architectural form to reflect its Danish title. Due to conservation reasons, the museum was built back behind low sand dunes and between a lagoon. 1996-1999 Prior to the museum's inauguration, there were several years of significant social, cultural and political changes within Denmark, in the late 20th Century. In the 1960s, the municipalities south of Copenhagen showcased a rapid growth in residents, particularly immigrants of Kurdish, Turkish and Pakistani nationalities. A trend that further strengthened the area's multicultural development was the migration of inner-city residents to the districts south of Copenhagen. This gave rise to an influx of multicultural regions in Denmark, in turn, fusing local and international art. The chairman of the museum was Svend Jakobsen between 1997 and 2007. 21st Century Arken, as a cultural institution in transition, undertook two major renovation and expansion designed by original architect Søren Robert Lund alongside C.F. Møller Architects. The museum encompassed permanent collections and donations of works from 2005-2008 by Damien Hirst, Marc Quinn, Mona Hatoum, Jeppe Hein, Jeff Koons and Elmgreen & Dragset ARKEN also published the Arken Bulletin which is a place of discussion amongst international academia on artistic theory and museology. Each year ARKEN awards the 'ARKENs kunstpris' prize of 100,000 Danish kroner to a contemporary artist. Architecture The museum is designed and built as a deconstructive, nautically- inspired architectural form. In a cultural institution, this style of architecture has come under public notice through Museum of Modern Art's 1988 Deconstructivist Architecture exhibition in New York, featuring notable works of Daniel Libeskind, Frank Gehry, and Zaha Hadid. Deconstructivist architecture has been invigorated publicly by Jacques Derrida, Peter Eisenman and Bernard Tschumi. This wave of deconstruction in architectural form became prominent in Europe in the 1980s, a style Søren Robert Lundin used to design Arken. The museum reflects this movement and extension from the rational approach of modernism. Architectural deconstructivism requires an existence of an archetypal construction, a strong dialect of conventional presence to experiment flexibility against. Arken museum is conceived as a shipwreck architectural form, embodying spatial envelopes, altered geometric massing's and subversion, showcasing an effective act of deconstruction. Deconstructivist architecture, with its inclination towards deformation and dislocation, bears angular forms and abstract geometries, as defined in Arken's exterior and interior space. The museum displays deconstructivism by "breaking down the epitomised idea of a building, exposing its inside to its outside, reconstructing a variety of spaces, and forcing