For instance, when we were working on the Norwegian National Opera and Ballet, it was the guy writing librettos who more or less defined the movement of the public on their way to the opera house as part of a non-processional movement, which would on one hand be individually experienced and on the other hand collectively. When you design something like this, it is not about substituting the loss; it is rather a way of reacting to a possible future presence – for the public actually coming there, and going in, and looking at it.We also knew there would be a lot of different opinions as to what should be done and how it should be done.
In the very beginning, the building was intended as a cultural centre, housing two organisations: the Drawing Center, a New York arts institution, and the newly created International Freedom Center.
It was a very tight, very urban site, so in order to create exhibition floors with a certain volume, we had to expand quite creatively.
We needed to expand between two street façades and we needed a more open representation at street level – something more like a storefront.
My art O-level teacher at the secondary school I attended in England recommended I become an architect.
I was interested in drawing, in art and in the sequence of producing things, whatever they might be: models, painting, sculptures or scratchboards.
With a vertical museum structure, we needed to bring people in an easy yet recognisable way from one floor to the next.