NEW YORK—In these frugal times, when design seems to have rediscovered the appeal of arte povera, nothing seems less appropriate then outsize signature architecture. But Norway-based architects Snøhetta, while known for large-scale, high-profile cultural commissions, have always placed an emphasis on nature, landscape, social consciousness, and teamwork — a distinction that makes the firm's work particularly relevant today. A traveling exhibit focused on some of the architects' most prominent projects, both completed and not, is now on view at Scandinavia House in New York until April 24.

The exhibition — a capsule selection of eye-catching models, photographs, and renderings culled from a comprehensive show held at Norway’s National Museum of Art Architecture and Design last year — traces Snøhetta’s rise to prominence, beginning with their winning design for Egypt’s Alexandria Library (completed in 2001). Curated by the National Museum's Eva Madshus, the show also contains maquettes for upcoming projects in the United Arab Emirates, Saudi Arabia, and the United States that chart a creative streak across a range of demanding political, social, and cultural milieus. Though Snøhetta remains largely unknown outside the architectural community, Madshus believes projects like these — and the firm's recently completed Norwegian National Opera and Ballet in Oslo — will be closely watched.

In a move that seems appropriate for an age of social media and crowd–sourcing, the firm eschews the traditional top-down model of architectural practice for a more leveled, collaborative process – a give and take that is reflected in their work. “Strong works of architecture can be found in the development of consensus,” says Craig Dykers, director of Snøhetta’s New York office. “This does not avoid disagreement or even polarization but it does ensure inclusion.” Dykers believes that this approach is especially relevant when undertaking such potentially charged public works as design of the September 11th Memorial Museum, the firm’s most hot-button commission to date, which is here brought to life in a series of filigreed study models.

Other highlights include a gleaming scale model of the 485,000-square-foot King Abdulaziz Cultural Center for Saudi Arabia, which resembles a space age Stonehenge; a finely detailed model of Tubaloon, a sweeping pneumatic and tensile-wiring pavilion for the Konigsberg International Jazz Festival that resembles a giant cochlea; and a series of small mixed-media concept models, which open a window onto the firm’s all-hands-in design technique.

The exhibition also features photos and time-lapse video of office activity, featuring some 120 staff from around the world, casting Snøhetta’s creative process in an unmistakably human light. While this social focus may be typically Norwegian, Dykers emphasizes that it is the diverse character of the staff that allows for open-minded architecture that can reach out to the world. “We have embraced other cultures and other means of understanding beyond our cultural base in Norway to help us grow and create meaningful design,” he says.