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30/03/2016 16:41Serpentine Pavilion 2016: Bjarke Ingels reveals his spectacular design | Design | Lifestyle | London Evening Standard

Page 1 of 8http://www.standard.co.uk/lifestyle/design/serpentine-pavilion-2016-bjarke-ingels-reveals-his-spectacular-design-a3188236.html

Look to the future: Bjarke Ingels has designed a cave-like pavilion that can be accessed via a “zipper” where fibreglass blocks peel away

Lifestyle › Design

ROBERT BEVAN | Wednesday 24 February 2016| 0comments

Serpentine Pavilion 2016: Bjarke Ingels reveals his spectaculardesign

Today the Standard exclusively reveals the design for this summer’s Serpentine Pavilion. Its Danish architect, Bjarke Ingels, talksthrough his vision

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Bjarke Ingels, the Danish architect chosen to design this

summer’s Serpentine Pavilion, is all in favour of bigamy. Not

in his personal life, you understand, but as an architectural

idea that eschews the binary design approaches of either

rational, rectilinear boxes or wild, amorphous blobs in

News Football Going Out Lifestyle Showbiz Homes & Property335shares

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favour of an overlap between the two.

His practice, Bjarke Ingels Group (BIG), employs hundreds in its

offices in Copenhagen and New York (and soon, he hints, London)

and is responsible for projects such as a power station that doubles

as a ski-slope and an apartment block where you can cycle up a

ramp from street to penthouse.

With Thomas Heatherwick he’s been commissioned to designGoogle’s headquarters in California and has snatched the job of

designing Two World Trade Center in Manhattan from Sir Norman

Foster. The rumour mill is suggesting that he will steal the gig to

design Google’s London HQ at King’s Cross from under the nose of

London practice Allford Hall Monaghan Morris as well.

Ingels, 41, is just about the hottest architectural property on the

planet right now and we speak as he is rushing for a plane in New

York. With his Instagram selfies looking impish in far-flung

locations, and his chosen methods of transport being a Seventies

Porsche, snowboard or self-designed bike, he appears to epitomise

the extrovert, playboy starchitect.

(Image: Design render © Bjarke Ingels Group)

For his pavilion design — exclusively revealed today by the Evening

Standard — he promises a “miniature manifesto” in the form of

garden walls made of hollow fibreglass blocks that lean together to

form a cave-like pavilion accessed via a “zipper” at one end where

the blocks peel away. A path will lead through the cave to the

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Serpentine Gallery building. Viewed from one direction, the walls

will be opaque, from another you will see the shadows of people

walking around its outside.

In her last year as the Serpentine’s co-director, Julia Peyton-Jones

has also commissioned four 25-square metre temporary summer

houses nearby designed by young architects, as well as the pavilion

proper.

“We’ve played with one of the most basic elements [of a building] —

the wall,” says Ingels of his design. “Typically, walls are made from

stacked identical elements. When you see it you can sense how it

fits into our general way of thinking. We are playing with the idea of

bigamy — you don’t have to choose between box or blob.”

As a Dane, he says, an obvious hero is Jørn Utzon, the architect of

the Sydney Opera House, who was obsessed with making

sculptural forms out of repeated, prefabricated objects: “We want

to use rationality and rigour to create the extraordinary out of the

ordinary.”

Serpentine summer house designs 2016 - inpictures

Ingels’s pavilion, he reveals, might later be dismantled and go on a

tour of the US, a country he has recently conquered with massive

projects, beginning with the VIA 57WEST apartment tower in New

York that marries a skyscraper to an iceberg. The pavilion, it seems,

could become yet another canny calling card for this most skilled

of architectural self-promoters.

Ingels, who is from the coastal suburbs of Copenhagen, originally

wanted to draw graphic novels but took up architecture as

11show all

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something to do in the meantime. He began his training in 1993 at

the city’s prestigious Royal Academy of Arts and ended up working

briefly with Rem Koolhaas, the then starchitect de jour, whose

work epitomises the grandiloquent gesture. At the same time Ingels

set up his own practice, Plot, with a group of like minds.

