Yes Is More: An Archicomic on Architectural Evolution
By Bjarke Ingels
A manifesto of architecture as seen by the Copenhagen-based group BIG, told in comic book form.
Yes is More is the easily accessible but unremittingly radical manifesto of Copenhagen-based architectural practice Bjarke Ingels Group, or BIG. Unlike a typical architectural monograph, this book uses the comic book format to express its radical agenda for contemporary architecture. It is also the first comprehensive documentation of BIG’s trailblazing practice—where method, process, instruments and concepts are constantly questioned and redefined. Or, as the group itself says: "Historically, architecture has been dominated by two opposing extremes: an avant-garde full of crazy ideas, originating from philosophy or mysticism; and the well organized corporate consultants that build predictable and boring boxes of high standard. Architecture seems entrenched: naively utopian or petrifyingly pragmatic. We believe there is a third way between these diametric opposites: a pragmatic utopian architecture that creates socially, economically and environmentally perfect places as a practical objective. At BIG we are devoted to investing in the overlap between radical and reality. In all our actions we try to move the focus from the little details to the BIG picture." Bjarke Ingels attracts highly talented co-workers, but also gifted and ambitious clients from all over the world. He then creates intelligent synergies from wild energies and unforeseen dynamics, and transforms them into surprising, functional, valuable and beautiful solutions to the specific and complex challenges in each task. BIG projects have won awards from the Royal Academy of Fine Arts, and the Special Jury Prize at the Venice Architecture Biennale, as well as many other international prizes. Yes is More is a play on words that represents the company’s ethos and sums up its irreverent attitude towards excessive formalism, and its determination to involved the population at large in its creations. As an extension of its methods and results, its debut monograph uses the most approachable and populist means of communication available—the cartoon.