alligood Elena Bresciani Evan Rawn Ibrahim Salman Jack David Gamboa Janice Rim Jin Xin Ku Hun Chung Maria Sole Bravo Margherita Gistri Mark Rakhmanov Mateusz Rek Maureen Rahman Nicholas Potts Pablo Costa Fraiz Robyne Some Romea Muryn Saecheol Oh Seth Byrum Sidonie Muller Simon David Valentina Mele Vincenzo Polsinelli Zachary Walters Benjamin Caldwell Josiah Poland Tammy Teng
American Institute of Steel Construction IDEAS2 National Award for Steel Construction in the $75-200 million category, 2021
DESIGNArlington Award of Excellence, 2019
Washington Building Congress Craftsmanship Award, Winner in Structural Steel Framing, 2019
American Planning Association National Capital Area Chapter Award, Outstanding Implemented Plan, 2018
Leo A Daly
Robert Silman Associates
Hopkins Food Service
Haley Aldrich Inc.
The Sextant Group
Tillotson Design Associates
Sustainable Design Consulting
WASHINGTON D.C., UNITED STATES
25,080 / 270,000
The planned state-of-the-art National Museum of the United States Navy is envisioned as a home for both Naval veterans and the public, a living memorial to the U.S. Navy’s heritage and a lighthouse in the community for education and public events.
The 270,000 sq ft campus includes a new building and ceremonial courtyard, as well as the potential renovation of existing historical buildings. BIG’s competition proposal, developed in collaboration with landscape architects Olin Studio and digital media agency Squint/Opera, seeks to reflect the historical context of the Navy Yard, while referencing the scale, materials and details of Navy vessels. An array of large-scale vitrines open up towards a public street, welcoming visitors and locals with an impressive glimpse into the museum’s collection of artifacts inside and outside, conveying the mission, lineage and breadth of operations that constitutes the US Navy.
"As a Dane and a resident of a houseboat – a Norwegian ferry I converted into my family home – to imagine a museum for the United States Navy is a true labor of love! Our concept for the National Museum of the United States Navy is informed by the beautiful heritage of the buildings in the Navy Yard. The Navy belongs in the water, so we put the museum in the water. A series of long slender buildings line up abreast to the main street showing off life-size artifacts from the 5 branches of the Navy: Surface, Subsurface, Expedition, Aviation and Space. The 5 buildings flow together to form an epic atrium cascading from the roof to the ground where all exhibitions will be visually and physically accessible upon arrival. This massive space will also serve as the majestic setting for ceremonies honoring those who served. As imagined, the Museum will be of the Navy as well as for the Navy."
BIG’s vision is developed with flexibility and utility in mind to allow for different events simultaneously in and around the building. Rather than closing or compromising the museum due to events, the visitor experience is enhanced by the varying spectacles playing out during the day allowing visitors glimpses of events while enjoying full access to the galleries.
The final concept will be chosen from a total of five concepts from the Naval Heritage History and Command’s Artistic Ideas Competition for the National Museum of the U.S. Navy (NMUSN).
The planned new museum is set to become a destination amongst the vast offerings of exhibition experiences in D.C, while also being a welcoming place of remembrance and contemplation for enlisted sailors, Navy Veterans and their families.
Bjarke Ingels Thomas Christoffersen Julie Kaufman Kristian Hindsberg Yu Inamoto Douglass Alligood Ema Hristova Bakalova Ryan Henriksen Jasmine Idiakhoa Hudson Parris
Kyoto Global Design Award for RealEstate, 2023
1,290 / 13,886
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.”
Guests have the opportunity to walk through each of the surrounding buildings and to experience a variety of Nordic materials and building techniques: the barbeque 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 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
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
Studio David Thulstrup
VOLLEBAK ISLAND, CANADA
620 / 6,674
Located one quarter mile off the Nova Scotia mainland in the spectacular Jeddore Harbour, the 11-acre Vollebak Island will include a 597 m2 ‘Earth House’, which will consist of nine interconnected buildings, and a 88 m2 ‘Wood House’, a standalone garden suite on the island’s eastern shoreline.
Each room in the village is made from its own unique material – stacked seaweed, compacted earth, hemp, glass brick or locally sourced stone – tailored for the specific use and experience of that particular room. On Vollebak Island, BIG incorporates local tradition elevated by global innovation in a self-sustained manmade ecosystem off the coast of Canada.
Earth House, the village-like cluster of bespoke buildings, will gently rise from the ground at the heart of the island, resembling land art as much as architecture. The permeable layout will create various open spaces for socializing, allowing nature to intertwine with architecture. The structures will represent specific fragments of nature, each intentionally built with a different material and playful elements of surprise interwoven throughout. All buildings are fully powered by carbon neutral energy, offshore wind and solar power with energy stored in Tesla power walls.
"Vollebak is using technology and material innovation to create clothes that are as sustainable and resilient as they are beautiful. In other words, the fashion equivalent of BIG's architectural philosophy of Hedonistic Sustainability. For Vollebak Island, we have imagined the rooms as a manmade mount of individual volumes rising out of the ground and a separate outpost at the edge of the breaking waves."
Complementing Earth House will be the Wood House annex, a standalone two-bedroom, two-bathroom residence with a durable exterior made entirely of wood from the island, essential for extreme climate conditions. The monolithic façade will be able to open and close toward the seaside, showcasing a vast eight-meter triangular vista over the water.
For recreation, guests will rejuvenate in a Japanese-style bath house with soaking tubs cut from the stone bedrock or have a first-class view of the galaxy in the sunken hempcrete stargazing room and meditation space. A greenhouse made entirely of glass brick will grow food for the island; energy will be stored in a building with a solar roof and submarine door; and the boat house will honor a local tradition of using regenerative seaweed as insulation. The roofs will incorporate shrubs and other flora to reduce storm-water runoff and ease the burden on sewers and water treatment systems.
Every design detail at Vollebak Island will help to foster the closest possible connection to nature, acting as a curated extension of the island’s organic topography and creating a living environment that blurs the boundaries between inside and out. The beach, the woods, the cliffs, the landscapes and the sunsets will all be part of the house on Vollebak Island.
