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Ingels's first book, Yes Is More: An Archicomic on Architectural Evolution, catalogued 30 projects from his practice. Designed in the form of a comic book, which he believed was the best way to tell stories about architecture, he later said that the medium contributed to the perception that some of his projects are cartoonish.

Bjarke Ingels, founding partner of Bjarke Ingels Group. Ingels has built a fawning global audience, one that reaches far beyond the ivory tower of architecture. Both his splashy clients and the public—not to mention the media—have become entranced by his straight-to-the-point communication style, his good-naturedness and charisma, and his highly imaginative (and decidedly unfussy) approach to architecture. His ability to clearly explain his dreams has drawn in some of the wealthiest, most powerful people and companies on the planet to help him turn them into reality. And though his ideas may indeed be big and difficult to build, he has the tenaciousness, suaveness, and drive to see them through to the finish line. All of which helps illustrate his adroit skills in an area too often ignored by architects: seductive storytelling. The ARC waste-to-energy plant in Copenhagen, scheduled to be completed this fall.

(Photo: Soren Aagaard) “If there were a movie star within architecture,” the Danish designer Johannes Torpe says, “it would be Bjarke.” Torpe, who is a close friend of Ingels, goes on to describe him as a mix between the Puerto Rican singer Ricky Martin and the American actor and musician Jack Black. “Number one,” he says, “he looks like a movie star. Number two, he acts like one—he’s extremely quick to understand what’s going on around him. And three, he’s also incredibly entertaining.” It’s early March, and Torpe and I had just had lunch at Noma, where we ate things like trout roe with lightly cured egg yolks and pumpkin-seed oil, all arranged into a starfish shape, while looking out at a frozen pond and, beyond it, the near-finished, smoke-billowing ARC power station. BIG seems to be omnipresent here, even though Ingels has completed only six projects in the city—four of them while running the firm PLOT with the architect Julien De Smedt.

Scheduled to open this fall, ARC (or “Copenhill,” as the locals call it) is no ordinary facility: A tree-filled ski slope and hiking area, to be open year-round, will zag down its facade; one side of the building will feature a 278-foot-high artificial climbing wall. The design concept, as if pulled out of a sci-fi fantasy film, is the kind of thing that pretty much only Ingels could conceive of, and in turn convince a client to pay for. It’s also practically the opposite of Noma, a village-like cluster of single-story buildings, eight of them connected under a glass canopy—the result a sort of shrunken-down Danish version of Renzo Piano’s Morgan Library atrium in New York. While contemporary in materials and approach, Noma is quiet and intimate, and references traditional local architecture inside and out; ARC is something else entirely, and unlike any other structure on the planet. Torpe goes on to stress that perhaps the key attribute to Ingels’s success—beyond his good looks, charming personality, and design know-how—is his forward-thinking fearlessness. “Every fifteen years or so,” he says, “a country will get one great artist who will elevate it for decades, or maybe the next century. And Bjarke is one of those.

He has taken a fearless approach to whatever he’s doing, and just done it, despite criticism about what’s right and wrong. [But] he doesn’t really care about that, because he only cares about his vision. And his vision is to make something that’s greater than the sum of its parts. This approach takes a lot of balls— brass balls,” Torpe says, referencing the famous Alec Baldwin monologue in the 1992 film Glengarry Glen Ross. “That’s Bjarke. Ferroli domina c24 e service manual.