Bjarke Ingels, the Danish architect who works in
Copenhagen and New York and is on the way to becoming
the next icon of contemporary architecture, illustrates the
stages in his life as an avid reader. He has not chosen seven
books, but seven small batches of titles, almost all headed by
a standard-bearer. His eclectic literary interests sweeps from
science fiction to contemporary philosophy, in a constant
search for metaphors, ideas and concepts that may boost his
progress. He prefers evolution to revolution, and the skillful
use of set genres to the tabula rasa of tragic and radical formal
changes. His experience as a creator of spaces and volumes
is precisely reflected in this approach: cinema and the visual
imaginary of comic strips play a key role in a parade of names
and titles which, like his architecture, might be defined as
adaptable and muscular. —GR
1. Frank Miller, Batman: The Dark Knight Returns
2. William Gibson, Neuromancer
3. Manuel De Landa, A Thousand Years of Nonlinear History
4. Friedrich Nietzsche, On the Genealogy of Morality
5. David Lynch, Twin Peaks: An Access Guide to the Town
6. Charlie Kaufmann, Adaptation. The Shooting Script
7. Charles Darwin, From So Simple a Beginning:
The Four Great Books of Charles Darwin
8. Umberto Eco, Foucault's Pendulum
9. Douglas Coupland, Generation X
I have been reading comics since I was eight or
nine years old, and I have always been a fan of the
great European comics draughtsmen of the '70s and
'80s: Paolo Serpieri, Tanino Liberatore, and of course
Manara. But also Moebius, and lots of others. I have
always devoured books of this kind. But the epochal
change for me was this masterpiece by Frank Miller, which, strangely, has never been translated into a
movie, though it clearly inspired Christopher Nolan's
second Batman. Graphically, it has the crudeness of a
Hugo Pratt, with stark contrasts in black and white,
and a certain overall roughness. In terms of narrative
structure, on the other hand, it has something
in common with The Watchmen: a non-linear
narration, in which diverse threads are pursued
simultaneously; and highly stratified, in which
different points of view and different realities are
interpolated. A multitude of information is offered
to the reader, and the story is very rich and profound.
I believe Miller is one of the most sophisticated
authors, one who continually experiments with new
ways of mixing images and words.
Unpacking my library: Bjarke Ingels
Unsurprisingly, the books that inspire founder of BIG are as unorthodox as his own career, spanning the gap between science fiction, comics and Nietzsche.
View Article details
- Gianluigi Ricuperati
- 16 December 2011
- New York
I was into my first year at high school, in 1990, when I came
across William Gibson. I had already owned a computer, a
Commodore 64, for a few years. The most exciting thing for me
was that it really was a universe familiar to me, very ordinary
and full of all the things that I was doing in my everyday
life, and at the same time completely abstract, launched into
the future. It was an authentic projection of the present into
the future. "If things proceed in this way, they will go as in
the book". Rereading it today, in 2011, I find that it has proved
truly prophetic. And to think that when he wrote it there was
no Internet, and that he didn't even write it on a computer,
but on a typewriter. I already owned a Commodore 64 when
he wrote—on a mechanical machine—the book that was to
prefigure today's digital life. And what sends me completely
out of my mind in the book, even now, is the accent placed on
the almost divine quality of artificial intelligence, the idea that
information can be everywhere and encompass everything. The
surprising side is that our everyday reality has become exactly
like that, information capable of arriving everywhere and into
everything.
It's like saying Gibson invented Matrix and invented
virtual reality. Philip K. Dick and Iain M. Banks were also very
important to me, and to this day I often read science fiction;
right now I'm reading one centred on environmental concerns,
in which human beings colonise another planet—the problems
of environmental conservation and ecology ring completely
differently when you're talking about an imaginary planet.
The basis of every work of science fiction is a structure in which
the plot is accelerated by a political, social or technological
idea, and the whole story becomes a fictional exploration of
that idea: the simple transformation of one parameter changes
everything else. To my mind the whole process of invention
and architectural fulfillment is connected with these kinds of
accelerated hypotheses.