Bjarke Ingels Andreas Klok Pedersen David Vieira Agostinho Isabelle Doumet Ryohei Koike Sara Najar Sualdea Weronika Zareba Théo Hamy Ania Agnieszka Podlaszewska Ayham Kabbani Will Chuanrui Yu Harish Karthick Vijay Jan Zawadzki
93,351 / 1,004,830
The 280 m tall CapitaSpring is located in the heart of Singapore’s financial district on the site of a 1980s car complex and a hawkers market. As the second tallest tower in Singapore, the 93,000 m2, 51 story mixed-use development continues Singapore’s pioneering vertical urbanism by creating a diverse neighborhood of places to work, live, and play.
Entirely defined by zoning rules, street walls, and setback requirements, the volume is a complex composition of polygonal shapes. The program, which includes premium Grade A office space, Citadines serviced residences, retail, and public spaces, is similarly strictly defined with offices sitting on top of residences that in turn rest on a podium of food markets and parking.
Due to the unique character of Singapore’s urbanism – both very dense and verdant – BIG pursued the design challenge as a vertical exploration of tropical urbanism, reinforcing Singapore’s reputation as a garden city. The building’s recognizable exterior façade consists of vertical elements that are pulled apart to allow glimpses into the green oases blooming from the base, core and rooftop. A dynamic interplay of orthogonal lines and lush greenery presents itself in the contrasting textures of steel and glass, interweaved with tropical vegetation.
At the ground floor, visitors are met by a new linear public rainforest plaza and park. Meandering garden paths and covered passages create natural entryways into the City Room, a 19 m high generous open space at the foot of the tower.
Nestled on the second and third levels of CapitaSpring is the new hawker market with 56 food stalls offering local delicacies and an abundance of lunch options for the CBD’s workers.
The first eight floors of the tower contain 299 serviced residences with a wide range of amenities – a swimming pool, jacuzzi, jogging track, gym, social kitchen, lounges, and barbeque pits.
A vertical park is inserted in the middle of the tower in the form of a spiraling promenade ascending among tropical tree trunks and canopies.
"As someone with Singaporean heritage, I have been honored and humbled by the opportunity to contribute to the ongoing evolution of architecture in Singapore as a distinct blending between the contemporary and the tropical. In our design, this manifests as a seamless transition between the garden and the city, articulated in the facades and a series of lush spiraling gardens connecting between various programs and amenities."
The top 29 floors of the tower offer premium office spaces with panoramic views of the Singapore River and Marina Bay. At the core of the building between the hardscapes of the offices and residences are four connected levels of organic softscape, called the Green Oasis – a mesmerizing 30 m open-air garden for work, casual strolls, relaxation, exercise and events.
CapitaSpring’s rooftop garden is home to 1-Arden Food Forest. Currently, over 150 species of fruits, vegetables, herbs, and flowers, are grown across five thematic plots to supply the building’s restaurants with fresh greens.
Bjarke Ingels Jakob Lange Brian Yang Aimee Louise Desert Aleksandra Domian Alessandro Zanini Anders Holden Deleuran Anke Kristina Schramm Antonio Sollo Augusto Lavieri Zamperlini Bartosz Kobylakiewicz Dalma Ujvari Davide Tarditi David Schwarzman David Vega y Rojo Dimitrie Grigorescu Dina Brændstrup Dominika Trybe Eric Li Elise Cauchard Eriko Maekawa Espen Vik Ewa Natalia Szajda Federica Locati Filippo Lorenzi Francisco Castellanos Teodor Cristian Fratila Frederik Skou Jensen Gorka Calzada Medina Cris Guoyu Liu Helen Shuyang Chen Hongduo Zhou Jacek Baczkowski Jakub Wlodarczyk Joseph James Haberl Julieta Muzzillo Kirsty Badenoch Kristoffer Negendahl Luca Pileri Luis Wagenführer Martino Hutz Matilde Tavanti Moa Carlsson Nataly Timotheou Niu Jing Orges Guga Patrycja Lyszczyk Philip Rufus Knauf Praewa Samachai Qamelliah Yusuph Nassir Rahul Girish Rebecca Carrai Roberto Fabbri Ryohei Koike Samuel Rubio Sanchez Shuhei Kamiya Sofiia Rokhmaniko Song He Sorcha Burke Steen Kortbæk Svendsen Szymon Kolecki Talia Fatte Tore Banke Ulla Hornsyld Viktoria Millentrup Vinish Sethi Weijia Lu Xinying Zhang Zari Van de Merwe Günther Edwin Weber Aleksander Wadas Gabrielė Ubarevičiūtė Jonas Käckenmester Lukas Kerner Maria Teresa Fernandez Rojo Pedro Savio jobim Pinheiro Ramon Julio Muros Cortes Vilius Linge Xin Su Zhen Tong Andrew Lo Malgorzata Mutkowska
World Architecture Festival Honorable Mention, International Building Beauty Prize, 2023
President*s Design Award for Design of The Year, 2023
ULI Asia Pacific Awards for Excellence, 2023
ArchDaily, Office Building of the Year, 2023
MIPIM ASIA’s Silver Award, Best Mixed-Use Development, 2022
Carlo Ratti Associati
MARFA, UNITED STATES
ICON and Liz Lambert
8,983 / 96,700
BIG, ICON and Texas-based hotelier Liz Lambert have joined forces to reimagine the infamous nomadic campground hotel El Cosmico in Marfa, Texas. The new 62-acre community will feature large-scale 3D-printed structures including domes, arches, vaults and parabolic forms, enhancing the guest experience with a pool, spa, and shared communal facilities. Breaking ground in 2024, El Cosmico will continue to celebrate the convergence of creative culture and the minimalistic natural environment of the Marfa landscape.
To celebrate the project, a partnership with The Long Center for the Performing Arts brings a taste of El Cosmico to Austin, Texas during SXSW. The 3D-printed pavilion combines the architectural design themes planned for El Cosmico in Marfa in a single, sculptural space for culture and community in the heart of downtown Austin.
