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But today's Danish architects, like Mads Mandrup , are designing with a higher purpose, reports CBS News' Mo Rocca. He was the lead architect of the Copenhagen International School , which is essentially a solar power plant. "We have about 12,000 square meters of solar panels here," Mandrup said.

The blue glass panels, which vary in hue depending on exposure to light, provide half of the building's power.

Rocca said, "Denmark is beautiful, but it's not the sunniest place in the world. What happens on a cloudy day?"

"On a cloudy day here, it produces less. But however, we've been monitoring, and we are on track in terms of the numbers," Mandrup replied.

The Copenhagen International School was designed to incorporate about 12,000 square meters of solar panels, which provide half of the building's power needs.

CBS News

And Copenhagen is on track to reach its goal of becoming the first carbon-neutral city in the world, producing as much energy (all of it clean) as it consumes by the year 2025.

"We are currently investing just around $1 billion in wind turbines in and around Copenhagen," said Morten Kabell, Copenhagen's Mayor of Technical and Environmental Affairs . "And in the future we will be doing geothermal heat. And, of course, we plant a whole lot of trees."

Kabell, who has never owned a car, rides his bike to work every day. "For many tourists and many visitors coming to Copenhagen, it's quite a surprise to notice that bikes have the right of way in most of the city," he said.

Today, 62 percent of commuters here bike to work, a movement that began during the energy crisis of the 1970s.

"Gasoline was so expensive that we had all these rules that emphasized cycling," said architect Camilla Richter-Friis van Deurs, who believes creating a cleaner city has helped create more people.

"We're growing by about 1,000 people every month," she said.

"People are having more kids?" Rocca asked.

"They're having more babies. They're staying in the city, because the city is so livable."

Her firm, Gehl Architects , helped make New York's Times Square pedestrian-friendly and designed a Danish-style network of bikes lanes throughout the city.

Rocca asked, "Why are bicycle helmets not required?"

"They did a study looking at the overall health of people cycling in the city, and found that women are less likely to cycle if you have to wear a helmet," Richter-Friis van Deurs replied. "So their health improves overall by not making the helmets mandatory."

This residential tower in Copenhagen's Orestad neighborhood features a grass rooftop and bike trails that lead all the way to the top.

CBS News

Discouraging the use of cars has had some unintended consequences. For one, the tax on a car can be as much as 150 percent of the car's sale price.

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Feature / 274 October 2010
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Controversial and memorable

Michele Robecchi

Artists and curators always display a sense of badly concealed pride when one of their exhibitions is chastised as ‘controversial.’ Scandal and public outrage are a dangerous ground to venture into, but they can also represent a risk worth taking. The history of art is laced with examples of visual intuitions and revolutions of macroscopic proportions that were presaged by events that generated short-term indignation. On top of that, transgression and curiosity often go hand in hand, and the consequent advertising is a guarantee of massive media attention and bigger profits. Throw into the mix a historical and institutional venue like the London Royal Academy of Arts and a popular and controversial figure like Charles Saatchi, and you know why Sensation was born under a good sign, provocation-wise.

To briefly recap, Sensation was the brainchild of Saatchi and the Academy secretary of exhibitions Norman Rosenthal. About a decade earlier, Saatchi set his sights on what would become ‘YBA’ (Young British Art), deploying his usual technique of buying the whole stock as soon as it hit the shelves if not before. Genuine enthusiasm? Ruthless speculation? Whatever the motivation — and even discounting the argument around Saatchi’s aggressive marketing approach — the art exhibited in Sensation stood as an exceptional testament to a good eye and intuition. Mat Collishaw, Tracey Emin, Damien Hirst, Sarah Lucas, Chris Ofili, Fiona Rae, Gillian Wearing and Rachel Whiteread were all present with seminal works, somehow certifying the generational turnover that started with Freeze in 1988.

In a way, the unofficial mission of Sensation was to redefine the unexpected success of the exhibition curated by Hirst, replacing artists like Steven Adamson, Dominic Denis or Stephen Park with Mark Wallinger, Jake Dinos Chapman and Marc Quinn. It also gave a second chance to people who got to Freeze relatively unprepared. Angela Bulloch, Mat Collishaw and Gary Hume already gave full proof of their talent, but others like Lucas or Hirst himself had minor pieces. Sensation demonstrated that the new British art was a fact and that, behind the colonels, there was a full army ready to conquer the world.

When Sensation opened the season at the Royal Academy, the reception was wild. It rapidly became the exhibition to see, catching the attention of TV news, newspapers and tabloids, with the latter expressing new levels of alarmist controversy. Many were shocked by the Chapman’s porno-genetic sculptures; others decried the tent in which Tracey Emin had sewn the names of all the people she had slept with. But the theatrical force of these pieces was nothing compared to the rage caused by Marcus Harvey’s Myra (1995). Painted with the aid of a group of children’s fingerprints, the canvas was a portrait of Myra Hindley, the infamous Moors infanticide, one of the darkest episodes in the UK in the ’60s, and still an open wound 30 years later. Winnie Johnson, mother of one of Hindley’s victims, put together a protest group, picketing the Academy’s front door for the whole duration of the show, inviting the public to boycott it. In a rare public outing, Hindley herself expressed her misgivings from prison, asking for the work to be removed. When the organizers refused, protests became even stronger. Some of the Royal Academy’s windows were smashed and two visitors managed to throw eggs at Harvey’s painting, forcing it to undergo a quick restoration. If quarantine was the ultimate goal, such episodes naturally reached the opposite effect, and Sensation closed a few days after Christmas with a record number of 300,000 visitors, much to Rosenthal’s and Saatchi’s satisfaction.

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