They had success at a swiftness and scale that is rare in

architecture and were commissioned to build two apartment

blocks in windswept Ørestad, a new extension of the Danishcapital. The 2004 VM Houses block was supposed to be for key

workers but the units were snapped up as designer apartments.

The adjacent Mountain is a triangular-faced edifice where the

homes are reached via a glass lift-car mounted on a diagonal ski-lift

that rises through the multi-storey car park below.

Plot was wound up in 2005 and Ingels set up BIG, which is a name

that tells you something about both his ambition and his knowing

sense of humour. The Danish web address is BIG.dk. Which he

likes.

He added to the Ørestad projects with a third huge housing

venture, the 8 House, with homes reached from a street in the sky that loops around, rising to 10 storeys.

Then came the 2008 financial crash. Massive projects were

cancelled but competitions and soon new jobs were landed —

vitally, VIA 57WEST. The project, combined with a teaching post at

Harvard and a desire for fresh adventure, led to a move to Tribeca

in New York City.


Commissions have come in since for art galleries, museums,

Danish architect Bjarke Ingels to design Serpentine Pavilion

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bridges, piers and more towers worldwide. Ingels has appeared in a

witty TED talk and published Yes Is More, an architecture book in

comic strip form.

This upward career trajectory looks rocket-like (“In reality, any

overnight success takes decades,” he quips) and the architecture

too is in thrall to steep inclines or loops, spirals and figures of eight.

Ingels maintains that this is not just Comic Sans shape-making:

“Our architecture looks diff erent because it performs diff erently.There is a tight relationship between what it does and how it

appears.”

He contends that his loopy architecture creates a flowing

topography of continuous connections. However, there also seems

to be a desire for the uncomplicated image — buildings shaped like

a snowflake, mountains or, in the case of the Serpentine, a cave. Is

he telling simple stories? “The reason we have a clear narrative is

that you become a lot more powerful when you know why you are

doing what you are doing.”

Ingels next wants to tackle what he calls social infrastructure. Notkindergartens or schools but civil engineering projects: “You could

tap into miles of waterfront, power plants and highway overpasses

so that they become ‘good citizens’ rather than grey zones on a city

map.”

First up is the Dry Line in New York, which will remodel several

miles of Manhattan’s East River frontage, combining storm

resilience with linear public spaces.


But will BIG, after the sparks have wheeled and flown, fall fast like a

rocket spent? Certainly there are criticisms. While the trio of

buildings in Ørestad are intriguing, they are not really good citizens

so much as exotic species of animal lined up in a zoo — individualist

statements rather than the civic-minded component parts of a city.

In a time when the avant-garde of architecture is interested in the

urban condition, in subtlety and learning from history in order to

create something contemporary, BIG’s projects such as Google’s

California campus beneath its glassy dome can appear a dated vision of the future — less Ex Machina and more Logan’s Run. Yet

there is a canny intelligence at work here. Are the shadows on the

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More about: | Serpentine Pavillion

wall of his Serpentine Pavilion a reference to Plato’s famous

allegory of prisoners held in a fire-lit cave unable to judge reality?

“Exactly!”

Ingels also wants to make climate-responsive architecture popular

— what he calls “hedonistic sustainability”. Hence the ski slope

above a waste-burning plant in Copenhagen and, at Battersea

Power Station, his hope that BIG’s Malaysia Square will contain

paving that generates electricity which will power Tesla coils that will crackle up and down Battersea’s chimneys like Big Ben

chiming the hour.

It is his second sparky project for London. Others, he says, are in

discussion. Google King’s Cross? “I can’t say more.” On this,

architecture’s champion talker is unusually quiet.

The pavilion and summer houses are at the Serpentine Gallery, W2

(020 7402 6075, serpentinegalleries.org ) from June 10 until Oct 9

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