![Bjarke Bundgaard Ingels ( born 2 October 1974) is a Danish
architect, founder and creative partner of Bjarke Ingels Group
(BIG).
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.
In 2011, The Wall Street Journal named Ingels Innovator of the
Year for architecture,[1] and in 2016 Time named him one of the
100 Most Influential People.[2]
About architect His philosophy
He is known for being quite a presenter. With concepts like
Hedonistic Sustainability, Vertical Suburbia and Utopian
Pragmatism, the architectural pieces are related to contradictions
and paradoxes, presented in fascinating stories.
To Bjarke Ingels, conflicts of society are the main ingredients in the
analytical work of creating architecture. Instead of looking at the
conflicts of a given project as limitations, Ingels presents the
architect’s task as finding “a way to incorporate and integrate
differences, not through compromise or by choosing sides, but by
tying conflicting interests into a Gordian knot of new ideas.”
Ingels describes the role of architecture in changing society as
making it fit our wishes: “When something doesn’t fit anymore, we
architects have the ability – and responsibility – to make sure that
our cities do not force us to adapt to outdated leftovers from the
past, but actually fit to the way we want to live”.
It is quite a task to make the world fit to the way we want to live,
especially if we do not know how we want to live. To most people it
would be something about a loving partner, a good job and maybe
children, but do we know how we really want to live?](https://image.slidesharecdn.com/kistefos2-210830220255/85/art-gallery-case-study-6-320.jpg)
art gallery case study
- 1. / THE TWIST MUSEUM BY BJARKE INGELS GROUP
- 2. The Twist, Kistefos Museum, Norway Spanning across the Randselva River BIG’s first project in Norway, The Twist, opens as an inhabitable bridge torqued at its center, forming a new journey and art piece within the Kistefos Sculpture Park in Jevnaker, Norway. Kistefos’ new 1,000m2 contemporary art institution doubles as infrastructure to connect two forested riverbanks, completing the cultural route through northern Europe’s largest sculpture park.
- 3. PROJECT DETAILS PROJECT NAME Kistefos Museum LOCATION Jevnaker, Norway ARCHITECT Bjarke Ingels Group (BIG) CLIENT/OWNER Kistefos Museum PROJECT TYPES Cultural PROJECT SCOPE New Construction SIZE 15,069 sq. feet SHARED BY Selin Ashaboglu TEAM Partners in Charge: Bjarke Ingels, David Zahle Project Leader: Brian Yang Team members: Alina Tamosiunaite, Christian Dahl, Ryohei Koike, Balaj Alin Iulian, Marcelina Kolasinska, David Tao, Jan Magasanik, Tiina Juuti, Kamilla Heskje, Eva Seo Andersen, Finn Nørkjær, Andreas Klok Pedersen the twist is a hybrid spanning several traditional categories: it’s a museum, it’s a bridge, it’s an inhabitable sculpture,’ explains bjarke ingels.
- 4. In 2014, the museum organized an international competition for the design of a new building, intending to expand its program of events and activities, and extend its opening times. The winning entry by BIG – Bjarke Ingels Group proposed a bridge-like building, spanning the Ranselva river, which twisted shape somehow recalls that of their unbuilt design for the ArtA museum in the Netherlands. The 1,400 square-meter (15,000 square-foot) building, along with accommodating exhibition galleries and service spaces, connects the two parts of the Kistefos sculpture park, which are currently linked only by a small wood bridge, and transforms the dead-end path across the open-air sculpture exhibition into a circular, continuous loop.