“Our collaboration with El Cosmico and ICON has allowed us to pursue the formal and material possibilities of cutting-edge 3D printed construction untethered by the traditional limitations of a conventional site or client. Liz Lambert’s legacy for reimagining hospitality and her pioneering of a contemporary Texan aesthetic combined with the Minimalistic nature and culture, art and landscape of Marfa has been the perfect fit to pursue a new architectural vernacular language for El Cosmico in Marfa. Organic shapes, Euclidian circular geometries and a color palette born from the local terroir makes El Cosmico feel as if literally erected from the site it stands on.”
The design is informed by the unique connection between the high desert landscape and cosmic organizations. The new hotel and homes feature organic curves and domes, a primordial architectural language that can only be achieved by 3D-printing. ICON’s technology excels at creating soft shapes and curved surfaces, making it possible to bring this design vision to life. The project provides a natural continuation of unique experiences, building on El Cosmico’s legacy at the intersection of art, nature and hospitality in Marfa, TX. Another facet of the project will be to assess the opportunity to 3D-print affordable housing in Marfa to serve the evolving needs of the town.
As an outpost of El Cosmico, a permanent pavilion for music and performances emerges from the natural slope of the Long Center’s front lawn in Austin, Texas.
The adobe like color and texture of the horizontally layered wall appears like geological strata in an exposed cliff. Inspired by the Uruguayan engineer and architect Eladio Dieste, the sinuous curves at the foot of the pavilion provide both structural stability and social niches for the audience and performers. Organic form as structural function.
Bjarke Ingels Martin Voelkle Agla Egilsdottir Julian Ocampo Salazar Margaret Tyrpa Veronica Acosta Mateo Fernandez Michelle Stromsta Peter Sepassi Ricardo Palma Prieto Siqi Zhang Jennifer Ng Jialin Yuan Jaeho Park Jeremy Jackson Ahmad Tabbakh Cynthia Wang
LE BRASSUS, SWITZERLAND
7,000 / 75,347
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 impact – from 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
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
Pierre Chuard Ingenieurs-Conseils SA
Alterego Concept SA
Thorens et associes SA
2,075 / 22,335
Following the opening of Tirpitz Museum on the West Coast of Denmark – FLUGT – Denmark’s new Refugee Museum, is BIG’s second museum for Vardemuseerne: a local institution dedicated to the archaeology, dissemination, and collection of historical knowledge about the region.
Located at the site of Denmark’s largest Refugee camp from World War II, BIG has adapted and extended one of the camp’s few remaining structures – a hospital building – into a 1,600 m2 museum.
FLUGT gives a voice and a face to refugees worldwide and captures the universal challenges, emotions, spirit, and stories shared by displaced humans.
With approximately 35,000 World War II refugees staying at the Oksbøl refugee camp, the camp became the fifth-largest city of Denmark at the time. The camp’s hospital is one of the few remaining structures.
From outside, the abstract volume welcomes visitors into what appears to be a closed entry hall. Upon entering, a floor-to-ceiling curved glass wall reveals a view of a sheltered green courtyard and the forest, where the refugee camp used to be. The courtyard lets light flow into the entry hall that functions as a lobby or a temporary exhibition space for guests to experience before continuing their journey into one of the museum wings.
"From the very beginning of the design process, it was vital for us and our client, Vardemuseerne to preserve the two hospital buildings. The buildings are some of the last remaining physical manifestations of the former refugee camp, and not only is their preservation invaluable for future generations to understand the past and the present, the buildings also directly informed our design of the extension by means of their unique elongated form, structure and materiality. FLUGT is a great example of how adaptive reuse can result in sustainable, functional buildings that preserve our shared history while standing out architecturally."
The courtyard creates a peaceful sensory experience both inside and outside the museum. A small mirror pool in the heart of the courtyard reflects the sky above it. Around the basin, heath planting known from the region emphasizes the identity of the area.
The exhibition area in the north wing contains gallery spaces organized according to the original flow/circulation in the hospital. While most of the hospital room walls were torn down, some of the inside walls are kept intact and stabilized by three cross sections, creating larger exhibition spaces.
The south wing features a flexible conference room, smaller exhibition spaces, café. The back-of-house functions with the same character and materiality as in the north wing: white walls and intersections covered in white painted wood boards oriented according to the angle ceiling line, as well as yellow bricks across the entire museum floor, connecting past and present structures.
"The Refugee Museum of Denmark explores an important part of our history and a theme that is more relevant than ever, with millions of refugees currently displaced from their homes. We have designed an architectural framework that connects the past with the present - with a new building directly shaped by its relationship to the historic hospital buildings of the WWII refugee camp. We went into this project with all our heart to address one of the world’s greatest challenges - how we welcome and care for our fellow world citizens when they are forced to flee. The project is a continuation of our collaboration on Tirpitz Museum with Vardemuseerne and Claus Kjeld Jensen whose uncompromised design vision once again inspired our design for FLUGT."
In addition to preserving and reusing the hospital buildings for historical value, extending the lifespan of the existing structures supports BIG’s mission of reducing waste, conserving resources, and creating a smaller carbon footprint as it relates to materials manufacturing and transport.
Bjarke Ingels Finn Nørkjær David Zahle Ole Elkjær-Larsen Marius Tromholt-Richter Anders Holden Deleuran Andy Coward Barbora Hrmova Danyu Zeng Eddie Can Frederik Lyng Frederik Skou Jensen Hanne Halvorsen Jonathan Udemezue Katrine Sandstrøm Kim Lauer Kristian Mousten Laura Wätte Lone Fenger Albrechtsen Lukas Molter Mads Primdahl Rokkjær Michael James Kepke Nanna Gyldholm Møller Nikolaos Romanos Tsokas Oliver Siekierka Peter Høgenhaven Richard Howis Sascha Leth Rasmussen Sofiia Rokhmaniko Thor Larsen-Lechuga Tomas Karl Ramstrand Tore Banke Tristan Harvey Ulla Hornsyld Ákos Márk Horváth Anne Søby Nielsen Høgni Laksafoss Cheng-Huang Lin Gabrielė Ubarevičiūtė Giulia Frittoli Toni Mateu Muhammad Mansoor Awais Arthur Martinevski
Gade & Mortensen Akustik
Shenzhen Metro Qianhai International Development Co., Ltd. (深圳地铁前海国际发展有限公司)
330,000 / 3,552,090
BIG’s ‘leaning’ Qianhai Prisma Towers, featuring a 300m2 tall residential tower and a 250m tall office tower, will complete the new Qianhai Bay development, solidifying Qianhai’s position as the burgeoning financial and cultural center of Shenzhen. Expected to begin construction in 2025, the project – won in a global architectural competition – will be BIG’s second in Shenzhen following Shenzhen Energy Mansion’s completion in 2017.
