The Twist Museum in Norway, designed by Bjarke Ingels Group, is an inhabitable bridge that spans a river and connects two forested riverbanks. It twists at its center, forming a new pathway and work of art within the largest sculpture park in northern Europe. Measuring 15,069 square feet, the museum doubles as infrastructure while completing the cultural route through the park. The simple twisted form is made dynamic through glazing and enhances the effect of glimmering in sunlight. Functional spaces are achieved without compromises through the twisted design.

1. / THE
TWIST
MUSEUM
BY BJARKE INGELS GROUP

2. The Twist, Kistefos Museum, Norway
Spanning across the Randselva River BIG’s first project in Norway, The Twist,
opens as an inhabitable bridge torqued at its center, forming a new journey and
art piece within the Kistefos Sculpture Park in Jevnaker, Norway. Kistefos’ new
1,000m2 contemporary art institution doubles as infrastructure to connect two
forested riverbanks, completing the cultural route through northern Europe’s
largest sculpture park.

3. PROJECT DETAILS
PROJECT NAME
Kistefos Museum
LOCATION
Jevnaker, Norway
ARCHITECT
Bjarke Ingels Group (BIG)
CLIENT/OWNER
Kistefos Museum
PROJECT TYPES
Cultural
PROJECT SCOPE
New Construction
SIZE
15,069 sq. feet
SHARED BY
Selin Ashaboglu
TEAM
Partners in Charge: Bjarke Ingels, David Zahle
Project Leader: Brian Yang
Team members: Alina Tamosiunaite, Christian Dahl, Ryohei Koike, Balaj Alin Iulian, Marcelina Kolasinska,
David Tao, Jan Magasanik, Tiina Juuti, Kamilla Heskje, Eva Seo Andersen, Finn Nørkjær, Andreas Klok
Pedersen
the twist is a hybrid spanning several traditional categories: it’s a museum, it’s a bridge, it’s an inhabitable
sculpture,’ explains bjarke ingels.

4. In 2014, the museum organized an international
competition for the design of a new building, intending to
expand its program of events and activities, and extend its
opening times.
The winning entry by BIG – Bjarke Ingels Group proposed
a bridge-like building, spanning the Ranselva river, which
twisted shape somehow recalls that of their unbuilt design
for the ArtA museum in the Netherlands.
The 1,400 square-meter (15,000 square-foot) building,
along with accommodating exhibition galleries and
service spaces, connects the two parts of the Kistefos
sculpture park, which are currently linked only by a
small wood bridge, and transforms the dead-end path
across the open-air sculpture exhibition into a circular,
continuous loop.

5. SCHEMATIC SITE
LAYOUT OF
KISTEFOS
SCULPTURE PARK
WITH
THE TWIST

6. Bjarke Bundgaard Ingels ( born 2 October 1974) is a Danish
architect, founder and creative partner of Bjarke Ingels Group
(BIG).
In Denmark, Ingels became well known after designing two
housing complexes in Ørestad: VM Houses and Mountain
Dwellings. In 2006 he founded Bjarke Ingels Group, which grew to
a staff of 400 by 2015, with noted projects including the 8 House
housing complex, VIA 57 West in Manhattan, the Google North
Bayshore headquarters (co-designed with Thomas Heatherwick),
the Superkilen park, and the Amager Resource Center (ARC)
waste-to-energy plant – the latter which incorporates both a ski
slope and climbing wall on the building exterior.
Since 2009, Ingels has won numerous architectural competitions.
He moved to New York City in 2012, where in addition to the VIA
57 West, BIG won a design contest after Hurricane Sandy for
improving Manhattan's flood resistance.
In 2011, The Wall Street Journal named Ingels Innovator of the
Year for architecture,[1] and in 2016 Time named him one of the
100 Most Influential People.[2]
About architect His philosophy
He is known for being quite a presenter. With concepts like
Hedonistic Sustainability, Vertical Suburbia and Utopian
Pragmatism, the architectural pieces are related to contradictions
and paradoxes, presented in fascinating stories.
To Bjarke Ingels, conflicts of society are the main ingredients in the
analytical work of creating architecture. Instead of looking at the
conflicts of a given project as limitations, Ingels presents the
architect’s task as finding “a way to incorporate and integrate
differences, not through compromise or by choosing sides, but by
tying conflicting interests into a Gordian knot of new ideas.”
Ingels describes the role of architecture in changing society as
making it fit our wishes: “When something doesn’t fit anymore, we
architects have the ability – and responsibility – to make sure that
our cities do not force us to adapt to outdated leftovers from the
past, but actually fit to the way we want to live”.
It is quite a task to make the world fit to the way we want to live,
especially if we do not know how we want to live. To most people it
would be something about a loving partner, a good job and maybe
children, but do we know how we really want to live?