- 5. SCHEMATIC SITE LAYOUT OF KISTEFOS SCULPTURE PARK WITH THE TWIST
- 6. Bjarke Bundgaard Ingels ( born 2 October 1974) is a Danish architect, founder and creative partner of Bjarke Ingels Group (BIG). 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. In 2011, The Wall Street Journal named Ingels Innovator of the Year for architecture,[1] and in 2016 Time named him one of the 100 Most Influential People.[2] About architect His philosophy He is known for being quite a presenter. With concepts like Hedonistic Sustainability, Vertical Suburbia and Utopian Pragmatism, the architectural pieces are related to contradictions and paradoxes, presented in fascinating stories. To Bjarke Ingels, conflicts of society are the main ingredients in the analytical work of creating architecture. Instead of looking at the conflicts of a given project as limitations, Ingels presents the architect’s task as finding “a way to incorporate and integrate differences, not through compromise or by choosing sides, but by tying conflicting interests into a Gordian knot of new ideas.” Ingels describes the role of architecture in changing society as making it fit our wishes: “When something doesn’t fit anymore, we architects have the ability – and responsibility – to make sure that our cities do not force us to adapt to outdated leftovers from the past, but actually fit to the way we want to live”. It is quite a task to make the world fit to the way we want to live, especially if we do not know how we want to live. To most people it would be something about a loving partner, a good job and maybe children, but do we know how we really want to live?
- 7. LOCATION AND CLIMATE LATITUDE – 10.36ºE LONGITUDE – 60.22ºN Samsmoveien 41 Jevnaker, Norway TYPE OF CLIMATE- Baltic Semi-Continental TYPE OF VEGETATION- Deciduos Forests Average High Per annum- 10ºC Average Low Per annum- 3ºC Average Rainfall Per annum- 763mm Average Snowfall Per annum- 1342mm Average Relative Humidity Per annum- 82% Average Wind Speed Per annum- 7.9km/h
- 9. SITE ACCESSABILITY NEAREST AIRPORT- Hønefoss Flyplass DISTANCE- 5.5km, 11 minutes by Car VIA route E16 NEAREST RALWAY STATION- Jevnaker Stasjon DISTANCE- 4.3km, 7 minutes by Car VIA Bergerfossvegen and E16 NEAREST BUS STOP- Jevnaker Skole DISTANCE- 2.5km, 5 minutes by Car VIA Bergerfossvegen
- 10. They used a simple form and twisted it to make it dynamic and added glazing of anodized aluminium panels which makes it glimmer in sunlight and the twisted part enhances the effect. They also planned the spaces with no compromises with functionality. THE CONCEPT
- 14. CIRCULATION
- 16. CONSTRUCTION During the design process, state-of-the-art software has been used for the collaboration between theArchitect, the engineers and the contractors (Rhinoceros, Grasshopper and Tekla Structures). TheEngineering part has included software for seismic analysis, vibrational analysis, and effects ofcomposite floor structures (Robot Structural Analysis), plus software for designing steel connections(IDEA Statica). Ramboll used the visual programming programme Grasshopper to transform the architectural model into an engineering Tekla model. Tekla is a multiple dimensional BIM programme which among other things can prepare work drawings and compatible with Grasshopper and the calculation program Robot used for bridge calculation; Robot is used for both static and dynamic analyses. There were major challenges with every step of the design and mounting of the building. The calculations posed an issue when the twist resulted in a low construction stiffness. Problems with the strength of the material occurred as the forces in individual construction elements were much larger than expected, and the large concentrated forces in some construction elements resulted in challenges with the connections which were limited to a tight space due to build ups of internal and external cladding.
- 17. The assembly of the bridge was also a challenging task as it was necessary to build an interim bridge to support the museum bridge during construction. The establishment of the interim bridge itself was a great endeavour, both in terms of calculation and assembly; however, compared to the other mounting methods investigated, this was the most secure in terms of obtaining a working platform to mount the steel structure itself as well as aluminium- and glass-facades while still maintaining the desired geometry of the structure. For the twisted part of the structure, it was also a big challenge to ensure the geometry of the bridge is correct at the construction site when it came to marking the individual pieces, as nothing was right-angled plus there were no angular repetitions and no fixed points on the bridge. It is quite certain that without the use of 3D modelling and scanning it would not have been possible to design and mount a bridge with such complex geometry. To get the bridge covered both inside and outside, it was necessary to design a large part of secondary steel as standard ceiling, wall, and floor build ups could not be applied. The architectural model was again the basis for all the secondary steel beams to be designed and drawn. Time used on the secondary steel project was approximately an impressive 20% of the total design time.