Situated in the Guiwan District within the metropolitan city of Qianhai, the BIG-designed Qianhai Prisma Towers will flank each side of the Shenzhen Hong Kong Plaza – also known as the ‘green belt’ – marking the entrance to the neighborhood. New workspaces, residences, and 20,000+ m2 of multi-level public spaces will be positioned steps from an integrated regional transport hub and the Qianhai Bay.
"Both towers are conceived as simple prismatic building envelopes split open to make room for public space on the ground where they stand. The open seams and gaping corners allow the green spaces to ascend from the ground to the sky leaving wedges for outdoor gardens and terraces for the life of the people living and working within. With its timeless simplicity and inviting openness - the architecture of the two towers is firmly rooted in the urban values underpinning Shenzhen - a vertical modern city of 1000 parks.”
Peeking through the building envelope openings, cascading green terraces are introduced from the street level and up to the roof, where office workers and visitors can enjoy 360-degree views of Qianhai Bay. PV cells are integrated in the slightly tilted office tower’s West and East façade spandrel to maximize the PV efficiency. To better respond to the local climate achieving and improving thermal performance, double-skin closed-cavity façade (CCF) is used for the most exposed orientation of office tower. The apartment tower units have operable ventilation inlets built into the window frames to allow for natural ventilation.
“As the tower footprints open to the ground, they celebrate the connectivity to the transit infrastructure, retail and adjacent buildings. Pedestrian walkways connect multiple stories to provide seamless transitions between the towers and the surrounding public programs, forming a pedestrian network that leads up to the Qianhai Bay Waterfront Park.”
Both towers are defined by gently leaning volumes that taper towards the sky – a subtle gesture that adds structural efficiency while creating verdant openings between the volumes and a generous ground-floor public realm. The lush biophilia on the balconies and ledges contrasts the glass facades that shimmer subtly throughout the passing of the day.
The ground plane of the towers opens up to create a dynamic and welcoming urban living room while connecting the towers to the ‘green belt’ and nearby shopping mall. A meandering biophilic pedestrian skybridge functions as a canopy, providing shade and protection from the rain while connecting the shopping mall, the retail podium, and the surrounding neighborhood.
The tripod footprint of the 130,760 m2 residential tower is a radial array of three rectangular volumes that step up at different heights – providing multiple views towards the city and the ocean while creating beautiful living spaces, ‘sky garden’ terraces, and a roofscape. Between the volumes, the envelope opens up to create a subtle crevice of green balconies, from the ground level to the roofs.
The ground floor wayfinding takes inspiration from the Qianhai Bay, oftentimes appearing as a series of ripples while facilitating the flow of people through the entrances in and around the towers. The public realm of the ground floor office tower includes an amphitheater, tree–shaded social spaces, and an under–porch bar. In response to the climatic characteristics of the region activities are located under the canopy, trees and overhangs of the building. Rainwater is collected via the sloped curtain walls, utilized for irrigation system and maintenance of the public space.
From the interior of the tower, the corners peel open to create outdoor terraces on every floor. The west tower wall extends slightly skywards to reiterate the leaning gesture – delicately joining the remaining three walls/envelopes to create a sculptural addition to the skyline.
Both towers are strategically positioned between the two intercity railways; the Guangzhou-Shenzhen Intercity Railway is at the east side of the site, and the proposed Hong Kong-Shenzhen Western Express Railway will be at the west side of the residential tower. An adjacent below-grade retail corridor will provide both towers with direct access to the Transportation Hub via the below-grade lobbies. To complement the accessibility of the transport hub, an additional 966 long-term bicycle parking spaces will be available for building occupants.
Bjarke Ingels Martin Voelkle David Holbrook Ricardo Palma Prieto Ryan Duval Bella Yanan Ding Yao Tong Zhonghan Huang Chris Tron Chengjie Jacob Li Douglass Alligood Shu Du Flora Bao Mama Qicheng Wu Bianca Blanari Sungmin Kim
Brandston Partnership Inc.
MOUNTAIN VIEW, UNITED STATES
350,000 / 3,767,368
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.”
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."