I went to work at OMA in 1998, after university, just when the
Bordeaux villa was almost finished, and there was an exhibition,
Living Reading, in which Bruce Mau was deeply involved. I
instantly loved his books, and Mau had just designed the cover
of De Landa's new publication. It's the story of a thousand years
of ideas, but it too uses geological metaphors: stratification,
sedimentation, segmentation and crystallisation. It illustrates
the development of human history through the use of minerals
and stones and the way they are used. It is an extraordinary
reading experience that touches almost all the aspects of social
coexistence: how language creates space, for example, or how
the "liquid" of language produces a crystallised space—hence yet
another metaphor. I was literally uplifted by this point of view,
which mixed the idealistic and the material in a complex and
very exciting way.
Nietzsche has become my favourite philosopher, and this title is
an almost obvious classic. I never studied Nietzsche at university.
What makes On the Genealogy of Morality my favourite book of
his is this idea that sometimes, in order to act better, you need to
focus on the path that has brought you that far: what remains
a habit and what changes. It is a way of reading and learning
from accumulated experience. He sees the planet as a workshop
of enormous complexity and scale, and this has profoundly
influenced me. Nietzsche is no more of a nihilist than Marx was
a capitalist: he identified nihilism as Marx identified capitalism.
Nietzsche has passed on to me the excitement of the freedom to
create new values, which is entirely different to not possessing
values. The point is to create values as an active philosopher.
Architects use philosophy to seek images, topoi. Take Deleuze and
Guattari: many architects adore the rhizome because constructing
rhizomatic buildings requires very little effort or imagination.
As his generation’s anti-dogmatic thinker and charismatic communicator par excellence, Bjarke Ingels, the boyish founder of BIG, proved that even in architecture age is immaterial to success.
I am very fond of cinema. Making a film is the task most
similar to that of erecting a building that exists today. Both
are based on long and costly preventive research, and entail an
equally complex execution, which brings diverse disciplines into
play, and you never know if you really will succeed in completing
the work, bringing it into the world. Furthermore, both a movie
director and an architect must construct models of larger objects,
in order to persuade investors of the viability of their projects.
One of my favourite directors is David Lynch. In the early '90s
I saw Twin Peaks, which simply knocked me sideways—and
not only because Sherylin Fenn was the world's most beautiful
actress! Two years earlier I had seen Wild at Heart on television,
and later I saw all the other films again. What I love most about
Lynch is his capacity to insert absolutely heterodox elements
into set genres, such as the thriller, the mystery, the comedy, and
even the TV serial. I am a firm believer, in architecture too, in the
need for genres.
Altering genres, while abiding by their fundamental canons,
is exactly what this brilliant scriptwriter and director has done,
both in his directed and in his scripted full-length films. In
Adaptation, when all's said and done, it is as if he really wanted
only to make a film about flowers, even though the outcome for
the spectator is much more complex and stratified. Respect for
set forms is a value in design too. I am convinced that it is a
grave error, for those in my profession, to think they can afford
to toss amorphous objects into the world.
What I have learnt from reading Darwin is closely linked to
the subject of forms: mutations that are too radical are often
the beginning of the end, the cause of systems beginning to
die. Revolutions are dramatic, and even if I am fully aware
that sudden and tragic changes can in time relate to evolution,
I am broadly speaking in favour of the evolution/revolution
dichotomy. But, this said, I should add that Darwin is an
extremely painstaking writer, besides being an excellent
scientist. His books are unusually funny and riveting, and in
that sense they share something with the closing pair of titles
that I have chosen for our unpacking.
These are two wonderful, completely different books. Eco's
novel is structured in a very interesting and subtle way; full
of references that are not taken in immediately but only after
a while, and naturally it has to do with conspiracies, secret
societies and the obsession men have with knowledge. It is
as if the need to know something were more urgent than the
need to find out whether the known thing is true. And this
makes the book a disquieting apologue about human nature.
When I read Generation X I was 22, my literary myth was
William Gibson, and I was very struck and influenced by my
discovery that Gibson at the time was living in Vancouver, in
the same city as Coupland. The book is a big eye focused on
daily life, which manages to bring the reader's notice to tiny
and otherwise invisible details. At that time, at university, I
was reading only scholars and theorists of architecture, who
loathed the present. That's why I got so enthusiastic about
Coupland: he seemed to me so enchanted by the present.