- 18. MATERIALS USED STEEL rather than columns. Large circular hollow sections, fabricated from flat plates cold bent and welded along its seam, form the chord and diagonal elements of the spatial steel truss. These elements are engineered to suit the considerable torsion induced by the twisting geometry WOOD 8cm wide slits of fir painted in white go well with the minimalistic design and are easy to work with the twisted geometry in the interior GLASS In the naturally lit northern part of the bridge there are glass walls which consists of smart glass. The architect approached Siller with the wish to create a fan shapped all glass staircase which has a span of 13m width and has on the up- and down side a contious glass surface. ANODISED ALUMINIUM The double-curved geometry of the museum is comprised of straight 40cm wide and 2mm thick brushed, anodised aluminum panels arranged like a stack of books, shifted ever so slightly in a fanning motion.
- 19. LIGHTING three exhibition areas on around 1,000 square metres: a room completely glazed on one side with a panoramic view into the landscape, a narrow, nine metre high room completely devoid of daylight, and the actual "Twist" that connects the two areas. In this twisted central section, wall is transformed into floor or ceiling plane and vice versa, and the wide fenestrated strip from the North Gallery is continued here as a narrowly tapering skylight. Bjarke Ingels Group who created this magnificent work of art clearly specified they wanted particularly well-lit exhibition rooms and a highly uniform lighting effect. In order to achieve this, all light levels have been carefully fitted to the natural light levels inside the building with supplementary spotlights directed towards the paintings and sculptures. No unnecessary or decorative light sources have been installed, to minimize inconvenience and distractions in the minimalistic space. For any lighting task, it is crucial that the optics used are the ones best suited for the purpose to avoid over-illumination or glare, which will jeopardize the overall experience of a space – a task which this project perfectly demonstrates. all luminaires are high quality LED fixtures with low energy consumption. Overall, the lighting design at The Twist places architecture, art and the users at the centre of attention. The lighting concept for The Twist is entitled “The Art, The spectator, The space”. In order to create such a well-lit exhibition space, Light Bureau made use of a 4000K neutral white light colour. The wall washers ensure a lighting effect that is as uniform as possible and at the same time enhance the architecture. While the carefully aligned spotlights bring out the very best in the textures, shapes and colours of the exhibition. From an aesthetic point of view, the minimalist design of the luminaires with its simple cylindrical form adds a highly uniform, discrete appearance within the spectacular exhibition spaces.
- 20. AWARDS AND REVIEWS New York Times: 52 Places to go, number 21 Leading Culture Destination Awards 2020: Shortlist, Best Architecture Designboom: Winner of TOP 10 museums and cultural venues of 2019 Wallpaper*: Design Awards 2020: Best New Public Building, Shortlist Archdaily: Best Architectural Projects of 2019, Shortlist J.P.Morgans #Nextlist 2020 Architectural Photography Awards 2019: Overall winner Leading Culture Destinations Award for Best Architecture 2020. Dezeen: Number two at Top 10 museums and galleries of 2019 Domus: Number three at Top 10 architecture projects of 2019 Architectural Digest: 7 musées à l’architecture spectaculaire qui ont marqué 2019 Architizer Popular Choice awards: Winner of Architecture + Engineering Detail Prize 2020: Nominated for the Detail Reader´s Prize International Lighting Design Awards: Award of Excellence for lightning design in The Twist Årets bygg 2019: Shortlist 2022 European Union Prize for Contemporary Architecture – Mies van der Rohe Award, Shortlist
- 21. OUR POV The twist was designed as a need to complete the circulation loop of The Kistefos Sculpture Park; To create a bridge through the Randselva River . But the architects createda marvel (The Twist), which acted as a bridge and an art gallery, they designed the bridge as a sculpture to match the context of the park The Twist doesn't have any torsion in its material they have just brought various frames together at different angles which gives us a twisted form The banks of the Randselva river are at two different levels and the twisted form of the Kistefos Museum connects both the banks smartly The choice of material in the exterior and interior give a glazing effect which makes it more contextual as an sculpture. There is a lot of effort putted in the research for structural design, which was the toughest part. They did a lot of thinking in the lighting which plays an important role in the whole exhibition areas, there is a psychological approach in the interior which is shown by the use of glass and minimal luminaries
- 22. PROJECT BY- SPANDAN BORSE _A-03 AND AMAN KHAN_A-18