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 Bjarke Ingels Bjarke Ingels Thomas Christoffersen Thomas Christoffersen Thomas Christoffersen Daniel Sundlin Daniel Sundlin Daniel Sundlin Beat Schenk Beat Schenk Leon Rost Leon Rost Leon Rost Jakob Lange Agla Egilsdottir Alvaro Velosa Blake Smith Blake Smith Blake Smith Jason Wu Jason Wu Jason Wu Corliss Ng Cristina Medina-Gonzalez David Iseri David Iseri Erik Kreider Florencia Kratsman Florencia Kratsman Guillaume Evain Guillaume Evain Guillaume Evain Isabella Marcotulli Jan Leenknegt Jan Leenknegt Linus Saavedra Linus Saavedra Veronica Acosta Veronica Acosta Melissa Jones Michelle Stromsta Otilia Pupezeanu Patrick Hyland Patrick Hyland Pauline Lavie-Luong Rita Sio Rita Sio Ryan Harvey Ryan Harvey Ryan Harvey Ryan Duval Sebastian Claussnitzer Seo Young Shin Shane Dalke Shu Zhao Siva Sepehry Nejad Terrence Chew Terrence Chew Thomas McMurtrie Tracy Sodder Xi Zhang Zhonghan Huang Zhonghan Huang Ziad Shehab Ziad Shehab Ziad Shehab Deb Campbell Deb Campbell Dylan Hames Dylan Hames Isela Liu Isela Liu Ji-Young Yoon Jeremy Alain Siegel Aaron Mark Alan Tansey Alessandra Peracin Alice Cladet Andriani Atmadja Anton Bashkaev Armen Menendian Armen Menendian Athena Morella Barbara Stallone Benson Chien Bernard Peng Bernard Peng Brian Zhang Camilo Francisco Aspeny Inostroza Jia Chengzhen Cheyne Owens Cheyne Owens Christi Farrell Christopher Wilson Christopher Wilson Claire Thomas Spiller Claire Thomas Spiller Cristian Lera Silva Cristian Lera Silva Cristian Lera Silva Danielle Kemble Danielle Kemble David Spittler Derek Wong Diandian Li Douglass Alligood Douglass Alligood Eva Maria Mikkelsen Filip Milovanovic Gabriel Hernandez Solano Gabriella Den Elzen Gaurav Sardana Gaurav Sardana Helen Shuyang Chen Helen Shuyang Chen Jennifer Dudgeon Jennifer Kimura Jennifer Kimura Jennifer Wood Jennifer Wood Jian Yong Khoo John Hilmes John Hilmes Jonathan Fournier Jonathan Fournier Joshua Burns Joshua Burns Joshua Plourde Joshua Plourde Joshua Plourde Juan David Ramirez Julien Beauchamp-Roy Kalina Pilat Kiley Anne Feickert Kiley Anne Feickert Kristoffer Negendahl Kurt Nieminen Lina Bondarenko Lina Bondarenko Ludwig Ebert Mads Kjaer Mahsa Malek Manon Otto Manon Otto Manon Otto Marcus Kujala Mirco Amstad Mo Zhou Nandi Lu Nicole Passarella Nicole Passarella Olga Khuraskina Oliver Colman Omer Hadar Pablo Costa Fraiz Pantea Tehrani Pantea Tehrani Patricia Correa Velasquez Peter Kwak Peter Kwak Ramona Montecillo Simon David Taylor Fulton Tiago Sá Timothy Cheng Tingting Lyu Tore Banke Valentina Mele Valentino Vitacca Vincenzo Polsinelli Vincenzo Polsinelli Walid Bhatt Ye Sul Cho Yina Moore Ali Chen Ali Chen Ania Agnieszka Podlaszewska Benjamin Caldwell Benjamin Caldwell Domenic Schmid Dong-Joo Kim Hacken Li Hacken Li Jonathan Pan Jonathan Pan Luke Lu Sebastian Grogaard Sebastian Grogaard
Urban Tree Management
The Nawabari furniture collection is inspired by the Japanese art form of binding with ropes to forge close bonds. ‘Nawa’ means rope in Japanese, and the term “Nawabari” traditionally translates as stretching rope.
Nawabari comprises two sofa sizes, an armchair, two coffee tables and two pouffe sizes. The collection can be used individually as standout pieces or grouped together to create a standalone area, playing with the various colors and shapes.
“When starting out with this collection we were looking for a new way of expressing furniture. We were interested in the forms that are created when a material is bound with rope. The result is these sculptural organic shapes that form the core of this furniture family.”
The core shape of the furniture family took shape through studying the organic and sculptural shapes created by a sponge tied with a rope.
The furniture is upholstered with Gabriel’s wool-effect Blend fabric in six pre-defined colours that beautifully enhance the sensorial design. The Nawabari collection is Greenguard certified, ensuring that the products have low-emitting chemicals and low impact on indoor air quality.
Bjarke Ingels Jakob Lange Philip Andersson Johannes Becker Elin Stavenow Tom Pracert Schrader Jan-Hendrik Schrader
PRAGUE, CZECH REPUBLIC
Prague Institute of Planning and Development
49,715 / 535,120
In May of 2022, the City of Prague unveiled BIG’s design for the country’s first national concert hall in over 100 years: The Vltava Philharmonic Hall. The new concert hall will become the home of the world-class philharmonic for 1800+ audiences, celebrate the Czech music tradition and cement the country as a cultural capital in Europe.
The Vltava Philharmonic Hall is composed as a cascade of outdoor destinations from the waterfront on the river to the city’s iconic skyline. By raising and lowering the corners of the building at multiple touch points, the public spaces connect and allow activities to spill in and out of the building on every side: towards the river, the square, the street, and the alley. Visitors will be drawn in from all forms of arrival, with carefully chosen programs inviting them to explore the music venues inside or climb the elegant, arced roofs of the new concert hall.
The new Philharmonic is conceived as a contemporary extension of Prague’s dramatic urban topography, as a cascade of outdoor destinations. A series of grand public plazas will become a new symbol of inclusionary architecture, welcoming a multitude of Prague’s vibrant urban life to flow across, around, through, under and over the new concert hall.
The site is bound by four key traffic corridors, the character of which informs the public space programming around the Philharmonic. Along the Western side, Bubenská passes the site and continues across the Vltava on the Hlávkův Bridge. Here, several modes of mobility are accommodated within the public realm. Along the North, the tram line runs adjacent to the new neighborhood development. As a car-free zone, this corridor becomes an important pedestrian and soft mobility connection to the surrounding neighborhoods. The new ecological corridor extending down from Stromovka Royal Game Reserve passes by the Eastern side of the site, creating a lush green buffer between the Philharmonic and the train line.
Most importantly, the Vltava River runs along the Southern side of the site, connected to the streetscape by a new waterfront promenade.
An essential public building for the Holešovice district and a new focal point for Prague, the new Philharmonic extends horizontally and vertically in all directions to create key urban connections and form a recognizable landmark for surrounding communities near and far.
The roofs are conceived as a continuation of the grand public plaza at the foot of the building. The undulating stepped form of the roofs allows visitors to meander to the summit of the building, as if climbing a hill. Slender vertical colonnades support the building’s roof terraces while undersides of warm timber from the Bohemian Forest provide shade and shelter. A space to sit and to gather, spaces for informal outdoor performances and views inward to the Philharmonic’s lively musical environment.
Arriving in the grand foyer, guests are greeted by a striking interior inspired by Czech Glass Artists which lead them into the music venues for a truly contemporary music experience. Arranged like petals of a pinecone turned inside out, the seats of Prague Hall are rotating within the compactness of a perfect square. The seating rakes meet at their corners to allow physical connectivity between every seat in the audience, providing a greater sense of unity and shared experience. Warm timber interiors provide balanced acoustics with a natural material, and form an environment designed to strengthen the intimate connection between the audience and orchestra.
