FROM:Bjarke Ingels Interview: Different Angles
Bjarke Bundgaard Ingels (Danish pronunciation: [ˈbjɑːgə ˈbɔngɒːˀ ˈeŋˀl̩s]; born 2 October 1974) is a Danish architect, founder and creative partner of Bjarke Ingels Group (BIG), widely known for buildings that defy convention while incorporating sustainable development principles and bold sociological concepts.
In Denmark, Ingels became well known after designing two housing complexes in Ørestad: VM Houses and Mountain Dwellings. In 2006 he founded Bjarke Ingels Group, which grew to a staff of 400 by 2015, with noted projects including the 8 House housing complex, VIA 57 West in Manhattan, the Google North Bayshore headquarters (co-designed with Thomas Heatherwick), the Superkilen park, and the Amager Resource Center (ARC) waste-to-energy plant — the latter which incorporates both a ski slope and climbing wall on the building exterior.
Since 2009, Ingels has won numerous architectural competitions. He moved to New York City in 2012, where in addition to the VIA 57 West, BIG won a design contest after Hurricane Sandy for improving Manhattan’s flood resistance, and are now designing the new Two World Trade Center building. Ingels and his company are the subject of the 2017 documentary BIG Time.
In 2011, the Wall Street Journal named Ingels Innovator of the Year for architecture. And in 2016 Time Magazine named him one of the 100 Most Influential People.
Bjarke Bundgaard Ingels（丹麥語發音：[bjɑːgəbɔngɒːˀeŋˀl̩s]; 1974年10月2日出生）是丹麥建築師，Bjarke Ingels集團（BIG）的創始人和創造性合作夥伴，以蔑視公約，同時融入可持續發展原則和大膽社會學的建築而聞名概念。
在丹麥，Ingels在Ørestad設計了兩個住宅區後成名：VM Houses和Mountain Dwellings。 2006年，他創立了Bjarke Ingels集團，到2015年增加到400名員工，其中包括8個住宅區，曼哈頓VIA 57 West，Google North Bayshore總部（與Thomas Heatherwick共同設計），Superkilen等著名項目。公園和Amager資源中心（ARC）垃圾發電廠 – 後者在建築外部整合了滑雪坡和攀岩牆。
自2009年以來，Ingels贏得了眾多建築競賽。他於2012年搬到了紐約市，除了VIA 57 West之外，BIG在颶風桑迪之後贏得了設計競賽，以提高曼哈頓的防洪能力，現在正在設計新的兩世界貿易中心大樓。 Ingels和他的公司是2017年紀錄片BIG Time的主題。
2011年，華爾街日報將Ingels年度最佳建築創新者命名為。 2016年，時代雜誌將他評為100位最具影響力人物之一。
Design philosophy
In 2009, The Architectural Review said that Ingels and BIG “has abandoned 20th-century Danish modernism to explore the more fertile world of bigness and baroque eccentricity… BIG’s world is also an optimistic vision of the future where art, architecture, urbanism and nature magically find a new kind of balance. Yet while the rhetoric is loud, the underlying messages are serious ones about global warming, community life, post-petroleum-age architecture and the youth of the city.” The Netherlands Architecture Institute described him as “a member of a new generation of architects that combine shrewd analysis, playful experimentation, social responsibility and humour.”
In an interview in 2010, Ingels provided a number of insights on his design philosophy. He defines architecture as “the art of translating all the immaterial structures of society – social, cultural, economical and political – into physical structures.” Architecture should “arise from the world” benefiting from the growing concern for our future triggered by discussion of climate change. In connection with his BIG practice, he explains: “Buildings should respond to the local environment and climate in a sort of conversation to make it habitable for human life” drawing, in particular, on the resources of the local climate which could provide “a way of massively enriching the vocabulary of architecture.”