7. LOCATION
AND CLIMATE
LATITUDE – 10.36ºE
LONGITUDE – 60.22ºN
Samsmoveien 41
Jevnaker, Norway
TYPE OF CLIMATE- Baltic Semi-Continental TYPE OF VEGETATION- Deciduos Forests
Average High Per annum- 10ºC
Average Low Per annum- 3ºC
Average Rainfall Per annum- 763mm
Average Snowfall Per annum- 1342mm
Average Relative Humidity Per annum- 82%
Average Wind Speed Per annum- 7.9km/h

8. THE COMPLETE SITE

9. SITE
ACCESSABILITY
NEAREST AIRPORT- Hønefoss Flyplass
DISTANCE- 5.5km, 11 minutes by Car VIA route E16
NEAREST RALWAY STATION- Jevnaker Stasjon
DISTANCE- 4.3km, 7 minutes by Car VIA Bergerfossvegen
and E16
NEAREST BUS STOP- Jevnaker Skole
DISTANCE- 2.5km, 5 minutes by Car VIA Bergerfossvegen

10. They used a simple form and twisted it to make
it dynamic and added glazing of anodized
aluminium panels which makes it glimmer in
sunlight and the twisted part enhances the
effect. They also planned the spaces with no
compromises with functionality.
THE
CONCEPT

11. PLANS AND SECTIONS

14. CIRCULATION

16. CONSTRUCTION
During the design process, state-of-the-art software has been used for the collaboration
between theArchitect, the engineers and the contractors (Rhinoceros, Grasshopper and
Tekla Structures). TheEngineering part has included software for seismic analysis,
vibrational analysis, and effects ofcomposite floor structures (Robot Structural Analysis),
plus software for designing steel connections(IDEA Statica).
Ramboll used the visual programming
programme Grasshopper to transform the
architectural model into an engineering Tekla
model. Tekla is a multiple dimensional BIM
programme which among other things can
prepare work drawings and compatible with
Grasshopper and the calculation program Robot
used for bridge calculation; Robot is used for
both static and dynamic analyses.
There were major challenges with every step of the design and mounting of the building. The calculations
posed an issue when the twist resulted in a low construction stiffness. Problems with the strength of the
material occurred as the forces in individual construction elements were much larger than expected, and
the large concentrated forces in some construction elements resulted in challenges with the connections
which were limited to a tight space due to build ups of internal and external cladding.

17. The assembly of the bridge was also a challenging task as it was
necessary to build an interim bridge to support the museum
bridge during construction. The establishment of the interim
bridge itself was a great endeavour, both in terms of calculation
and assembly; however, compared to the other mounting methods
investigated, this was the most secure in terms of obtaining a
working platform to mount the steel structure itself as well as
aluminium- and glass-facades while still maintaining the desired
geometry of the structure.
For the twisted part of the structure, it was also a big challenge to
ensure the geometry of the bridge is correct at the construction
site when it came to marking the individual pieces, as nothing was
right-angled plus there were no angular repetitions and no fixed
points on the bridge. It is quite certain that without the use of 3D
modelling and scanning it would not have been possible to design
and mount a bridge with such complex geometry. To get the
bridge covered both inside and outside, it was necessary to design
a large part of secondary steel as standard ceiling, wall, and floor
build ups could not be applied. The architectural model was again
the basis for all the secondary steel beams to be designed and
drawn. Time used on the secondary steel project was
approximately an impressive 20% of the total design time.