"The Vltava Philharmonic Hall is composed as a meandering journey from riverbank to rooftop. Public flows and belvedere plazas unite the city life of Prague to the music within. Its halls are formed for sight, fine-tuned for sound, and orchestrated for functionality and connectivity. From this rhythmic structure, a symphony of colonnades and balconies extend as platforms for public life. Expressive yet pragmatic, the new Philharmonic will ascend to form a key landmark for Prague - from river to roof."
“The new Vltava Philharmonic Hall will be a symbol of openness, accessibility, and exploration. From the Vltava square, streets ascend upward connecting interior balconies with exterior colonnades and terraces. Like eighth, quarter, half and whole notes, the steps the benches, façade, and colonnade are perfectly on beat offering its resident orchestras effective and extroverted rehearsal areas, while bringing the audiences within the halls closer to the source in an environment that is both majestic and intimate.”
Beyond being a major cultural destination for Prague, the building is crafted to maximize its potential to host external uses and special events. The venues are carefully designed to maximize flexibility for a range of uses – from the boldness of contemporary music styles to theater performances and digital exhibitions.
At the buildings summit, an elegant hyperbolic structure spans over the Vltava Hall and forms the iconic ceiling of a restaurant and event ballroom with views of the historic city center of Prague.
Bjarke Ingels Brian Yang Shane Dalke Alberto Menegazzo Christian Vang Madsen Dagmara Anna Obmalko Izabella Banas Jan Magasanik Louise Mould Luca Nicoletti Mads Primdahl Rokkjær Matteo Baggiarini Matthew Oravec Paula Madrid Peter Høgenhaven Polina Galantseva Santtu Johannes Hyvarinen Sarkis Sarkisyan Sorcha Burke Giulia Frittoli Giulia Vanni Tania-Cristina Farcas Karim Daw Giulia Orlando Eleanor Gibson Casper Klarén Ondrej Slunecko Yanis Amasri Sierra Alicia De Nobrega Khaled Magdy Zaki Ahmed Elfeky Clara Elma Margareta Karlsson Heinrich Froese Neto Jeremias Sas Iros Jonathan Chester Fernanda Furuya Paola Yepes Bocanegra Rohit Nandakumar Jialin Liang Anna Mesiariková Jonathan Christian Chin Anastasia Papaspyrou Nikol Maraj Jakub Misař Jan Goebel Eliška Slaměna Iveta Jakubčíková Camila Alzate Riano Rihab Soukkarieh Efstratios Sakellariou Sandrino Jan Deiana Nouran Wael Mohamed Rashad Mohamed Sherif Ali El Moussawi Tomáš Chrástecký Mahmoud Nagy Elsayed
Theatre Projects & Nagata Acoustic
Helsingør Municipality | Helsingør Maritime Museum
7,600 / 81,806
The Danish Maritime Museum is located in a unique historic and spatial context: between one of Denmark’s most important and famous buildings, the Kronborg Castle, and a new, ambitious cultural center – the Culture Yard.
BIG was invited for a competition to design a Maritime museum inside the neighboring decommissioned dry-dock, where ships used to be built. Instead, BIG proposed to place the museum underground, just outside the wall of the dock in order to preserve the dock as an open, outdoor display, maintaining the powerful structure as the center of the Maritime Museum. By placing the museum this way, it appears as a discreet part of the cultural environment associated with the Kronborg Castle and the neighboring Culture Yard, while at the same time manifesting itself as an independent institution.
Situated right next to Hamlet’s Kronborg Castle which became a UNESCO World Heritage Site in 2000, the new museum had to stay invisible as to not distract from the castle. At the same time, the museum’s leadership wanted a recognizable institution to attract as many museum visitors as possible.
"When one designs next to one of Denmark’s most important architectural icons, the UNESCO World Heritage Kronborg Castle, it requires an equal dose of respect and sensitivity. At the same time, it is every Museum Director’s dream to have their institution be recognized as its own architectural icon. Our challenge was to do both at the same time."
The bridges span the dry dock providing visitors with short-cuts to the various portions of the museum. One bridge serves to navigate visitors to the entrance while another contains an auditorium, creating access from Kronborg Castle to the harbor. The bridges create a dynamic tension between old and new.
The arrival to the museum is through a descending set of ramps which enter both the dry dock and the world of the seafarer. Like a siren’s song, the museum attracts the passer-by deeper and deeper into the long and noble Danish Maritime history in its galleries, finally standing in the dry dock with a view of the skies.
With hard-sound reflecting surfaces and an open ‘ceiling,’ the dry dock’s acoustics are perfect for dance performances and concerts, but also suitable for other outdoor activities, exhibitions, and events – turning the Maritime Museum into a center for cultural life in Helsingor. Through minimal means, BIG’s design created maximum functionality and architectural resonance.
The architecture of the museum is a collision between the old and the new: heavy textured concrete and light transparent steel and glass.
The anchor chain serves the double purpose of exhibit and structure – not just a theatrical element, but a hard working part of the building.
The galleries underneath are tilted glass pavilions open to the surrounding dock. To slim the structure down, the span is cut in half by hanging the floor from the ceiling.
The dock creates a museum space as a cohesive floor plan which discreetly becomes lower and lower across the entire museum length. Simple accessibility ramps and bridges are added, cutting through the dock in a structural and sculptural way.
The museum is a new form of public space as an urban void in Helsingor Docklands – an unexpected venue for the cultural life of Helsingor.