Luke Butcher noted that Ingels taps into metamodern sensibility, adopting a metamodern attitude; but he “seems to oscillate between modern positions and postmodern ones, a certain out-of-this-worldness and a definite down-to-earthness, naivety and knowingness, idealism and the practical.” Sustainable development and renewable energy are important to Ingels, which he refers to as “hedonistic sustainability”. He has said that “It’s not about what we give up to be sustainable, it’s about what we get. And that is a very attractive and marketable concept.” He has also been outspoken against “suburban biopsy” in Holmen, Copenhagen, caused by wealthy older people (the grey-gold generation) living in the suburbs and wanting to move into the town to visit the Royal Theatre and the opera.
In 2014, Ingels released a video entitled ‘Worldcraft’ as part of the Future of StoryTelling summit, which introduced his concept of creating architecture that focuses on turning “surreal dreams into inhabitable space”.Citing the power of alternate reality programs and video games, like Minecraft, Ingels’s ‘worldcraft’ is an extension of ‘hedonistic sustainability’ and further develops ideas established in his first book, Yes Is More. In the video (and essay by the same name in his second book, Hot to Cold: An Odyssey of Architectural Adaptation) Ingels notes: “These fictional worlds empower people with the tools to transform their own environments. This is what architecture ought to be …” “Architecture must become Worldcraft, the craft of making our world, where our knowledge and technology doesn’t limit us but rather enables us to turn surreal dreams into inhabitable space. To turn fiction into fact.”
設計理念
2009年，“建築評論”稱，Ingels和BIG“放棄了20世紀的丹麥現代主義，探索更加肥沃的大世界和巴洛克式的怪癖世界…… BIG的世界也是對藝術，建築，城市化和未來的樂觀前景。大自然神奇地找到了一種新的平衡。然而，雖然言辭很響亮，但潛在的信息卻是關於全球變暖，社區生活，後石油時代建築和城市青年的嚴重信息。荷蘭建築學院將他描述為“新一代建築師的成員，他們結合了精明的分析，有趣的實驗，社會責任和幽默。”
在2010年的一次採訪中，Ingels提供了許多關於他的設計理念的見解。他將建築定義為“將社會的所有非物質結構 – 社會，文化，經濟和政治 – 轉化為物質結構的藝術”。建築應該“來自世界”，受益於對氣候變化討論引發的對未來的日益關注。與他的大型實踐相關，他解釋說：“建築物應該通過某種對話來回應當地的環境和氣候，使其適合人類生活”，尤其是當地氣候的資源，這可以提供“大規模豐富建築詞彙的方式。“
盧克·布徹（Luke Butcher）指出，Ingels採用了元現代的感性，採用了一種超現代的態度;但他“似乎在現代立場和後現代立場之間搖擺不定，一種超越這個世界和一種明確的腳踏實地，天真和知識，理想主義和實踐。”可持續發展和可再生能源對於Ingels來說非常重要，他將其稱為“享樂主義的可持續發展”。他說過“這不是我們放棄的可持續性，而是我們得到的東西。這是一個非常有吸引力和有市場的概念。”他還直言不諱地反對哥本哈根霍爾門的“郊區活檢”，這是由居住在郊區的富裕老年人（灰黃金一代）引起的，他們想要搬進小鎮參觀皇家劇院和歌劇院。
2014年，Ingels發布了一個名為“Worldcraft”的視頻，作為StoryTelling未來峰會的一部分，該視頻介紹了他創建建築的概念，專注於將“超現實的夢想變成可居住的空間”。引用替代現實節目和視頻遊戲的力量，像Minecraft一樣，Ingels的’worldcraft’是’享樂主義可持續性’的延伸，並進一步發展了他的第一本書Yes Is More中的思想。在視頻中（以及他的第二本書“熱到冷：建築適應的奧德賽”中的同名文章）Ingels指出：“這些虛構的世界賦予人們改造自己環境的工具。這就是建築應該是什麼……“”建築必須成為世界，造世界的工藝，我們的知識和技術不限制我們，而是讓我們把超現實的夢想變成可居住的空間。把小說變成事實。“
