Architecture evolves from the collision of political, financial, functional, logistic, cultural, structural, environmental, social and many yet unnamed and unforeseeable interests. Bruce Mau once visited BIG&#;s office and saw a  series of projects including a study on Danish harbor activities. He was fascinated by the study and asked us to mail him the slides as he was leaving the next day. When he received it, he replied: &#;No, no. I want the one you explained when we were there.&#; We assured him it was the same one. He said &#;It&#;s interesting. In most cases when you see architects work, its&#;s dead drawings and superficial images. But when you get a tour of the office or visit a building with the architect, you feel the energy and get all these little punch lines and invisible stories that make the whole work come to life! Too bad it&#;s so hard to capture in an exhibition, or even worse in a book!&#;

In the direction of the bridge, the building consists of a procession of parallel concrete frames that change scale, from generous to intimate, then generous again to open on EuropaCity. Viewed from the front, the building is opaque, enigmatic, but the graceful curves come to envelop the visitors in this poetic procession. When visitors cross the first frames, they discover a building of great transparency, an inviting and open space whose vibrant activity draws them inward.

As a projection of a geometrically perfect circle on to the steep slope, the new gallery is conceived as a courtyard building that combines a pure geometrical layout with a sensitive adaption to the landscape. The three‐dimensional imprint of the landscape creates a protective ring around the museum’s focal point, the sculpture garden where visitors, personnel, exhibition merge with culture and nature, inside and outside.

Structurally, the pavilion was a giant self-supporting tubular steel truss, similar to the hull of a steel ship. The external façade structure was the buildings most efficient element. The perforation holes let in daylight and created natural ventilation. It was the only pavilion out of + that did not use mechanical cooling. Due to the structural performance of the truss, the degree of perforation varied with the structural stress along the façade.

To enhance the passenger experience, the spaces within the new terminal use daylight as a natural wayfinding system. A linear skylight – created by the unfolding roof of the pier – widens toward the central hub and opens up into the atrium where all departing, arriving, and transferring passengers meet. By placing the control tower in its center, the tower is experienced from the inside as a beacon that creates a sense of place, akin to a town square rather than an airport.