Bjarke Ingels Finn Nørkjær David Zahle Annette Jensen Armen Menendian Jan Magasanik Lone Fenger Albrechtsen Stefan Plugaru Zoltan Kalászi Gül Ertekin Alina Tamosiunaite Alysen Hiller Ana Merino Andreas Geisler Johansen Ariel Joy Norback Wallner Baptiste Blot Christian Alvarez Christin Svensson Claudia Hertrich Claudio Moretti Cory Mattheis Dennis Rasmussen Eskild Nordbud Felicia Guldberg Gaetan Brunet Henrik Kania James Duggan Schrader Jan Borgstrøm Jeppe Ecklon Johan Cool Jonas Mønster Karsten Hammer Hansen Kirstine Ragnhild Lucas Torres Aguero Malte Kloe Michael Andersen Oana Simionescu Rasmus Pedersen Riccardo Mariano Rune Hansen Sebastian Latz Tammy Teng Tina Tröster Todd Bennett Xi Chen Xing Xiong Xu Li Rasmus Rodam Marc Jay Tina Lund Højgaard Jensen Michal Kristof Andy Yu Qianyi Lim Maria Mavriku Masatoshi Oka Pablo Labra Peter Rieff Sara Sosio John Pries Jensen Kristina Loskotova
Dansk Stalpris (Danish Steel Award), 2016
Mies van der Rohe Award Finalist, 2015
RUM Magazine Award for Best Architecture of the Year, 2015
AIA Institute National Honor Award for Architecture, 2015
RIBA Awards European National Winner, 2014
World Architecture Festival Best Cultural Category Winner, 2014
European Prize of Architecture Philippe Rotthier, 2014
Danmarks Rederiforenings SØFARTSPRIS, 2014
Architizer A+ Awards Jury Winner, 2014
AIANY Design Awards Honor for Architecture, 2014
ArchDaily Cultural Building of the Year, 2014
DETAIL Prize, 2014
AL Light & Architecture Design Awards Commendable Achievement, 2014
Freddy Madsen Ingeniører
140,000 / 1,506,947
Since its opening in the 1940s, Zurich Airport has become one of the most important aviation hubs in Europe. Following the airport’s previous additions of Dock E, the Airside Center, and The Circle, an international two-stage design competition was kicked off in 2020 to replace the aging Dock A.
Expected to open in 10 years, the new Dock A designed by BIG includes Schengen and Non-Schengen gates, airside retail, lounges, offices, the new air traffic control tower, and an extension of the immigration hall. BIG’s design is conceived as a mass timber space frame that is structural design, spatial experience, architectural finish, and organizational principle in one. The structure is made from locally sourced timber, and the roof is entirely clad in solar shingles turning sunlight into a power source.
Based on BIG’s concept of the ‘Raumfachwerk’ – a robust yet flexible structural framework – the design proposal celebrates the passenger experience and movement through the airport.
Located adjacent to the existing Airside Center and Terminal 1, the new Dock A is defined by two main areas: the central hub with shopping, airport services for arriving and departing passengers, and vertical circulation; and the pier with the gates, waiting areas, and the fixed links connecting to the planes.
Arriving passengers are guided towards the hub of Dock A – which is split across seven floors which are visually connected through the generous light-filled atrium. Passenger flows are funneled through the atrium that connects all floors via stairs, escalators and elevators – from the underground immigration hall to all arrival and departure levels, and the lounges on the top floors of the central hub.
To enhance the passenger experience, the spaces within the new terminal use daylight as a natural wayfinding system. A linear skylight – created by the unfolding roof of the pier – widens toward the central hub and opens up into the atrium where all departing, arriving, and transferring passengers meet. By placing the control tower in its center, the tower is experienced from the inside as a beacon that creates a sense of place, akin to a town square rather than an airport.
“As airports grow and evolve and as international guidelines and safety requirements change, airports tend to become more and more complex: Frankenstein's of interconnected elements, patches and extensions. For the new main terminal of Zurich Airport, we have attempted to answer this complex challenge with the simplest possible response: A mass timber space frame that is structural design, spatial experience, architectural finish, and organizational principle in one. The striking structure is made from locally sourced timber, and the long sculptural body of the roof is entirely clad in solar shingles turning sunlight into a power source. A simple yet expressive design - rooted in tradition and committed to innovation - embodying the cultural and natural elements of Swiss architecture.”
A contemporary, pared-back material palette, the structure, floors, and ceilings of Dock A are envisioned with timber as the main material. As a renewable local resource, this material choice allows for efficient prefabrication during the construction process while paying homage to the long-standing local tradition of wood construction in Switzerland.
The main loadbearing system of the building is based on V-shaped timber columns – providing a structural function while also serving as a reference to both the iconic Swiss alpine landscapes and the centuries-old tradition of timber construction and traditional pitched roofs. Arriving passengers will be welcomed by this distinctly local architecture that showcases high-quality craftmanship while underscoring the airport’s pledge to sustainability.
Finally, Dock A’s roof will be covered with PV panels while integrated shading will reduce solar heat gain and maintenance requirements, and a combination of water and air-based cooling and heating systems will improve the building’s energy demand.
Bjarke Ingels Thomas Christoffersen Beat Schenk Martin Voelkle David Holbrook Fabian Lorenz Guillaume Evain Hector Romero Jan Leenknegt Oliver Thomas Paul Clemens Bart Sang Ha Jung Sebastian Claussnitzer Shu Zhao Simon Scheller Sören Grünert Terrence Chew Tracy Sodder Veronica Watson Weronika Siwak Christian Salkeld Jennifer Ng Ji-Young Yoon Bernardo Schuhmacher James Donaldson Lars Thonke Ruo Wang Samantha Pires Tom Lasbrey Dong-Joo Kim Juan Diego Perez Diez Don Chen Amie Yao Jaeho Park Ryan Henriksen Shuo Yang Luca McLaughlin Zofia Bednarczyk Gus Steyer Montre'ale Jones Cosmin Paduraru Pearl Cao Ololade Owolabi Bianca Blanari Andrew Haas Sinam Hawro Yakoob
Pirmin Jung Schweiz AG
Haerter & Partner AG
The Design Solution
Bucharest Studio & Imigo
Kistefos Museum Jevnaker
1,000 / 10,764
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."
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 Ole Elkjær-Larsen 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
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
Brekke & Strand
Erichsen & Horgen
Kirkbi A/S | LEGO Foundation | LEGO Group
11,960 / 128,737
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."
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."
Bjarke Ingels Finn Nørkjær David Zahle Jakob Lange Brian Yang Andreas Klok Pedersen Jakob Sand Ole Elkjær-Larsen 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
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
Dr. Lüchinger + Meyer Brauingenieure AG
Gade & Mortensen Akustik
APM Terminals Management BV
APM Terminals and Maersk teamed with BIG to reimagine the future of the shipping industry starting with the green transformation of the Aqaba Port Terminal in Jordan by 2040. The project is the first step towards decarbonization of major ports and container terminals – and connecting shipping infrastructure to local communities.
