Pillars and roof ornaments in the form of dragon heads abounded, and pairs of fanciful faces, depicting medieval Norwegian kings and queens, looked down at viewers from elevated positions on the pillars and upper supports of the Building's interior (fig. 3). Because the officials of the fair had allocated such a small area to the Norway display, the Building was not designed to hold all the exhibits and goods the Norwegians planned to present (Bigler and Mudrey 1992, 22). ...with help of Arne Asphjell, an Orkdal resident who had studied at the University of Wisconsin and who acted as a go-between, and with the initial support of some generous local citizens of the Orkdal municipality, the sale went through, and the Building was disassembled for a fourth time and transported back across the ocean to Norway, to be celebrated as an exciting new attraction for Orkdal and Orkanger. First and foremost among the new dimensions of the Building that began to arise in its Facebook coverage was the Building's connection with the local woodcarving tradition, particularly as exemplified in the Building's sculptures of kings, queens, and dragons, created by Peder Kvaale in 1893. ...the volunteers' view prevailed, and the site near the hotel was chosen, helping underscore the association of the Building with the Thams family and the municipality as a whole.