18. MATERIALS USED
STEEL
rather than columns. Large circular hollow sections, fabricated from flat
plates cold bent and welded along its seam, form the chord and diagonal
elements of the spatial steel truss. These elements are engineered to suit
the considerable torsion induced by the twisting geometry
WOOD
8cm wide slits of fir painted in white go well with the minimalistic design and
are easy to work with the twisted geometry in the interior
GLASS
In the naturally lit northern part of the bridge there are glass walls which
consists of smart glass. The architect approached Siller with the wish to
create a fan shapped all glass staircase which has a span of 13m width and
has on the up- and down side a contious glass surface.
ANODISED ALUMINIUM
The double-curved geometry of the museum is comprised of straight 40cm
wide and 2mm thick brushed, anodised aluminum panels arranged like a
stack of books, shifted ever so slightly in a fanning motion.

19. LIGHTING
three exhibition areas on around 1,000 square metres: a room completely glazed on one side with
a panoramic view into the landscape, a narrow, nine metre high room completely devoid of
daylight, and the actual "Twist" that connects the two areas. In this twisted central section, wall is
transformed into floor or ceiling plane and vice versa, and the wide fenestrated strip from the North
Gallery is continued here as a narrowly tapering skylight.
Bjarke Ingels Group who created this magnificent work of art clearly specified they wanted particularly well-lit exhibition rooms and a
highly uniform lighting effect. In order to achieve this, all light levels have been carefully fitted to the natural light levels inside the
building with supplementary spotlights directed towards the paintings and sculptures. No unnecessary or decorative light sources have
been installed, to minimize inconvenience and distractions in the minimalistic space. For any lighting task, it is crucial that the optics
used are the ones best suited for the purpose to avoid over-illumination or glare, which will jeopardize the overall experience of a
space – a task which this project perfectly demonstrates. all luminaires are high quality LED fixtures with low energy consumption.
Overall, the lighting design at The Twist places architecture, art and the users at the centre of attention.
The lighting concept for The Twist is entitled “The Art, The
spectator, The space”.
In order to create such a well-lit exhibition space, Light Bureau made use of a 4000K
neutral white light colour. The wall washers ensure a lighting effect that is as uniform
as possible and at the same time enhance the architecture. While the carefully aligned
spotlights bring out the very best in the textures, shapes and colours of the exhibition.
From an aesthetic point of view, the minimalist design of the luminaires with its simple
cylindrical form adds a highly uniform, discrete appearance within the spectacular
exhibition spaces.

20. AWARDS AND
REVIEWS
New York Times: 52 Places to go, number 21
Leading Culture Destination Awards 2020: Shortlist,
Best Architecture
Designboom: Winner of TOP 10 museums and cultural
venues of 2019
Wallpaper*: Design Awards 2020: Best New Public
Building, Shortlist
Archdaily: Best Architectural Projects of 2019, Shortlist
J.P.Morgans #Nextlist 2020
Architectural Photography Awards 2019: Overall
winner
Leading Culture Destinations Award for Best Architecture 2020.
Dezeen: Number two at Top 10 museums and galleries of
2019
Domus: Number three at Top 10 architecture projects of
2019
Architectural Digest: 7 musées à l’architecture
spectaculaire qui ont marqué 2019
Architizer Popular Choice awards: Winner of Architecture
+ Engineering
Detail Prize 2020: Nominated for the Detail Reader´s Prize
International Lighting Design Awards: Award of
Excellence for lightning design in The Twist
Årets bygg 2019: Shortlist
2022 European Union Prize for Contemporary
Architecture – Mies van der Rohe Award, Shortlist

21. OUR
POV
The twist was designed as a need to complete the circulation loop of The Kistefos
Sculpture Park; To create a bridge through the Randselva River . But the architects
createda marvel (The Twist), which acted as a bridge and an art gallery, they
designed the bridge as a sculpture to match the context of the park
The Twist doesn't have any torsion in its material they have just brought various
frames together at different angles which gives us a twisted form
The banks of the Randselva river are at two different levels and the twisted form of
the Kistefos Museum connects both the banks smartly
The choice of material in the exterior and interior give a glazing effect which
makes it more contextual as an sculpture.
There is a lot of effort putted in the research for structural design, which was the
toughest part. They did a lot of thinking in the lighting which plays an important
role in the whole exhibition areas, there is a psychological approach in the interior
which is shown by the use of glass and minimal luminaries

22.  PROJECT BY-
 SPANDAN BORSE _A-03 AND AMAN KHAN_A-18