Born out of APM Terminal’s ambition to optimize and decarbonize the port and surrounding logistics, BIG has developed a spatial framework for the green transformation of Aqaba Container Terminal – the gateway to the distribution network of Jordan, the Levant and beyond. The vision, with ESG principles at the core, merges different strategic approaches at regional scale, starting from the terminal refurbishment, expanding to the logistics functions in the immediate surroundings, and lastly, connecting to the wider port’s community and natural environment.
“Over the last decades, industries have driven economic growth, but also contributed to severe environmental impact. Aqaba Container Terminal is an example of how cleaner, quieter and safer infrastructure can create new forms of sustainable urban environments. As an urban planner and landscape architect the collaboration has been a unique chance to explore the hidden potential behind industrial sites and rethink infrastructure as a catalyst for urban, sustainable transformation. Developing this vision in collaboration with Maersk, APM Terminals and ACT has been an incredible opportunity to collaborate with industry leaders on the design and innovation of the global maritime infrastructure, which we all rely greatly on."
The framework for transforming Aqaba Container Terminal aims to bring life back to the port. This is done by decarbonizing its infrastructure, creating new synergies with local businesses and communities, and incorporating strategies for environmental restoration and nature-based solutions. Considering increasing safety and operational efficiency, which is core to APMT, BIG’s planning approach connects social, economic and environmental strategies into a holistic vision, for the terminal and beyond.
The future Aqaba Container Terminal incorporates solar installations and canopies, which allow for zero-emission port functions and reliance on fully electrified cranes, vehicles and charging stations. Yard refurbishments with state-of-the-art technology and sustainable pavement treatment provides efficient operations while creating comfortable spaces for workers.
By relocating the custom facility closer to the port, the clearance process is optimized and directly linked to nearby logistic facilities – an area where trade opportunities will be offered to the wider economy by connecting with local businesses. Bringing together agents and shippers will ensure faster goods distribution, while training and innovation centers develop Jordan’s next generation of logistics professionals.
Bjarke Ingels Shane Dalke Filip Radu Jakub Wlodarczyk Giulia Frittoli Tania-Cristina Farcas Daniel Joshua Vanderhorst
NEW YORK, UNITED STATES
The Durst Organization
77,202 / 831,000
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.”
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
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
Starr Whitehouse Landscape
Philip Habib & Assoc
Van Deusen & Assoc
Cerami & Assoc
Brandston Partnership Inc.
Mads Peter Veiby
840 / 9,041
In the words of BIG Founder & Creative Director, Bjarke Ingels: “Designing a home for a family is like painting a portrait. A portrait’s success lies not only in the artists’ ability to express themselves – but rather in their ability to capture the expressions, character, personality, or even the soul of those being portrayed. As an architectural portrait, the home is about creating a framework for interests and needs, wishes and dreams, requirements and criteria – in short – the life the family wants to live.”
In Villa Gug, located in its namesake city Gug in Northern Denmark, the clients’ passion for cars plays a major role in the family’s life, taking up a significant portion of the housing area. Instead of hiding the cars away in a basement, or a large garage, BIG designed a house that smoothly transitions from the car to the home.
The linear building curves in a loop around the top of the hill framing a central courtyard for the family’s private affairs. The building’s character gradually changes from an introverted garage and showroom at the driveway, to the more open functional spaces, including the kitchen, living room, and terrace on the top of the building.
From within, the spaces open up towards the central garden – offering increasingly expansive views as the rooms climb the hill and begin to perceive the distant horizons beyond the roof line.
The cars are protected from the outside, but visible across the garden from the living spaces and bedrooms. Looking out from the bedroom, the client can say goodnight to their cars before turning out the light each night.
The spiral courtyard creates a balance between private living and public location, while the continuous ascent effects a gradual transition between parking and living.
With Villa Gug, BIG has reprogrammed the standard house as we know it by basing the design on the clients’ passion, creating a type of housing that is tailored to the residents of this specific household. In terms of architecture as portraiture, Villa Gug is a pure manifestation of a house shaped by the desires of its inhabitants.
Bjarke Ingels Finn Nørkjær David Zahle Jakob Lange Ole Elkjær-Larsen Alda Sol Hauksdóttir Alexander Codda Andy Coward Anke Kristina Schramm Anna Wiktoria Wozniak Anne-Charlotte Wiklander Athena Morella Bjarke Koch-Ørvad Cæcilie Søs Brandt-Olsen Dag Præstegaard Enea Michelesio Eskild Schack Pedersen Frederik Lyng Frederik Skou Jensen Hugo Yun Tong Soo Joanna Anna Jakubowska Kim Christensen Kristoffer Negendahl Lasse Lyhne-Hansen Mads Engaard Stidsen Mads Johansen Margarida Fino Jerónimo Michael James Kepke Michael Leef Morten Roar Berg Nanna Gyldholm Møller Naysan John Foroudi Pawel Bussold Richard Howis Rihards Dzelme Sofia Sofianou Timo Harboe Nielsen Tommy Bjørnstrup Tore Banke Weronika Marek Gökce Günbulut Brygida Zawadzka Elina Skujina Katarina Mácková Katerina Joannides Krzysztof Piotr Marciszewski Nicolas Millot Priscilla Bellas
55,000 / 390,000
Traditionally a sprawling city of dense low-rise buildings, the skyline of Quito was re-imagined following the relocation of the city-center airport over a decade ago. With the skyline able to grow upwards for the first time, Uribe Schwarzkopf worked with BIG to realize a new contemporary identity for the city.
The 130m, 32 story IQON stands as the tallest residential building in the Ecuadorian capital, designed as a vertical community, and an extension of the neighboring La Carolina Park.
“We’ve tried to take all the iconic qualities of Quito - such as the enjoyment of living in one of the most biodiverse places on the planet, in a city on the equator where the seasons are perfect for both human and plant life - and bring that experience into the vertical dimension. IQON is an entire vertical community of individual homes; an extension of La Carolina Park that now climbs all the way up to the rooftop."