The proposal includes upgrades to the planned light rail by extending it to form a regional ring around Oresund connecting similar development areas, and creating a new year development perspective for a cross border region between Sweden and Denmark. Where the Finger Plan from was about connectivity from suburb to center the Loop City is linking a string of highly differentiated urban nodes, universities and working spaces in a center-less metropolitan region around a blue void.

BIG proposed leaning the facades of the building outwards until the inclination reaches the average angle of the sun, the facades dodge the sun rays and rest in the shade of the building itself. Due to the relatively high average position of the sun on the sky the total sun exposure can be reduced dramatically at relatively small inclinations. The resulting building volume is a sort of inverted pyramid with the apex buried deep in the desert sand.

The museum is comprised of a series of generic gallery spaces where, due to the curved form of the glass windows, the variety of daylight entering the museum creates three distinctive galleries. Stacked vertical, dark galleries with artificial lighting are found to the south, and a large horizontal, naturally-lit gallery with panoramic views is located on the north side. In between these spaces is the sculptural gesture, creating a twisted sliver of roof light.

From the street level, a series of walls are pulled open for visitors to enter the commercial spaces from the north and south end of the buildings, while professionals enter from the front plaza into the daylight-filled lobby. Once inside, the linearity of the building façade continues horizontally: the pixel landscape of the stone planter boxes is in the same dimensions and pattern as the ripples of the building envelope.

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.