[A] decade ago I got invited to make a proposal for a building on the waterfront of , and we took that as an opportunity to move to New York, and ope… - Bjarke Ingels

Almost the opposite, if a bridge can turn into an art museum upside-down the opposite could also be true. A project we did in the same space of time... is a project for a small art museum and sculpture park in Norway... [W]e could... place the sculptures on either side of the river. There's an old historical mill, and we could place the museum anywhere we wanted... [O]ur proposal was to turn it into the bridge that turns the entire complex of parks on either side into one single loop. The museum has two galleries. One [is] daylit galleries with views over the water and one... more vertical... enclosed gallery. The transition from one to the other becomes this... distortion, a 90° rotation... [W]e had this idea that the museum could be seen as one of the biggest sculptures in the sculpture park. ...[O]nce we started getting more intimate with how to make it span its 250 ft... column-free span... The cross sections are incredibly rational, like a series of rotated rectangles... The raw structure had... this... aesthetic that wasn't... what we were looking for. It looked more... muscular than the... effortlessness that we had fantasized... So we tried to imagine how could we finish the building... [T]he idea became... taking a lot of... standard elements, standard aluminum profiles on the outside, standard wooden sticks on the inside, and... shift them... slightly so it's... traditional, conventional... structure. In the joinery of the wood we... resolve all of the... technical installations. ...[L]ike very classic ...Norwegian wood carpentry ...creating this ...precise, complex geometry... a hyperbolic paraboloid. As the floor turns into the wall it reveals a gap that... becomes the ventilation, the sprinklings, the light installations, the security. Everything that makes it a contemporary art museum is also integrated in this... rectilinear logic. So even though you see curves and arches everywhere, every... element... is completely straight. ...Somehow ...trying to hack the ...conventional, traditional building techniques ...to create something ...extraordinary, out of the ordinary... [T]he skylight zips and turns the more vertical part of the building into ...completely introverted ...[O]n the outside this... extruded aluminum facade that you put on... warehouses, so... the most conventional, traditional... barn... put together in a way that it describes this... acrobatic geometry. ...[T]he irony is that we spent the same amount of time on this building as we did on the power plant, and it ...shows how undiscriminating you are as an architect with... your time... trying to make a building, a small art gallery over a river, or trying to turn a power plant into a ski slope. ...[F]rom the other side it has this ...even more abstract ...sculptural quality that ...makes it like one of the sculptures in the sculpture park. ...Another example of... this idea of social infrastructure that one thing can also be the other, that something cultural can also be infrastructural and vice virsa.

Architecture is never triggered by a single event... conceived by a single mind... shaped by a single hand.

Wind power: only 0.6% [of world energy production] and you have a very large untapped potential... Mostly the closer you get to the poles, the more wind power potential, especially offshore.